Some European Architectural Libraries: Their Methods, Equipment and Administration 9780231890915

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Some European Architectural Libraries

NUMBER

FIVE OF

THE

COLUMBIA UNIVERSITY

STUDIES

IN L I B R A R Y S E R V I C E

Some European Architectural Libraries T H E I R METHODS, E Q U I P M E N T AND ADMINISTRATION BY

TALBOT

HAMLIN

LIBRARIAN, AVERY LIBRARY COLUMBIA UNIVERSITY

NEW

YORK:

COLUMBIA

MORNINGSIDE

HEIGHTS

UNIVERSITY 1939

PRESS

COPYRIGHT COLUMBIA UNIVERSITY

Foreign agents:

1939 PRESS, N E W

OXFORD UNIVERSITY PRESS,

YORK

Humphrey Milford, Amen

House, London, E.C. 4, England, AND B. I. Building, Nicol Road, Bombay, India;

KWANG H S U E H PUBLISHING HOUSE,

Shanghai, China;

MARUZF.N C O M P A N Y , L T D . ,

140 Peking Road,

6 Nihonbashi,

Tori-Nichome. Tokyo, Japan M A N U F A C T U R E D IN T H E U N I T E D S T A T E S OF A M E R I C A

Columbia University Studies in Library Service

EDITORIAL

C H A R L E S

C.

WILLIAMSON,

DIRECTOR OF UNIVERSITY

COMMITTEE

DEAN,

SCHOOL

To serve until October CHARLES

H.

BROWN,

REBECCA

B. R A N K I N ,

OF

LIBRARY

SERVICE

LIBRARIES, C O L U M B I A UNIVERSITY,

LIBRARIAN,

IOWA

i,

AND

Chairman

1939

STATE

COLLEGE

LIBRARIAN, MUNICIPAL REFERENCE LIBRARY, N E W

YORK PAUL N O R T H

R I C E , CHIEF, REFERENCE DEPARTMENT, N E W YORK PUBLIC

LIBRARY

To serve until October LESLIE

E.

BLISS,

LIBRARIAN,

HENRY

E.

r, 1940

HUNTINGTON

L I B R A R Y AND

ART

G A L L E R Y , SAN MARINO, C A L I F .

LUCY

E.

FAY,

ASSOCIATE

PROFESSOR

LIBRARY

SERVICE,

COLUMBIA

UNI-

VERSITY PHINEAS

L. W I N D S O R ,

THE LIBRARY

L I B R A R I A N O F T H E U N I V E R S I T Y AND D I R E C T O R OF

SCHOOL, UNIVERSITY

OF

ILLINOIS

To serve until October R O B E R T

B. D O W N S ,

M A T T H E W

S.

MILWAUKEE, H E L L M U T

1941

DIRECTOR OF LIBRARIES, N E W Y O R K

DUDGEON,

LIBRARIAN,

MILWAUKEE

UNIVERSITY

PUBLIC

LIBRARY,

WISCONSIN

LEHMANN-HAUPT,

ASSISTANT

S C H O O L OF L I B R A R Y SERVICF., C O L U M B I A KEYES

1,

D. M E T C A L F ,

PROFESSOR

OF

BOOK

UNIVERSITY

DIRECTOR OF LIBRARIES, HARVARD UNIVERSITY

ARTS,

Foreword was planned primarily to aid in solving some of the problems facing the Avery Architectural Library of Columbia University, of which the author is Librarian. Obviously it is of almost equal interest and value to all other libraries specializing in the same general field. Several librarians who saw the manuscript felt that it had important implications not only for specialized libraries in many other fields, but for all large reference and research libraries, as well as for professional education for librarianship. It was therefore gladly accepted for publication in the series of Columbia University Studies in Library Service, which includes in its scope important work dealing either in a practical or a theoretical way with any of the numerous and varied problems of library service and education for librarianship. THIS STUDY

Mr. Hamlin's study is significant to librarians everywhere not alone for the valuable information gathered at first hand by a competent observer, but by reason of the fact that it is written from the viewpoint of one who is a scholar and authority in his field rather than that of the technical librarian. Other librarians, even in his own field, may not be able to accept Mr. Hamlin's conclusions at every point, but all will welcome his fresh and not unduly technical approach to many troublesome library problems. At a time when the methods and equipment of American libraries are being studied by an increasing number of librarians from other countries it is also significant that an American

viii

Foreword

scholar-librarian finds so much worthy of study and imitation in European libraries. Studies of this kind show clearly that librarians on the two sides of the Atlantic can benefit greatly by closer contact and constant exchange of information and methods. Libraries in general will wish to join the Columbia University Library in expressing their gratitude to the Rockefeller Foundation for the grant which made possible Mr. Hamlin's visit in the summer of 1937 to the libraries reported on in these pages. C . C . WILLIAMSON Director of Libraries and Dean of the School of Library Service, Columbia University

September,

1938

Introduction of an architectural library is faced continually by problems which are the result of the specialized material within his library and the specialized functions which it must fulfill. These affect every branch of library practice—classification, cataloguing, and equipment—they are especially pressing when, as often happens, the library possesses related material other than books, such as photographs, lantern slides, and original architectural drawings. Since material of this kind, as well as plates from rare and beautiful books, appeals primarily to the eye and may frequently be placed on exhibition, the problems of an architectural library may sometimes resemble those of a museum. On what criteria should these various problems be solved? EVERY LIBRARIAN

N o complete study of these questions exists. It therefore seemed to me that a comparative survey of the more important architectural and archaeological libraries of Europe might be fruitful. In general, they have decades of experience in these matters where similar institutions in America have years; they have, many of them, just those collections of photographs and drawings which are alike the delight and the despair of the American architectural librarian. Despite many basic differences of ideal and of practice between the libraries of Europe and those of America, the answers which these European libraries have slowly worked out for their problems over years should be of great help in the satisfactory solution of similar problems in this country.

Introduction

X

A comparative study of the European libraries seemed to be the best method of obtaining and correlating this experience, and such a survey was proposed in the spring of 1937. W i t h the generous aid of the Rockefeller Foundation, I was enabled to spend some eight weeks in Europe during the summer. T h e shortness of the time available necessitated concentration on the most important libraries and the most important cultural centers; the study does not pretend to be a survey of all European architectural libraries, but simply a study of those whose experience seemed likely to prove the most valuable. T h a t meant a careful preliminary review of the field and a careful choice of the libraries to be visited. T h e time element influenced even this choice; it prevented me, for instance, from visiting Berlin, for a study of the Staatliche lOunstbibliothek and the Schinkel Museum. T h e final list of libraries which were visited and s t u d i e d some thoroughly, some only in part—with a few notes on each library and the reasons why it was chosen, follows. T h i s list is given in the order in which the studies were made: The

Library

of the Royal

Institute

of British

Architects,

London. T h i s library is especially noteworthy for its careful balance between old, rare works and modern books, and for its extraordinary wealth of original architectural drawings. It owns the Burlington collection of Palladio drawings, the T h o r p e collection of early English Renaissance drawings, many Bibiena drawings, as well as hundreds by English architects from the seventeenth century to the present day. T h i s library is also remarkable because of its close connection with the Journal of the Royal Institute of British Architects, and because of its wide influence on contemporary architectural culture in England. T h e library is magnificently housed in the new building (completed in 1935) of the Institute on Portland Place. Its care-

Introduction

xi

fully chosen equipment represents the best that the European libraries have developed up to the present. It is both beautiful and efficient. The Library of the Courtauld Instituts, London. This, the most recently founded of the London art libraries, was chosen because of the great amount of creative work it produces, and because, as the newest of these libraries, its choice of methods and equipment should be particularly valuable. T h e library is especially rich in material regarding manuscript illumination (books, reproductions, and hundreds of micro-film photographs), and in its large collection of photographs, especially of English art and architecture. The Soane Museum, London. This fascinating museum, given to the nation by the famous architect Sir John Soane, contains not only Soane's valuable collection of antiques and paintings, but a large collection of architectural drawings by seventeenth and eighteenth century English architects, as well as by Soane himself and his pupils. The Library of the Victoria and Albert Museum, South Kensington, London. This is one of the largest of the libraries dealing with all the arts. The Library of the École des Beaux Arts, Paris. This is probably the most famous of the architectural libraries, as it is one of the oldest. Its collection of drawings is magnificent; it contains roughly 10,000 architectural drawings and an equal number of drawings by painters and sculptors; in these it ranks as one of the four or five greatest centers in the world. It is also extraordinarily rich in early architectural works of all kinds, and in incunabula. The Library of the Institut de France, Paris. This was only briefly surveyed for its manuscripts and its architectural drawings.

xii

Introduction

The Bayerische Staatsbibliothek, Munich. N o attempt at a complete study of this vast library of over 2,000,000 volumes was attempted, though various problems of cataloguing and classification were examined. T h e manuscript collection, which contains a great amount of architectural material, is especially rich. The Architektur Sammlung of the Münchener Technische Hochschule. Important for its architectural drawings, including many by Friedrich von Gaertner and by August Thiersch. The Alpenbiicherei, Munich. T h i s is the library of the combined Alpine and Mountaineering Clubs of Germany and Austria. I was directed to it in my study of lantern-slide collections, for its own is large and excellently catalogued. Its simple, yet efficient, arrangement and administration were admirable. The Oesterreichische National-Bib liothek, Vienna. T h i s was studied only in a general way, except for the Albertina Collection of drawings and engravings, which, though actually a part of this library, is housed and administered as a separate institution. T h e library is especially rich in manuscripts, in topographical works, and in works on the theater and the cinema; and it contains what is perhaps the most beautiful library room in the world, Fischer von Ehrlach's Prunksaal of the Hofbibliothek. The Albertina, Vienna. One of the world's finest collections of drawings and engravings, magnificently housed and beautifully administered. It is famous not only because of its contents, but also because of its scholarly and richly illustrated catalogues. The Department of Drawings and Engravings of the Uffizi Gallery, Florence. Another of the world's great collections of drawings and engravings, especially notable for its Italian architectural drawings of the Renaissance and Baroque periods, as well as for drawings by the great Italian painters. Its long ex-

Introduction

xiii

perience in housing and administering this collection proved of great value in the present study. The Library of the American Academy in Rome. One of the best of the Roman libraries, especially rich on the archaeological side, beautifully housed and efficiently administered. The Library of the Reale Jstituto di Archeologia e Storia dell'Arte, Rome. This unusual library is enriched by several important former private libraries dealing with art and archaeology, notably those of Rudolfo Lanciani and of Corrado Ricci. It is the largest of the Roman art libraries, and is uniquely housed in a group of large interconnected halls on several floors of the Palazzo di Venezia. It receives ample government support. Institut, The Library of the Deutsches Archäologisches Rome. This is perhaps the best known of the Roman archaeological libraries. It is especially rich in archaeological and learned society periodicals and in material on late Roman and early Christian art. Noteworthy are its excellent published catalogues and its magnificent photograph collection. It would be impossible for me to close this introduction without expressing my gratitude to all those whose efforts made the study possible, and to those whose welcoming and cooperative assistance made my trip through the libraries visited a continual delight. First of all, thanks are due to the Rockefeller Foundation, a grant from which enabled this survey to be made; then, for valuable assistance in the necessary preliminary work, to Dean C. C. Williamson, Director of Libraries, Columbia University; to Roger Howson, Librarian of Columbia University; and to Dean Leopold Arnaud, of the School of Architecture, Columbia University.

xiv

Introduction

Of many European librarians and curators, without whose willing help this report would have had little value, I wish to set down my special gratitude to these: Mr. Edward Carter, Librarian-Editor, Royal Institute of British Architects, and the entire staff of that library; Miss Rhoda Webford, Librarian of the Courtauld Institute; Mr. Arthur Bolton, Curator of the Soane Museum; Mr. Philip James, Librarian, and Miss Mary Thomas, Assistant-Keeper, both of the Library of the Victoria and Albert Museum; Mlle. W. Rabaud, Librarian of the École des Beaux Arts; Mile. Jeanne Duportal, whose scholarly aid was of immeasurable assistance in the Library of the Institut de France; Dr. Emil Gratzl, Chief of Accessions and Director, Bayerische Staatsbibliothek; Dr. E. Bühler, Librarian of the Alpenbücherei in Munich; Dr. Friedrich Krauss, of the Münchener Technische Hochschule; Dr. Alois Kisser, of the Catalogue Department of the National Library in Vienna; Dr. Anna Spitzmüller, Assistant Curator of the Albertina in Vienna; Dr. Giulia Sinibaldi, Assistant Curator of the Department of Drawings and Engravings of the Uffizi Gallery, in Florence; Colonel De Dehn, Assistant Librarian of the American Academy in Rome; Dr. Itala Fraschetti, Direttrice of the Library of the R. Istituto d'Archeologia e Storia dell'Arte, Rome; and Dr. Heinrich Fuhrmann, of the Deutsches Archäologisches Institut. I must record here, too, my gratitude to a number of my American colleagues who have read this report in manuscript and furnished much valuable and constructive criticism; especially I acknowledge my indebtedness to the specific suggestions of Miss Flora Ludington, Librarian of Mount Holyoke College, to Mr. Frank K. Walter, Librarian of the University of Minnesota, and to Mr. Phineas L. Windsor, Librarian of the University of Illinois, and Mrs. Fern De Beck Davis, its Architectural Librarian.

Introduction

xv

The warm sense of feeling "at home" which I experienced everywhere, the willing help and eager cooperation I received, made me realize with renewed intensity the age-old fact that the world of culture has no national boundaries. British and French, German, Austrian, Italian—all alike received me and helped me as a colleague and co-worker, not as a foreigner. One wishes this spirit extended to other fields. . . . If men and women of many nations can so work together in the furtherance of what is, roughly, the search for truth, could they not similarly cooperate in all the fields of life? TALBOT HAMLIN

Avery Library Columbia University October, 1938

Contents VII

F O R E W O R D , BY C H A R L E S C. W I L L I A M S O N

IX

INTRODUCTION I. S P E C I A L

PROBLEMS

OF

THE

ARCHITECTURAL

LI-

BRARY

1

T h e Problem.—Varied Service Demanded by Different Types of Usage.—Physical Problems of the Architectural Library.—Supplementary Collections in Architectural Libraries II. O R G A N I Z A T I O N A N D A D M I N I S T R A T I O N

Differing Uses Make Differing Organization Problems.— Personnel: the Librarian and the Assistants.—The Continental System of Library Personnel.—The More Flexible British System of Library Employment.—Size of the Staff.— Organization Secondary but Important III.

CATALOGUES AND CATALOGUING

5

I3

European Catalogues in a Transitional State.—Separation of Author and Subject Catalogues.—The Merging of Shelf-List with Classed and Subject Catalogues.—The Subject Catalogue of the Ecole des Beaux Arts.—Specialized Catalogues.— T h e Value of Printed Catalogues.—Author and Subject versus Dictionary Catalogues.—Catalogues of Supplementary Collections.—Lantern-Slide Catalogues.—Catalogues of Drawings.—Catalogues for Staff and Public.—The Ideal Drawing Catalogue.—Cataloguing Periodical Material.—Clipping Files IV.

CLASSIFICATION A N D A R R A N G E M E N T

T h e Purpose of Classification.—The Numero Currens System.—Bad Buildings Make Bad Classifications.—Advantages of the Numero Currens System and Disadvantages.—Classification of the Open-Shelf Library.—The Brussels System at the Royal Institute of British Architects.—ConclusionsSlide, Photograph, and Drawing Classification.—Classification of Photographs.—The Courtauld Photographs.—Type and Subject Classes at the Deutsches Archäologisches In-

32

Contents

xviii

stitut.—Drawing Classification.—Drawings at the V a t i c a n Drawings at the Soane Museum.—Drawing Classification at the Royal Institute of British Architects.—Drawing Classification at the Ecole des Beaux Arts.—Drawing Classification at the Albertina.—Drawing Classification at the Uffizi.—Conclusions V. PHYSICAL EQUIPMENT Book Shelving.—Shelving in the Royal Institute of British Architects.—Shelving in the Vatican.—The Protection of Rare Books.—The Dust Problem.—The Danger of Overdry Air.—General Plan Layout: the "Hall Type."—The Alcove T y p e Library.—Lantern-Slide Storage.—Photograph Storage. —Drawing Storage.—Drawings Kept in Boxes, Shelved Vertically.—Drawings Kept in Boxes, Shelved Horizontally.— Drawing Cases in the Albertina.—Drawing Cases in the Royal Institute of British Architects.—Drawing Box Sizes.— T h e Mounting of Drawings.—Drawing Display Equipment. —Conclusions VI. T H E FUNCTION

AND PLACE

IN CULTURE

OF

THE

LARGE ARCHITECTURAL LIBRARY Libraries for Advanced Research.—Libraries for Undergraduate Students.—The Broader the Patronage the Harder the Problems.—The Library and the Reader at the Royal Institute of British Architects.—Formality versus Informality.—The Open-Shelf System and Reader Responsibility.— T h e Architectural Library and the Wider World of Culture.—Exchange Systems and Microphotography.—Some Central Organization for Microfilm Exchange Desirable.— Library Service to Wider Fields: Publications and Exhibitions.—Exhibitions.—Exhibits of Architectural Drawings.— Lending Exhibit Material.—The Library and the Museum.— T h e Library and General Culture APPENDIX i: ABSTRACT OF THE CLASSIFICATIONS OF T H R E E ARCHAEOLOGICAL LIBRARIES APPENDIX II: SUBJECT CATALOGUE HEADINGS OF T H E LIBRARY OF THE ECOLE DES BEAUX ARTS INDEX

Illustrations PLATES 1. INTERIOR O F T H E LIBRARY O F T H E ÉCOLE DES BEAUX ARTS I I . INTERIOR

OF

THE

SALLE

LESOUFACHÉ,

ÉCOLE

Facing

DES

BEAUX ARTS

"

I I I . T H E LIBRARY O F T H E AMERICAN ACADEMY IN R O M E

"

IV. STUDY ROOM OF T H E ALBERTINA V. LIBRARY PLANS O F T H E ROYAL INSTITUTE O F BRITISH ARCHITECTS

"

VI. A X I O M E T R I C VIEW O F T H E LIBRARY O F T H E ROYAL INS T I T U T E O F BRITISH ARCHITECTS

"

VII. UFFIZI GALLERY, DEPARTMENT O F PRINTS AND DRAWINGS.

(A) STORAGE ROOM, ( B ) STUDY ROOM

"

VIII. DRAWING CASES AND BOXES AT T H E ROYAL INSTITUTE O F BRITISH ARCHITECTS I X . INTERIOR O F T H E LIBRARY OF T H E ROYAL INSTITUTE O F BRITISH ARCHITECTS X . INTERIOR O F T H E L I B R A R Y O F T H E ROYAL O F BRITISH ARCHITECTS

"

INSTITUTE "

FIGURES T Y P I C A L SLIDING S H E L F DETAIL AS USED IN T H E ALBERTINA AND ELSEWHERE SOLANDER BOX ARCHITECTS CHART

AS USED

IN

THE

ROYAL

INSTITUTE

OF

BRITISH

I Special Problems of the Architectural Library have a specialized job to do in the world. What they contain is chosen to furnish inspiration to the designer, to guide and assist the layman, to enrich the historian of art, and to give the technician the material he needs. With such a task, the architectural library must possess works of many different kinds and materials of many different sizes and types. It is bound also to be used by many different types of readers. All of these things will affect its administration, its personnel, and its methods. ARCHITECTURAL LIBRARIES

THE PROBLEM

The problem of the special library dealing with architecture and the allied arts is a special and peculiar one, distinct in many respects from the problem of the general library because of its different usage and the different nature of its collections. Like any specialized library, the architectural library must primarily be designed for use by specialists, but unlike the greater number of other special libraries its usage is not limited to them. The history of art and architecture is recognized as an important branch of knowledge in its own right; this creates at once another class of users, and another kind of collections, besides those necessary for practicing architects or architectural students. Moreover, architecture touches life in so many ways that an architectural library is often called on to serve the ordinary cultivated layman, and must be organized to direct him

2

Special Problems

and give him the information and the illustrative matter which he seeks. VARIED SERVICE DEMANDED BY DIFFERENT T Y P E S OF USAGE

We have at the outset, then, three different types of usage, each demanding its own special type of book and of service. First, there is the use by practicing architects, interior designers, and architectural students seeking concrete technical information and definite illustrations of what architects are doing and have done, for inspiration, comparison, and sometimes, alas, for copying.* There is, second, the use by the student, and especially the advanced student, of the history of art. For him there must be the most careful provision for free study and research, with adequate arrangements for quiet individual working spaces, if possible. There is also a use by a third class of interested lay people who are trying to keep up with contemporary design • T h e problem of the relation of the architectural library towards creative vs. non-creative and derivative architecture is a very real one. Knowledge of work done by others both today and in the past is a necessity for the well-educated architect. Yet background knowledge, which helps the designer's critical sense, is very different from a parrot acquaintance with originals to be imitated. Where inspiration ends and copying begins must always be a moot point, yet the responsibility of the architectural librarian in this matter is great. He must do everything to stimulate creative knowledge, and he can, through the library itself, do much to discourage "cribbing." T h e circulation of individual plates and photographs to designers and students, for instance, may be an undesirable service, as Philip Youtz remarked at the Art Librarians' round table at the 1937 conference of the American Library Association. T h i s problem affects many questions of library policy; for example, the question of circulating vs. reference libraries, or the question of whether or not works which are portfolios of loose plates should or should not be bound. It also profoundly affects the question of book mutilation. It has been the experience both of the Royal Institute of British Architects Library and the Avery Library that the amount of mutilation has decreased amazingly during the last seven years or so—that is, during the period since contemporary architectural ideals have turned away from stylism to creation. If "modern" architecture ever crystallizes into a style, the problem will, of course, recur.

Special Problems

3

trends, or searching for material for a club paper, or seeking to clarify their own wants and taste prior to building a house or redecorating an apartment. PHYSICAL PROBLEMS OF THE ARCHITECTURAL LIBRARY

Another special difficulty of the architectural library lies in the tremendous variation in the sizes of the books it contains. Many of its works are enormous folios; the greater number of the monographs which must form its background are oversized octavos or quartos, yet it will possess as well a quota of guide books, etc., just as definitely under the average size. This creates at once difficulties in shelving, which, in turn, may affect the classification system. The larger library of this type may, and often does, have another function that differentiates it from the ordinary library —a museum function. It will often have rare books or collections of engravings or even original drawings which it wishes to exhibit. How, and to what extent, should this secondary museum function affect its organization and equipment? SUPPLEMENTARY COLLECTIONS IN ARCHITECTURAL LIBRARIES

The last problem which differentiates the architectural library from others is its frequent possession of collections of non-book material, especially photographs, lantern slides, original drawings, and occasionally architectural models. All of these bring with them their own problems of special equipment, classification, cataloguing, and preservation. All of these specific questions make the problem of the organization, function, and equipment of the architectural library a very special one, in the solution of which a comparative

4

Special Problems

knowledge of the experiences of the greater number of important architectural libraries could not but prove of value. This report aims to give simply the results of a study of these questions, and to attempt some sort of creative synthesis. Matters of organization—including personnel, catalogue and classification systems, and routine—will be considered first; then equipment; and, lastly, functions and usage.

II Organization and Administration IT is the duty of any library not only to conserve its contents, but also to see that its material is made available to the reader. Since the material is varied in type and the readers may vary from the most untrained layman to the most scholarly of research workers, any efficient architectural library organization must be designed with special reference to this varied content and these different readers. DIFFERING USES M A K E DIFFERING ORGANIZATION P R O B L E M S

T h e most valuable information with regard to organization problems was gained from the library of the Royal Institute of British Architects in London, the library of the École des Beaux Arts in Paris, and the libraries of the American Academy and the Deutsches Archäologisches Institut in Rome. T h e first is a library of more general use than the others, serving students, practicing architects, research workers, and laymen. T h e second is designed specifically for use by students of the school, although its wealth of original drawings has made it a valuable research center. T h e other two are specialized libraries for research in archaeology and art history, though in the American Academy, at least, there must be provision for use by the architects, painters, sculptors, landscape architects, and musicians who are the resident Fellows. T h e Royal Institute of British Architects contains between 40,000 and 50,000 volumes; the École des Beaux Arts (which must cover with equal complete-

6

O r g a n i z a t i o n and Administration

ness all the fine arts*), about 70,000; the American Academy, about 30,000; and the Deutsches Archäologisches Institut, about 50,000. PERSONNEL: T H E LIBRARIAN A N D T H E ASSISTANTS

T h e personnel of these libraries varies with the function. A librarian and assistants of a different kind are necessary in a library where much help must be given to untrained readers (as in the Royal Institute of British Architects), from those in a library where the chief use is by advanced research workers to whom libraries are a commonplace. One thing, apparently, is essential in either case—the librarian must be a scholar and a lover of books, and must have, through training or experience, a wide and deep knowledge of the broad field of art and archaeological publications. Even where purchases are made (as is usual) under the supervision either of a library committee (e.g., Royal Institute of British Architects) or of a faculty or director of a school (e.g., École des Beaux Arts, American Academy in Rome, and Deutsches Archäologisches Institut), this is necessary, for the librarian not only must make innumerable choices in details of purchasing, binding, and cataloguing which require a sense of proportion that only a knowledge of the field can give, but also by his personality and ideals will do much to set the atmosphere of the whole organization. T h e qualifications of assistants vary more according to the kind of use. In the more widely used libraries with varied functions, the assistants must be, in their way, scholars as well, in • T h e library of the École des Beaux Arts does not attempt to cover the "allied arts" and city planning with any completeness. T h e Bibliothèque des Arts Décoratifs in the Louvre, complemented by the Bibliothèque Doucet for practical and technical information, covers the allied arts; city planning is considered rather a subject for the École des Hautes Études Urbaines than for the École des Beaux Arts.

O r g a n i z a t i o n and A d m i n i s t r a t i o n

7

order to direct the readers to the most valuable material in the most helpful way. In the library designed chiefly for school pupils who are supplied with bibliographies by their instructors, or for advanced research workers who may be considered already to have gained a general knowledge of the field, this is less important. W h a t is necessary then is merely care, accuracy, and knowledge of where material is shelved. Between these two extremes, there is much variation in the needs to be filled and the qualifications necessary to fill them. In the Royal Institute of British Architects, the two desk assistants do the greater part of the reference work, and the special periodical librarian keeps track of the whereabouts of periodical material. In the Courtauld Institute, one assistant is art trained, for reference work, and one is library trained, for routine. In the École des Beaux Arts, the assistant librarian is library trained and does purely technical library work, while desk assistants (as we should call them) are merely guardiens, to guard, supervise, reshelve, and fetch-and-carry. It is noteworthy, however, that even here the guardien chef is a man who has been employed at the library for over thirty years, and who has picked u p an extraordinary, though non-technical, knowledge of its contents. In the American Academy in Rome, the assistant librarian devotes most of his time to the more important routine matters; reshelving and the like are done by employees of the Academy proper. In the Deutsches Archäologisches Institut (an open-shelf library), the readers are expected to take care of themselves, the desk service being largely of the guardien type. T h e assistant, Dr. Heinrich Fuhrmann, who was assigned to show me the library, evidently had an extensive knowledge of much more than routine matters. In the large, more general libraries and collections studied, the same holds true of the special art departments. In the

8

O r g a n i z a t i o n and Administration

library of the Victoria and Albert Museum—one of the greatest art libraries in the world, of over 150,000 volumes—not only the librarian, but also the assistants are of the scholar type; Miss Mary Wynne Thomas, the assistant who took me around, was trained as a classical archaeologist. In the Miinchener Staatsbibliothek, all heads of departments must have doctorates in the subjects their departments cover; the same is true of the Oesterreichische National-Bibliothek, Vienna (of which the Albertina is a department). T h e assistant curator, Dr. Anna Spitzmiiller, who explained the system to me, is a doctor in the history of art; so is Dr. Giulia Sinibaldi, the assistant curator of prints and drawings in the Uffizi. T H E C O N T I N E N T A L SYSTEM OF L I B R A R Y PERSONNEL

In general (perhaps because many of the continental libraries studied were more specialized for student and research use), there seems to be little attempt on the part of the continental libraries to help the general reader; he is left to sink or swim as he pleases. T h e insistence is on the acquisition and preservation of the books. Generally understaffed, the usual attitude seems to be—"Here are the books, if you want them. But you must know what you want first." This has led, in turn, to the development of a definite caste system in the personnel—in Germany, at least, officially recognized. T h e r e the library employees are of three types: 1. Professional employees (heads of departments or first assistants), for whom a Ph.D. degree is a condition of entrance into the service, coupled with the passing of a library technique examination after eighteen months of combined apprenticeship and study.

O r g a n i z a t i o n and A d m i n i s t r a t i o n

9

2. Technical assistants, who have passed the library examination. 3. Clerks, secretaries, guardians, etc., with no special qualifications. T h e r e is normally no possibility of progress from one class to another. In France, the government has recently taken steps along the same line, and is requiring library examinations for all head and assistant positions; this tends to crystallize the system into castes. I was given to understand that there was much complaint on this point, from many scholars, and especially from graduates of the École des Chartes. T H E MORE F L E X I B L E BRITISH SYSTEM OF LIBRARY E M P L O Y M E N T

In England, on the other hand, as in America, the system is much freer and more open. Technical assistants may become professional assistants, and scholarship, as such, is freely recognized apart from examinations and degrees. Each system has its advantages. T h e competency of a guardien of thirty years' standing, like the one in the École des Beaux Arts, can be achieved in no other way than by a rather rigid caste system. O n the other hand, this result is achieved at a vast cost of human effort—perhaps unjust—and it tends towards hard-andfast crystallization of ideals and of function, as well as of personnel. With some marked exceptions, this is bound to show in library usefulness. T h e Royal Institute of British Architects Library is welcoming, creative, delightfully informal, despite the fact that it allows free use of its valuable collections; while the cold dry-as-dust quality of some continental libraries is a matter deeper than architecture, equipment, and interior decoration. In libraries for advanced research, like the American

io

Organization and A d m i n i s t r a t i o n

Academy in Rome and the Deutsches Archäologisches Institut, this problem does not seem to arise. There, the atmosphere is created by the material and the users; the administrators are secondary. T h e same is true, in all the libraries, in the case of such specialized rooms as those of the manuscript departments. SIZE O F T H E S T A F F

T h e size of the staff of these libraries shows extraordinary variations, depending on the length of hours and the use. Several of the libraries (École des Beaux A r t s , the s t u d y r o o m s o f

the Albertina, and others) were open normally only in the afternoons (in summer, during the mornings only). Many were entirely closed officially during a month or six weeks in the vacation period.* T h i s of course liberates desk assistants for routine and administrative work, and thus permits of reduced staffs. Manifestly, also, the staff which attempts much assistance to readers or much reference work must be larger than the staff which attempts little or none. Moreover, a library whose use is limited largely to advanced students needs less supervision than one open to the general reader. T h e American Academy in Rome, which is typical of the first of these classes, apparently gets along well with a librarian, an assistant librarian, and one clerical assistant; while the Royal Institute of British Architects, typical of the second class, requires a librarian, two reference and desk assistants, a cataloguer, a periodical librarian, and two juniors. T h e Victoria and Albert Museum Library, with its 160,000 volumes, is woefully understaffed for its broad • It was noteworthy, however, that in the Albertina and Uffizi study rooms, the American Academy in Rome, and the Deutsches Archäologisches Institut, all of which were officially closed at the time of my visit, several readers were at work. Serious students known to the administration were apparently freely admitted.

Organization and Administration

11

functions, with a librarian, four regular assistants (direct governmental employees), and four cataloguers, besides its junior assistants and guardians. T h e Courtauld Institute Library, though it has but 12,000 books and its use is limited, does much creative work (notably, its annual bibliography of books on art) and requires a librarian, two assistants (one art trained, one library trained), and two special librarians with a student assistant for its superb photograph collections, plus a general half-time student assistant. None of these libraries was open anywhere near the number of hours common in American libraries.* T h e hours in the American Academy in Rome and the Deutsches Archäologisches Institut are variable and free; both are apparently open to advanced students at almost any reasonable time. Dr. Curtius, the director of the Deutsches Archäologisches Institut, told me it was his ideal that to the real student the library should be always open. In neither case is supervision continuous; during much of the time no members of the library staff are present at all. T h e atmosphere is that of the library of a private house. Any attempt to correlate number of employees with number of books is therefore entirely fruitless. T o o many other elements enter in. One library, that of the Münchener Technische Hochschule (the Architekur Sammlung) has no real librarians at all; yet in its way—though confessedly badly—it functions, nevertheless. Acquisitions of material are made rather unsystematically at faculty request. Routine supervision is in the hands of a guardian only, and cataloguing is solely by author, with only short titles and dates on the cards; yet its • R o y a l Institute of British Architects: 10 A.M.-8 P.M. weekdays; 10-5 Saturday; closed Sunday; closed for the m o n t h of August. Courtauld Institute: 10 A.M.-6 P.M.; closed Sunday. Victoria and Albert: 10 A.M.-6 P.M.; 10-8 on Thursday, Friday, and Saturday; closed Sunday.

12

Organization and Administration

material, especially its wealth of architectural drawings, makes it a valuable library.* ORGANIZATION SECONDARY BUT I M P O R T A N T

In general, the conclusion seems inescapable that, given scholarship and a consistent ideal in the direction, the problem of the details of the personnel organization is secondary. In a library of this sort, moreover, a certain flexibility and informality—such as characterize, for instance, the libraries of the Royal Institute of British Architects, the American Academy in Rome, and the Deutsches Archäologisches Institut—seem almost a merit and, from the point of view of the reader, a distinct advantage over the elaborate and crystallized system current in the École des Beaux Arts. • O n e might devise a correlation on the basis of book hours per week. T h u s , let h 3= the hours per week when the library is open, b = the n u m b e r of volumes in the library, and e = the number of senior employees (not counting bh guards and pages); then —

= p, the senior personnel factor. O n this basis a

few results follow: Royal Institute of British Architects 57 X 45.000 . ™ =513,000 J 3 5 Victoria and Albert Museum 48 X 160,000 — = 853,000 J3 9 École des Beaux Arts 30 X 70,000 J ' = 1,050,000 But this merely means that the kind of service differs and that in the École des Beaux Arts Library the guardiens are really much more than their title signifies. Courtauld Institute K4 X 12,000 ül^ = 216,000 3 Perhaps this low figure is reflected in the numerous published bibliographies and the great amount of other creative work this library produces.

Ill Catalogues and Cataloguing of any library is the most important tool which the reader finds to introduce him to the riches that the library contains. It is often the first thing which greets his attention, and not only will the catalogue determine to a great degree the efficiency of his research and his study, but also its character may come to be for him the one criterion on which the library will be judged. THE CATALOGUE

EUROPEAN C A T A L O G U E S IN A T R A N S I T I O N A L STATE

In many of the libraries visited, the problem of cataloguing and catalogues in general seems today in a state of transition. T h e greater number of the European libraries still keep author and subject catalogues separate; this is true even of libraries recently established or recently reorganized (e.g., the Royal Institute of British Architects, which has been entirely reorganized during the last six years; and the Courtauld Institute, only recently founded). Only in the American Academy in Rome, which is to all intents and purposes an American library, and in the Vatican Library, recently completely reorganized on a purely American system through a grant of the Carnegie Foundation, is the dictionary catalogue found. There is enormous variety in catalogue format as well. Manuscript books, printed entries pasted in books, printed entries pasted on cards, printed cards, typed and hand-written cards, are all to be found. T h e cards used on the Continent are generally about 4 by 7 inches, arranged vertically in boxes or horizontal cab-

14

Catalogues and C a t a l o g u i n g

inets; but the movement toward cards of the American standard size in drawers seems to be gaining ground.* T h u s the Royal Institute of British Architects and the Courtauld Institute use American-size cards exclusively, as do the American Academy in Rome and the Vatican. In the Oesterreichische NationalBibliothek, the subject catalogue (only made for books issued since 1800, and still incomplete after five years' work) is on American-size cards, and makes use of the printed cards issued by the Staatsbibliothek at Berlin. SEPARATION OF A U T H O R AND SUBJECT C A T A L O G U E S

Not only are author and subject catalogues separate units, but they are frequently widely separated as well; in both the Bayerische Staatsbibliothek, Munich, and the Oesterreichische National-Bibliothek, Vienna, they are in separate rooms, and access to the subject catalogue is difficult, as though it existed for the library staff rather than for the public. Frequently (e.g., École des Beaux Arts, Munich, Vienna), the author catalogue is in some form of bound folios, while the subject catalogue is in on cards. Where printed or typed book entries are made, frequently duplicate copies are used, one pasted in the right place in the volumes of the author catalogue, and one on the cards for the subject catalogue. In general, subject catalogues are simple and general in scope, and not highly detailed; there is a great dependence on cross references rather than on duplication of the cards themselves. In fact, cross reference seems to be in some cases almost a fetish; either the author catalogue or the subject catalogue • However, Dr. Gratzl, chief of accessions and a director of the Bayerische Staatsbibliothek, Munich, expressed himself strongly in favor of the larger cards as against the American standard, because the larger size usually permits all the necessary information to be on one card, whereas for many books the American system requires several. T o have the complete table of contents of a Festschrift arrayed legibly on a single card is an advantage.

Catalogues and Cataloguing

15

(usually the latter) will have no shelf mark or book number on the entry; to obtain the book it is necessary to refer back to the other catalogue before making out the call slip, or, in an open-shelf library, before going to the right alcove or shelf for it. This, of course, seems uncalled for and unnecessary work. In the Oesterreichische National-Bibliothek at Vienna, the subject catalogue is unusually full, but it covers only works received by the library since 1922. There is a separate drawer devoted to Architecture. T h e general subject is subdivided geographically and historically; the historical subdivisions are themselves still further divided nationally and also geographically by place. There is no subdivision by building types, but some of these may be picked out elsewhere in the catalogue under certain special heads. T h e same general treatment is given the general headings Innenarchitektur, Innendekoration, and Ornamentik. Housing is treated with especial care under the general headings Wohnungswesen and Siedlung. For instance, under Wohnungswesen one finds: Wohnbau, general, then subdivided geographically and historically; also Wohnbau, Beratung Wohnbaufdrderung subdivided geographically; also Credit Anstalt Staatliche 'sgesetz Wohnbaupolitik subdivided geographically Wohnhaus Wohnheimstatten Wohnung subdivided geographically; also Hypothek Kultur

i6

Catalogues and Cataloguing Wohnung Not Pflege Socializierung Städtische Statistik Volkswohnung Wohnungsanforderungsegesetz Wohnungseinrichtung Wohnungselend Wohnungsgesetze

And, under Siedlung: Siedlung subdivided geographically; also Siedlung Arbeitsbeschaffung Arbeitsdienst Erwerbslose Genossenschaften Nebenberufssiedlung Siedlungsforschen Siedlungsgeographie Siedlungsgeschichte geographie Siedlungswesen subdivided geographically Thus these fields are adequately treated, but the general architecture heading and its subdivisions leaves much to be desired. T H E MERGING OF SHELF-LIST WITH CLASSED AND SUBJECT CATALOGUES

Another peculiarity noted in two libraries (Royal Institute of British Architects and Courtauld Institute) was the use of

Catalogues and Cataloguing

17

shelf lists as classed catalogues by means of elaborate classification systems. T h e idea seems to be that, if your classification is detailed enough, the mere arranging of titles in the regular classification order will form a sufficient subject catalogue, especially if supplemented by enough cross-reference cards and a classification index. T h u s , at the Royal Institute of British Architects, if one wishes to look u p a church, say, in St. Alban's, one looks under St. Alban's in the index drawer. T h e card will say, perhaps, "see classes 7

, and 9

." T u r n i n g to these

numbers in the shelf-list-subject catalogue, with patience one may find the title sought. W i t h i n each class number, the cards are arranged not alphabetically by author, but chronologically by date. W h i l e this allows one to pick out readily the most recent works on a given subject, in many cases the effect is one of confusion (at least to the inexperienced eye). T h u s , for instance, if one wished to find quickly all the works of a certain author dealing with a given subject, the subject catalogue would be a cumbersome machine—it might be better to use the author catalogue, obtain all the works, then glance through them to see which dealt with the desired topic. THE SUBJECT CATALOGUE OF THE ÉCOLE DES BEAUX ARTS

In many ways the most useful of the subject catalogues seems to be that of the École des Beaux Arts. It is an admirable example of a subject catalogue designed for the special use of the library's most common readers, that is, students of the school itself. (An analysis of the architectural section is given later in Appendix A.) T h e subject catalogue is supplemented by a geographical and topographic catalogue, by country and by place, in an adjoining case. Particularly useful in this subject catalogue are the choices of major and minor subjects, and the size

i8

Catalogues and Cataloguing

and arrangement of guide cards. In general, titles under each subject are arranged alphabetically; but in a few cases—such as technical treatises, text books on construction, and so forth, where the date is of great importance—they are arranged chronologically, with the latest publications first. In each such case the guide card states this fact specifically. T o find the latest published theories and formulae on reënforced concrete, for instance, becomes a matter of but a few moments. This catalogue is on cards about 4 by 7 inches, set vertically in trays on a table and held in place by rods through each tray. T h e trays are protected from dust by a cloth when not in use; practically, this means only when the library is closed. T h e result is, naturally, that the cards are extremely dirty. T h e trays are arranged in a large hollow square; on one side is the geographic and topographic catalogue; next it is a most valuable catalogue of sales catalogues, by gallery, collection, and artist; the remaining two-thirds is the general subject catalogue. SPECIALIZED CATALOGUES

This subdivision of the subject catalogue here seems logical, and simplifies rather than complicates bibliographical work. It brings up the whole question of the value of specialized catalogues. Thus the École des Beaux Arts has special catalogues of its two great special collections of valuable early books and of drawings—the Lesoufaché and Masson collections, which constitute an excellent bibliography of fifteenth, sixteenth, seventeenth, and eighteenth century art works. The Masson collection is especially rich in incunabula, and is catalogued by printer and place of publication as well as by author. In the Bayerische Staatsbibliothek in Munich, the Bibliothèque Nationale of Paris, and the Oesterreichische National-Bibliothek at Vienna, there are special catalogues for manuscripts, reserved

Catalogues and Cataloguing

19

books, etc.; Vienna has also special catalogues for manuscripts, maps and topographical works, the theater arts, music, and the moving picture arts. T o the worker in these specialized fields this subdivision is a great timesaver, particularly when the general catalogue is in the unwieldy and cumbersome form which it usually takes in these libraries. THE VALUE OF PRINTED CATALOGUES

Another problem of somewhat similar scope concerns the value of catalogues printed in books. It would seem from the experience of this trip that for collections which are closed, or of definitely specialized types, the well-indexed printed catalogue has a usefulness that cannot be over-emphasized.* Of course, in using such a book, one is partly at the mercy of the indexer; but then even with the most modern card catalogue one is almost more at the mercy of the cataloguers. It is certain that it is easier, pleasanter, and more efficient to sit at a desk with a volume, or even several volumes, in front of one, than to go from drawer to drawer in a large card catalogue. Such a volume as the catalogue of the manuscripts in the Library of the Institut de France, or even the hand-written catalogue of the manuscript collection of the Bayerische Staatsbibliothek, Munich, was of enormous assistance in finding rapidly a great wealth of interesting architectural material. As far as they have gone, the published catalogues of the Albertina are models of their type. Produced with care, edited and annotated by true scholars, and beautifully printed, such works have a usefulness far greater than that of a mere list. One need only know how much certain standard printed catalogues are used by the present-day American cataloguer to realize the enormous • It was most interesting to note that even the forty-years-out-of-date Avery Library catalogue was frequently referred to by European librarians, and is still used by them.

20

Catalogues and Cataloguing

role these volumes play in the efficient distribution of bibliographical knowledge. It would perhaps be desirable for more libraries with specialized collections to issue their catalogues in printed form. In these days of card cataloguing everything, the value of the printed catalogue tends to be underestimated. T h e conditions which make such a publication most valuable seem to be: first, that the collection itself be of some definite kind with obvious delimitable boundaries; second, that it be, within its scope, fairly complete; * third, if the collection is not a closed one, that it be compiled as o£ some definite date; and, fourth, that the catalogue be well indexed for at least general subjects as well as for authors. A U T H O R A N D S U B J E C T VERSUS DICTIONARY

CATALOGUES

T h e whole problem of author-subject versus dictionary catalogues, of printed, manuscript, and card catalogues, and of large versus small cards, is rooted in another, deeper problem, which is the relation of the library to the serious student—the scholar—and to the general public. It brings up the whole question of what scholarship is. Professor Egidio Giordani of the Vatican Library, and head of its School of Library Service, reported that there had been, among the older Roman scholars, violent criticism of the new dictionary catalogue of the Vatican Library. It made scholarship, they said, too easy. It is also too easy to discount this criticism as the mere futile protest of old fogeys who fear for the continuance of their métier. Naturally the true scholar will make the best use of any facilities offered him. Yet behind that criticism is a real kernel of truth. T h e • T h e term "fairly complete" is used advisedly to indicate a relative wealth of material; that is, enough material not found in the average good library to make the catalogue of the collection a contribution to the source material of the general librarian.

Catalogues and Cataloguing

21

older scholar, who had pored over thousands of books seeking in each the little section which might illuminate his subject, did know what he knew with a thoroughness and a command which was deep and real. His knowledge he had himself won and made his own, and anyone who pretended to be a scholar had to have some of this thoroughness to achieve anything at all. T h e system today tends to discourage this kind of knowledge, and substitute something quicker, more

flashy,

more

superficial. T h e student is tempted to too great a dependence on dictionary catalogues, and card-reading occasionally comes to replace book-reading. T h e specialized advanced student is thus at the mercy of the cataloguers, who, however well-trained, cannot themselves be great scholars in every field of knowledge; the scholar becomes subservient to the technician.* CATALOGUES O F S U P P L E M E N T A R Y COLLECTIONS

The

cataloguing of related material—slides,

photographs,

and drawings—is a different problem peculiar to the architectural library or one of a somewhat similar specialized field. Few of the

libraries visited

had dictionary

catalogues, so

that

whether or not such related material should be included is still a moot question. It is noteworthy that the Vatican Library's dictionary catalogue is limited to printed books; manuscripts and drawings and engravings are handled separately, and Monseigneur Le Grelle, a Belgian scholar resident in R o m e , is just starting to sort and catalogue an enormous and chaotic mass of photographs. A dictionary catalogue of manuscripts has • T h i s development is not unlike the hand-feeding of students—even students for advanced degrees—that seenis prevalent in many places today. T h e method of setting up "reserves" for courses and of furnishing students with nearly complete bibliographies of course helps the mediocre student, but often, too, alas, it smothers that intellectual curiosity which must be the foundation of all real scholarship.

22

Catalogues and Cataloguing

been begun, starting with the Codices

Vaticanae only, but is as

yet only a somewhat misleading fragment. LANTERN-SLIDE C A T A L O G U E S

T h e two most complete and interesting slide catalogues were that of the Alpenbiicherei (the Library of the Associated Alpine Clubs of Germany and Austria) in M u n i c h , to which I was referred for this especial problem by Dr. Emil Gratzl of the Bayerische Staatsbibliothek, M u n i c h , and that of the American Academy of R o m e . T h e first covers a collection of some 15,000 slides of mountain views, flora and fauna, and mountaineering techniques—the most complete of its k i n d in the world. T h e slides are numbered consecutively with the accessions number (numero

currens)

and kept in boxes corresponding to these

numbers. T h e r e are also certain duplicates arranged in definite planned lectures on various phases of the subject, which are sent out complete with a manuscript of the lecture to the local chapters and societies forming the large association. T h e catalogue is on cards, arranged alphabetically by countries, mountain chains, flora and fauna, and mountaineering techniques and apparatus. T h e r e is a separate catalogue alphabetically by mountain peaks and separate mountains, and also a register (a sort of shelf list) arranged by accessions number. In each case the titles are sufficiently detailed and explicit. T h e same general system is used in cataloguing the Alpenbiicherei's remarkable collection of maps, photographs, and engravings, though in these (which are grouped and shelved together) the classification and

arrangement

rather than under a numero

are

geographical

(alphabetically)

currens system. Negatives of slides

are in individual envelopes, numbered and arranged like the positives. T h e whole system is admirably simple and efficient. T h e arrangement and cataloguing of the slide collection of

Catalogues and Cataloguing

23

the American Academy in Rome is strikingly similar, but with one excellent though expensive change. In the American Academy in Rome all the cards are sensitized and the slide itself is printed upon it. This of course removes all necessity of getting out slides merely to see what each contains, and forms the ideal method of slide cataloguing. Naturally, the cards are over the standard catalogue size and require special drawers, but 4 by 6 inch cards, which are a standard file size, would serve excellently.* In general, photograph collections are not catalogued, though a register may be kept. Dependence is upon the classification and arrangement of the photographs, which will be touched upon later. This is generally logical; if the photographs are well mounted, they are almost as easy to run through as cards would be, and frequently the photograph user will want to examine several comparatively, rather than some single item. This of course gives a major importance to the workability of the classification system adopted. CATALOGUES OF DRAWINGS

The cataloguing of drawings is still in a state of indecision or of transition. At times (e.g., Bayerische Staatsbibliothek, Library of the Instituí de France) they are treated like manuscripts and catalogued with them. In the Architektur Sammlung of the Miinchener Technische Hochschule, the collection of drawings—a most valuable one—is largely uncatalogued, though a list of the Von Gaertner collection exists. In the Vatican, Professor Donati is at work on a catalogue of its drawings and engravings, but as yet it is only completed up to the letter • According to Mr. Phineas L. Windsor, Librarian of the University of Illinois, reduced prints of slide negatives on standard-size cards have been used in the University of Illinois slide catalogue for some time. This, however, increases the cost and difficulty of preparing the catalogue cards.

24

Catalogues and Cataloguing

G, listed under both artist and engraver, but not under subject. Even the superb drawing collections of the École des Beaux Arts are as yet not entirely catalogued, though careful classification and arrangement makes reference still fairly easy. In the Victoria and Albert Museum Library, drawings, of course, are at once turned over to the museum for its collection. In the Royal Institute of British Architects, there is a compromise system; a hand list exists covering all the important drawings, and cards in the author file refer to the collection, but there is no attempt to catalogue individual drawings or even to cover in the subject catalogue the buildings represented. Moreover, there exists, shelved separately in another portion of the library, a large collection of miscellaneous drawingsmost of them fairly recent—and of engravings, which are not as yet catalogued at all. They are, however, carefully classified and arranged by building types. The library of the Istituto di Archeologia e Storia dell'Arte also has a large collection of drawings, chiefly archaeological, dealing with Rome, including old views and early maps and plans. These are mostly bound in volumes, although some are in portfolios, and are shelved in one room, the Sala Lanciani, so named after their donor. Each volume or portfolio is catalogued, but the individual drawings are not. T h e two most interesting collections of architectural drawings that were studied were those of the Albertina at Vienna—a separate branch of the Oesterreichische National-Bibliothek— and at the Uffizi in Florence. Both are largely museums, with such an equal balance between study and exhibition functions that it is impossible to separate the two. Both, too, have been fortunate in receiving ample government support throughout most of their history, though the recent financial debacle has reduced their staff and their publications. T h e printed cata-

Catalogues and C a t a l o g u i n g

25

logues made for some classes of material in the Albertina, by such excellent scholars as Hans Tietze and Hermann Egger, are models of their kind; and the printed classified catalogue of the Uffizi, though long out of date and kept up to date only by interleaved manuscript additions, serves well enough. T h e volume dealing with architectural drawings has one peculiarity —its most important section is topical, alphabetically by subject. T h e author catalogue is merely an index, giving, first of all, the drawing numbers, and, second, page references to the subject catalogue where the drawings are more specifically described. Both these collections, also, have special official catalogues which are not open to the public, but only to recognized scholars. T h e Uffizi catalogue is on vertical cards in trays, of the normal continental type, and is arranged by type (architecture, ornament, figure, or landscape), by country or school, by century, and by artist or maker. Bibliographical notes are sometimes added both on the drawing cards and on the published interleaved catalogue volumes, but are not complete. Dr. Sinibaldi complained that there was an endless amount of work to be done, and with the present reduced staff little time to do it; it was difficult to keep u p with current accessions. CATALOGUES FOR S T A F F A N D P U B L I C

T h e private catalogues of the Albertina are of two types. One, only recently begun, is a dictionary card catalogue of almost American type, arranged alphabetically by artist or draftsman, by engraver (for engravings), and by country, school, and century. W h e n complete, it should be enormously useful. T h e other, the official, catalogue is on loose sheets, rather heavy, about 6 by 8 inches. Each contains spaces for artist, title or subject, size, medium, past history (where known), source

26

Catalogues and Cataloguing

from which it was obtained, date of accession, and bibliographical or other notes. These are kept in boxes arranged by school or country, and alphabetically by artist. T h e information each card contains is too great in amount to go on our standard catalogue cards, and perhaps some of it is unnecessary in a general public catalogue, but it should be on file somewhere in every such collection or library, and it should be available for study by serious advanced students. Except for the size and the space necessary, the Albertina system seems almost ideal for its purpose. Both of these great collections also have official registers of the drawings arranged by number. These also serve for shelf lists and inventory purposes. Yet, to my knowledge, no single library or department of drawings has as yet completely solved the problem of cataloguing such collections. The Albertina is perfect for those few who can obtain access to its official catalogue, but the general public must depend for a knowledge of its extraordinary wealth upon its superb exhibitions, which are periodically changed; the general student who uses the study rooms is supposed to ask the attendant for special individual works or for the works of a special artist or a special class of subjects, but he does not generally have access to the catalogue. When the series of magnificent published catalogues is finished, of course this condition will be vastly improved; but financial conditions in Austria do not promise rapid publication. In the Uffizi, the general student fares better, for the interleaved printed catalogue, old and cumbersome as it is, is fairly complete; but the special student fares worse, for there is nothing there to compare with the excellent thoroughness of the Albertina's official sheets. In the Royal Institute of British Architects, general introduction to the material is simple and

C a t a l o g u e s and C a t a l o g u i n g

27

easy, but to find individual buildings or drawings is sometimes arduous. T H E IDEAL DRAWING C A T A L O G U E

What seems to be necessary for the most useful cataloguing of drawing collections is really a double catalogue. One, for the general public, could be on standard-size cards. Each drawing would usually have its own single card; but, just as Festschriften and collected works often have both general cards and special cards for each article, so architectural drawing catalogues should have general cards covering all drawings dealing with a given building as well as the detailed cards. Such a catalogue could well be analyzed as closely for subjects as the size of the staff would allow; cataloguing according to artists or architects is of course a first necessity. Whether or not this catalogue should be included in the general catalogue of the library, or be kept as a separate entity, is a debatable question. There is much to be said on both sides; but in any case some separate and distinct listing should be available. T h i s separate listing might perhaps form the second catalogue which should be a scholarly annotated bibliographical catalogue, available to advanced or deeply interested students, and should have all the information contained on the admirable Albertina catalogue sheets. T h i s second catalogue need not be analyzed for subjects; a mere author catalogue would suffice, for its users would presumably know the collection from the other catalogue, and have at least some preliminary grasp of the subject. T h e classification and arrangement of the collection might allow this special catalogue to be used also as a shelf list. Its format would probably not be standard, as standard catalogue cards are not large enough to contain this detailed information.

28

Catalogues a n d C a t a l o g u i n g

CATALOGUING PERIODICAL MATERIAL

Another problem faced by the specialized architectural library is the periodical catalogue. Shall magazine articles, illustrations of buildings, and so forth be catalogued, and, if so, to what extent? Shall this catalogue be combined with the general catalogue or not? Several of the libraries visited had separate periodical catalogues; the best was at the Royal Institute of British Architects, where a special periodical librarian is employed. T h e recent portion of this catalogue (since 1932) is on standard catalogue cards in catalogue drawers; it is a subject catalogue only—architects' names are not brought out. In general, buildings appear under building types only, though some important structures are also listed under place and name. T h e older portion is in manuscript volumes. One interesting thing is the division of domestic architecture into general price categories, so that if a prospective houseowner comes in he can find rapidly a group of illustrations of houses within his general price range. Many inquiries as to architects and many jobs for architects have come from this source. Another interesting special catalogue is one containing the published work of, and published references to, all the nineteenth century English architects that could be found. T h i s most enlightening and complete listing was made, partly as a labor of love, in connection with the centennial of the Royal Institute of British Architects, and is a mine of valuable research material. All of this covers chiefly English work; there has thus far been little attempt to catalogue foreign work. For this, the library depends on the Art Index published by the H . W . Wilson Company. T h e American Academy in Rome has a beautiful subjectand-author catalogue of archaeological periodical articles up to

Catalogues and Cataloguing

29

a few years ago, w h i c h has b e e n most useful, b u t r e d u c t i o n in the staff o w i n g to the financial stringency of the last seven years has forced its a b a n d o n m e n t , m u c h to the distress of the librarian. N o w its place is taken by the Art Index, Index

to Periodicals,

the Readers'

Guide

the

International

to Periodical

Litera -

ture, all p u b l i s h e d b y the H . W . W i l s o n C o m p a n y , the toire

d'art

et

d'archéologie,

published

by the

Réper-

Bibliothèque

d'Art et d ' A r c h é o l o g i e of the University of Paris, and the Klassieke Bibliographie,

p u b l i s h e d in Utrecht; the last is cut u p and

put on cards for filing in the catalogue. T h e École des B e a u x Arts makes n o attempt to catalogue magazine articles and illustrations w i t h any completeness, b u t there is an effort to catalogue all i m p o r t a n t technical articles; the cards are placed in the general subject catalogue to supplement the books. T h e Bayerische Staatsbibliothek, M u n i c h , catalogues periodical articles o n Bavaria only, b u t tries to k e e p this cataloguing c o m p l e t e ; n o special attention is given to art or architecture. In general, the libraries seem to d e p e n d on the various published periodical bibliographies; all the libraries interested in the field gave special c o m m e n d a t i o n to the a n n u a l d'art et

Répertoire

d'archéologie.

T h e value of periodical catalogues was everywhere admitted. T h e regret of the librarian of the A m e r i c a n A c a d e m y in R o m e at having to stop the A c a d e m y ' s catalogue has already b e e n noted. A t the R o y a l Institute of British Architects, the periodical gallery a n d the periodical catalogue are almost continuously i n use; the l i b r a r i a n only regretted that it had not b e e n made m o r e c o m p l e t e b y b r i n g i n g o u t architects' and authors' names, and b y i n c l u d i n g critical articles as w e l l as buildings. T h e great lack in the periodical catalogues seen was this omission of articles o n history, criticism, and aesthetics; if these are

30

Catalogues and Cataloguing

not in periodicals covered by the various art indexes, they become irretrievably lost, no matter how significant or important. CLIPPING FILES

Somewhat related to periodical catalogues are clipping files. There was only one of any importance in the libraries studied; that was in the Royal Institute of British Architects. It is largely biographical, alphabetically under architects' or other proper names, is kept in a vertical file, and includes portraits, manuscript notes, typed bibliographic material, random engravings, as well as clippings from newspapers and periodicals. Despite its somewhat miscellaneous character, it contains a great deal of the most valuable research material. There is also a vertical file of bibliographies which have been made from time to time by the library staff or others; these, too, are complemented by random clippings, engravings, and similar material. T h e Courtauld Institute has no general clipping file, but its magnificent photograph collection also contains, in the same folders with the photographs, clipped material and engravings dealing with the same locality or building. Whether or not a clipping file is a desirable thing for the art and architectural library will depend largely on its use. For the library that is primarily for the general public, and for the library that is chiefly used by undergraduate students or practicing architects, such a file has usually little meaning or value. If, however, the library is or plans to be an important research center, the clipping file may be a most important adjunct.* It may very well be that the scholarly and interesting historical articles on nineteenth century—and earlier—architecture • Such a magnificent collection of newspaper and periodical material, thoroughly indexed, as that of the Detroit Historical Society is a veritable godsend to the historical research worker.

Catalogues and Cataloguing

31

that have come out of England during these last few years are at least partly, and perhaps largely, the result of the research wealth of the Royal Institute of British Architects Library, of which its clipping file is no small part.

IV Classification and Arrangement WHATEVER its origin, the present basic purpose of library classification is to have a definite and easily found position for every book. In those libraries, like the great libraries at Munich and Vienna, where few if any readers have access to the stacks, the exact method of classification is unimportant provided it gives an exact position for each item. In the open-shelf library, on the other hand, or the library in which much work is done in the stacks, the kind of classification is of vast importance, because it becomes necessary that books of a similar kind, dealing with similar subjects, be arranged close to one another, in order that the reader's time may not be wasted by forced wandering from one end of the library to the other. T H E PURPOSE OF CLASSIFICATION

Since classification determines book position, and this, in turn, is at least partly conditioned by the available space and its arrangement, it is not strange to find that libraries with inefficient plans often have cumbersome and complicated classifications, and that simple, well-arranged libraries usually have simple and efficient classification systems. Behind the classification difficulties of many European libraries lies the transition from the "Hall Library" to the "Stack Library." In the one case, books on different subjects were kept in different halls, each requiring its own attendants and staff; in the other, there is an approximation to the American system of concentrating book storage in library stacks.

Classification and Arrangement

33

T H E " N U M E R O CURRENS" S Y S T E M

In general, in the continental libraries studied, this transition has given rise to the adoption of the numéro currens system of classification, by accessions number only. This, in some variety, was found in the École des Beaux Arts, in the Bibliothèque Nationale, Paris, in the national libraries of Munich and Vienna, and, applied to drawings, in the Uffizi. T h e experience of Munich is typical. Originally a hall library, books were at first classified under 200 different headings representing as many kinds of knowledge, and arranged alphabetically within these headings. Some years ago, when the reading-room-andstack system was first introduced, the number of headings was reduced to seventeen, and the numéro currens system adopted within these classes. Five years ago, this became too confused, and the whole library was made a single entity under one system of numéro currens. Only two sections, a special library of fine old works on the arts and the manuscript section, were kept separate. Under the Munich system, a new series is begun each year, and special letters " Q " and "F" indicate larger quarto and folio volumes for which special shelving is necessary. Thus a typical number will be 1936-2567 for an ordinary octavo, or 1930-6532-F for a folio. In Vienna, the year differences are omitted; the result is that the numbers are immensely long. These are divided with wide spaces like automobile licenses or insurance policy numbers. T o make identification and shelving easier, a label, with a different color for each 10,000 books, is pasted on the back, so that a book badly mis-shelved is at once obvious. Where the transition is incomplete or the library space badly arranged, any such simple system becomes impossible. Exigencies of space demand all kinds of compromises and complexi-

34

Classification and A r r a n g e m e n t

ties, new series, and the like. T h u s at the École des Beaux Arts, although the basis is the numéro currens, the library is still basically a hall library, and this has made it necessary to adopt not one but many series, each designated by a separate number as the requirements of the available shelves demand. There is no real meaning in the different series; as the guardien almost proudly said, "Vous voyez, c'est tout mélangé." It is noteworthy that the two special rooms, the Salle Lesoufaché and the Salle Masson, are separately classified and catalogued; in these the classification is roughly by subject and date of publication, and, in the case of the Masson incunabula, by place and date. BAD BUILDINGS M A K E BAD CLASSIFICATIONS

T h e library of the Victoria and Albert Museum illustrates clearly how bad quarters make bad classification. Arranged in several large, high rooms, with galleries, both lower floor and gallery being so high that ladders are necessary to reach the books, an original topical classification has become smothered under the influx of books of varying sizes which could not be fitted into the Procrustean bed necessitated by the Victorian room. T h e condition was complicated by understaffing that made any thorough reshelving impossible. T h e result is a classification now purely by position—Section G, Shelf p, Book 11, and so forth. Again, as in the École des Beaux Arts, only the guardians and the staff can keep in mind the position of the various sections, and just where a new book will go is a question to which the answer is largely arbitrary. Both the École des Beaux Arts and the Victoria and Albert look like libraries designed to be used on an open-shelf basis, but in reality they are used like stack libraries; this conflict has vitiated the advantages of both systems and has only resulted in combining the worst features of each.

Classification and Arrangement ADVANTAGES O F T H E " N U M E R O C U R R E N S "

35

SYSTEM

AND DISADVANTAGES

There is much to be said for the numero currens system in a closed-stack library. It is simple, and logical. Its application is purely automatic. No classification decisions have to be made. It is most economical in space, as stacks are filled completely and continuously. It is easy to estimate stack requirements for the immediate future. Since all the stacks in use are filled solidly, the area per book is reduced, and there is less walking required than under any other system. Special shelves for large quartos and folios can be provided in the most logical places, without the waste frequently inherent in the attempt to keep together all books, big and little, dealing with the same subject. In the Bayerische Staatsbibliothek, Munich, all folios are in a special stack section especially designed for them. This system probably makes book finding by pages or guardians easier than any other. Where space in large libraries is limited, it is undoubtedly the most economical possible system.* Yet the numero currens system has marked disadvantages, as well. The library classed by subjects has, even in its stacks, many of the advantages of the open-shelf library, and the stack privilege to such a library is a valuable thing. Moreover, practically every large library has at least one open-shelf reference room, and here subject or type classification becomes necessary. The result is exceptions to the general rule, which are bad and which mean a separate reference-room catalogue. There are • Mr. Frank K. Walter, Librarian of the University of Minnesota, writes that the experience of the Staatsbibliothek in Berlin has been that the numero currens, or fixed classification system, increases rather than diminishes the amount of "useless walking" by staff members. T h e staff of the Munich library felt exactly the reverse. May not the difference lie in the architectural arrangements of stacks and reading rooms, and the choice of the stack sections to be filled first with the oldest books? If these are placed at the more distant ends of the stacks, the current books will lie nearer the distribution point.

36

Classification and A r r a n g e m e n t

other types of material which hardly fit into the numero currens system either, such as maps, topographic works, and so forth, in which classification and arrangement by country and place is most important. It is noteworthy that manuscript departments also are usually kept out of the regular numero current system. Nevertheless, for the large public stack library, when little or no special research is done, the numero currens system deserves careful consideration for its simple logic and its spare economy. CLASSIFICATION OF THE OPEN-SHELF LIBRARY

T h e open-shelf library is of course another problem. Here the whole usefulness of the library may depend upon the arrangement of its books and the grouping of related works together. Subject classification becomes a necessity. Several different systems were found in use, each, apparently, carefully studied for its own particular purpose. It was at once evident that space requirements and arrangements affected classification of open-shelf libraries as profoundly as they did that of stack libraries. T h e library of the Istituto di Archeologia e Storia dell'Arte, for instance, is in the Palazzo di Venezia and occupies a series of large, quite separate individual rooms on several floors. It also has a small stack room for duplicates and the less used works. Manifestly a classification which recognizes this architectural division is more logical than one which does not, although at first sight it may look overcomplicated. In the Istituto, for instance, there are three main halls devoted respectively to Archaeology, the History of Art, and Ancient Rome. There are also three other halls containing special collections which were given or bequeathed to the Istituto and which are kept together. T h e first classification is thus by letter signifying

Classification and Arrangement

37

in which of these six halls the book is located. A second letter follows defining general subjects (history, languages, epigraphy, architecture, painting, sculpture, and so forth). If the letter is a capital it indicates basic source material; if small, critiques and commentaries. Within this, the classification is by author, and each author's works are arranged not alphabetically but chronologically. In the stacks, where the books are arranged under the numero currens system, the book labels carry also a designation of case number, shelf number, and book number. In each special room, the books are classified in what seems the most logical way. Thus the Sala Lanciani, devoted to the development of Rome, is classed and shelved historically by periods, whereas a special, valuable collection of early travel books, kept in a separate room, is arranged and classed by country. T h e whole seems impossibly complicated as one system, and the book numbers in the catalogue seem confused and arbitrary; yet in practice the whole, considering its history and its quarters, is beautifully arranged and the books are easy to find. In a library housed in one large room, of course, such a system would be impossible; it results from the architectural arrangement and the fact that the library contains several individual libraries, each used for a different purpose. The Royal Institute of British Architects, the Courtauld Institute, the American Academy in Rome, and the Deutsches Archäologisches Institut are all, basically, libraries of the oneroom type, though all have some subdivision and use other rooms besides the central hall. All four systems are different. The Courtauld Institute, after careful investigation, chose the Library of Congress system, largely because it allowed ample interpolation where necessary and gave simple, legible numbers with sufficient differentiation of subjects. The American Academy in Rome and the Deutsches Archäologisches Institut each

38

Classification and Arrangement

has a special system developed for its own specific use. Both had to have systems that easily combined languages, history, and general culture with the specifically art subjects, and none of the commonly adopted systems seemed to do this in the desired way.* T H E BRUSSELS SYSTEM A T T H E R O Y A L INSTITUTE O F BRITISH ARCHITECTS

T h e Royal Institute of British Architects, seeking for the most perfect, scientific, detailed and logical classification, has adopted a much interpolated and expanded Brussels system, possibly in the effort to combine shelf list and subject catalogue in one. It is, of course, a tested and excellent system, capable of almost indefinite extension; but the greater the detail the longer the numbers become, until one begins to wonder just why such ponderous numbers and such precise definition is necessary. T h e average reader is usually interested in a whole, more or less wide, class of books; any system that brings them together will serve for him. Moreover, many architectural books are so general in scope that any such meticulous differentiation as is provided for in the Royal Institute of British Architects system is impossible. Precise classification to a certain degree is an advantage, but precise classification to the point of becoming almost a cipher or code system of expressing ideas, rather than a mere means of efficient book arrangement, tends to become a plaything in its own right rather than a library tool. Perhaps the complexity of the Royal Institute of British Architects subject catalogue and its need of much cross-referencing are a result of its complex classification. One simple element in the Royal Institute of British Architects classification which deserves commendation is its treat• An abstract of these two systems is given in an appendix.

Classification and Arrangement

39

ment of rare and early books. These are shelved in a special pair of alcoves opposite each other at the end of the room. All books in these alcoves have the prefix EW (early works) in front of their numbers, so that the catalogue user knows instantly that such books are specially shelved, and can find them directly, without any necessity for searching in any other place. Within the EW class, books are shelved according to the regular classification. This system has the added advantage that the titles of all the books in the EW section constitute a remarkable bibliography of architectural works published prior to 1800. The librarian stated, however, that 1800 was only a relative figure, that already many early nineteenth century works—especially the beautiful old aquatint English books—were classified under the EW classification, and that soon, he felt, the date of demarcation would be moved to 1850.* The special systems of the American Academy in Rome and the Deutsches Archäologisches Institut both seem to work well. The Deutsches Archäologisches Institut classification aims at broad general classes; that of the American Academy in Rome is more detailed and, in its general make-up, though a decimal system, has more resemblances to the Library of Congress than to the Dewey system. It produces an excellent and logical book arrangement, and for its specialized purpose it is hard to see how it could be improved. In both of these libraries, periodicals —which constitute such an important part of their respective • This brings up the fact that, as far as could be found out, no bibliography of architectural books arranged according to century of publication has ever been prepared. Incunabula, of course, have been quite thoroughly listed and catalogued, but it might be well worth while to have also a bibliography of architectural books published in the sixteenth, seventeenth, and possibly the eighteenth centuries arranged by country and date of publication and indexed by author and publisher. Such a bibliography would prove of great value not only to librarians but also to students of the history of architecture, for the books published in any one decade, say, are an admirable index of the period's culture, curiosities, and ideals.

40

Classification a n d A r r a n g e m e n t

fields—are

treated and shelved separately, and the large, bright

periodical room of the American Academy in R o m e is one of its chief virtues. But in both libraries periodical space is, or soon will be, insufficient; one almost fears for a cultural world smothered, a n d finally buried, under the terrific landslide of learned periodicals, with the scholars trying in vain to dig themselves out. CONCLUSIONS

T h e final gist of the book classification question as observed i n the libraries visited seems then to be: First, that in closedstack libraries the classification system is relatively unimportant, so long as it provides a definite position for each book, and is simple and more or less automatic in nature. Second, that badly

planned

libraries produce

bad

classification

systems.

T h i r d , that in open-shelf libraries the classification system is of almost paramount importance. Fourth, that the special needs of each individual library should determine either its choice of some of the accepted systems or its determination to create a new one. Fifth, that there seems to exist no one single system that will perfectly fit all needs of all libraries. A n d , sixth, that the classification should be simple in principle, should not give numbers that are too cumbersome, and should aim at simple, broad classifications and a certain

flexibility

rather than abso-

lutely precise and scientific accuracy. T h e system should remain a tool, and never become an end in itself. For art and architectural libraries, the Library of Congress system expanded and interpolated as necessary seems broadly satisfactory; for special archaeological libraries, the American A c a d e m y in R o m e classification would seem to be a more satisfactory type. Yet, in final analysis, the needs of any individual library should determine its choice of classification.

I l i : T H E L I B R A R Y OF THE A M E R I C A N ACADEMY IN

ROME

Classification and A r r a n g e m e n t

41

SLIDE, P H O T O G R A P H , A N D DRAWING CLASSIFICATION

In the three collections of slides which were investigated—at the Alpenbücherei, the American Academy in Rome, and the Deutsches Archäologisches Institut—the classification and filing were merely by accession number, and the slides were stored in drawers with numerical guide cards for every 50 or 100 slides. In the first and second of these collections, finding the slides was easily accomplished by means of the excellent subject catalogues already described. In the Deutsches Archäologisches Institut, the catalogue, existing only in manuscript, was merely elementary, alphabetical by location; but I was told that this slide collection was largely accidental, and that the Institut made no attempt to enlarge it or feature it. In the main, lecturers used their own slides only, chiefly purchased from the Alinari Company, which makes slides (both negative and positive) from any of its thousands of negatives for six lire apiece. For any slide collection of wide general use, the numero currens system seems the most logical, especially when supplemented by a thorough pictorial subject catalogue. It allows the slides to be kept in the smallest compass, it makes finding the right slide simple, and it permits slide negatives to be kept in an exactly corresponding order, so that the replacement of broken slides becomes almost automatically simple. Slide collections built around special, definitely designed lecture courses are, of course, another matter; and the duplicate slides arranged by lecture which the Alpenbücherei circulates suggest a simple solution. CLASSIFICATION OF PHOTOGRAPHS

Photograph classification is a matter of primary importance to an architectural library, or to one of similar scope. It is ob-

42

Classification and Arrangement

vious, as has already been stated, that catalogues of sucli collections are largely, if not entirely, futile; and, in the absence of a catalogue, intelligent arrangement (which means intelligent classification) must take its place. Systems in use divide themselves into three general classes—those which are primarily geographical, by place; those which are primarily by subject; and those which aim to combine both. T h e system used at the Alpenbücherei, like the small collection of the American Academy in Rome, is naturally primarily geographical; that at the Deutsches Archäologisches Institut (a magnificent collection, which the Director, Dr. Curtius, considered the very heart of the library) is primarily by subject; and the great collection of the Courtauld Institute—a collection of nearly 250,000 photographs—is both. T h e geographical system has the advantage of simplicity, of requiring no decisions in deciding on the position of individual pictures. If one knows exactly what examples one is looking for, it leads to the most rapid reference. But there are always, in art photographs, large areas of the field which it cannot cover, such as pictures of works of art in private collections, where the location may be temporary; and for the research student, who is looking for material that is new to him, the geographical system is cumbersome and difficult. In the American Academy in Rome, for instance, photographs of works of painting and sculpture are arranged by school or period, and within those classes alphabetically by artist. T h e two largest and most carefully classified photograph collections were those of the Courtauld Institute and the Deutsches Archäologisches Institut. In the former there is, first, a basic division by type—architecture, sculpture, painting, minor arts. Under each, there is, first, a subdivision by century (to avoid controversy as to style names and attributions), and within that,

Classification and Arrangement

43

under architecture and the minor arts, classification alphabetically by country and by place within the country. In the case of painting and sculpture, the subdivision under countries is alphabetical by artist. T h e remarkably complete collections of photographs of English art in the Courtauld Institute are treated similarly; the English section is subdivided alphabetically by place and artist, while under each place there is a further subdivision by centuries, and then under each century a still further subdivision by building type or detail type. T h e minor-arts section is also subdivided by type—stained glass, metal work, textiles, jewelry, and so forth—under the century divisions. THE COURTAULD PHOTOGRAPHS

T h e negatives are arranged by accession number, and are not classed; each photograph mount has the negative number lettered on it, and if the photograph is loaned or deposited—which is true of a good proportion of them—that fact, too, is noted on the mount, together with the lender's name. T h e Institute aims to make this superb collection of material as freely available to authors and students as possible. Its own photographs are not often copyrighted and may be freely used; naturally, in the case of loaned or deposited photographs the lender's permission is required. T h e collection as a whole has been built up, especially for English material, by dint of getting in touch with all photographers, professional and amateur, that the Institute hears of who make a specialty of photographing English buildings, towns, landscape, art objects, and antiquities. Some photographers give both negative and positive; some, positives only. As noted before, random engravings, manuscript notes, and clippings are often filed with the photographs, so that the material dealing with any special item is kept together.

Classification and A r r a n g e m e n t

44

T Y P E AND SUBJECT CLASSES A T T H E DEUTSCHES ARCHÄOLOGISCHES

INSTITUT

In the Deutsches Archäologisches Institut, the basic divisions of the classification are more detailed; the subdivisions, less. T h e basic classes are: Reliefs—R; Statues—S; Bronzes—B; Topography

(including excavations and

ancient

architectural

monuments)—T, subdivided by country and place; Portraits— P; Terra cottas and gold and silver w o r k — T K ; the Minor Arts and Arts and Crafts—K; Wall-paintings, ancient—M;

Wall-

paintings, early Christian—SF; Mosaics and Stuccos—Mo; Vases —V; Sarcophagus Reliefs—SR. T h e r e is no general rule of subdivision in the various classes; each is treated as a special problem; the subdivisions are sometimes geographic, sometimes by subject, sometimes by museum, and sometimes by artist. T h e whole sounds confused and chaotic, but there is some definite reason behind every difference, and in practice the system seems to work beautifully and to have a practical logic of its own. Each photograph has at least two numbers—its class number (which determines its position), and an inventory or accessions number; in addition, if the Institute owns the negative as it frequently does, I N S T . NEG.—1935-342 (a subdivision by year and number) is also lettered on the mount. T h e accessions number refers to a remarkably complete inventory volume, which forms a detailed inventory catalogue. Under each photograph space are columns for the following information: number; date; size; photographer; ownership (of the work of art); source (museum, gallery, etc.); remarks (notes of publication, etc.); slide number (if one exists); negative number (if the museum owns the negative). It must be remembered that this collection is a definitely specialized collection, strictly limited to classical and early Chris-

Classification and A r r a n g e m e n t

45

tian art. T h i s at once makes unnecessary such elaborate country and century divisions as are essential, for instance, in the Courtauld collection. It explains, too, its varied subject subdivisions; the whole forms a beautiful and lavish piece of research apparatus. Photograph collections of the size and wealth of those at the Courtauld and the Deutsches Archäologisches Institut demand constant work and care. T h e r e is endless detail work in the physical care of the items; mounting, replacing, and so forth. In addition there is continuous inventorying, and much correspondence is required to keep the collections up to date. A t Courtauld, there is a special photograph librarian-assistant and two half-time student-assistants; at the Deutsches Archäologisches Institut, two whole-time librarian assistants and a stenographer. DRAWING CLASSIFICATION

T h e r e seem but two basic logical methods of classifying drawings—one, basically by the artist; the other, basically by accessions number (numéro currens). Subject classification in detail would not only be difficult, but would often tend to vitiate the purposes for which such collections are usually consulted. T h u s it is significant that, at the Uffizi, the importance given to subject headings in the old printed catalogues is not reflected in the classification, except in the most general way, and is deplored by the present curators. Five great collections of architectural drawings, and some smaller ones, were studied. T h e five important collections are those of the Royal Institute of British Architects, the Soane Museum, the École des Beaux Arts, the Albertina, and the Uffizi; smaller collections of interest exist in the library of the Institut de France, the Bayerische Staatsbibliothek, Munich,

46

Classification and A r r a n g e m e n t

the Courtauld Institute, the Münchener Technische Hochschule, the Vatican Library, the Istituto di Archeologia e Storia dell'Arte, and the Deutsches Archäologisches Institut. In the first two of these smaller collections, all drawings are bound in volumes and catalogued and classified as parts of the manuscript collections. T h e Courtauld Institute collection is quite small and largely accidental; it is classified by artist only, and most of it is usually out on loan in exhibitions in various British museums; no effort is being made to develop it further. T h e drawings at the Münchener Technische Hochschule are larely still unclassified and uncatalogued (except the collection of several hundred drawings by Von Gaertner, which are boxed separately, arranged by building, and listed). T h i s library owns a superb collection of drawings by the great draftsman and archaeologist Von Thiersch, but they have not yet even been listed; it also has two rare, unpublished and unlisted, late Gothic drawings on vellum—one of a rich pinnacle, perhaps by Matthew Roritzer and related to Regensburg Cathedral, and one of a lavish and complicated South German early sixteenth century altar piece. Even the source and provenance of these drawings is unknown. Both are exquisite pieces of Gothic draftsmanship. T h e authorities of the school hoped soon to have sufficient personnel available to arrange and catalogue this collection, for the condition of which they were most apologetic. DRAWINGS A T THE V A T I C A N

In the Vatican Library, the collection is also still not completely classified and catalogued, except for those few drawings which form part of the various manuscript collections. Drawings and engravings are being considered together as one problem, and a large dictionary catalogue is under way, under the

Classification and A r r a n g e m e n t

47

supervision of Professor Lamberto Donati; the classification is basically by artist. T h e drawings in the Reale Istituto di Archaeologia e Storia dell'Arte are all part of the Lanciani collection, and are classified as component parts of it, indistinguishably from the books. T h e Deutsches Archäologisches Institut drawings are chiefly measured drawings of ancient buildings, plans, details, and maps of excavations, largely made to illustrate articles or dissertations, or as records of individual archaeological work. Much of this collection, however, has never been published. Although Dr. Curtius * and the rest of the staff recognized the value of this collection, it has never been thoroughly studied and is entirely unclassified; there is not a single person who really knows what the collection contains. DRAWINGS A T T H E SOANE M U S E U M

Of the five great collections, that of the Soane Museum—especially rich in English Renaissance and Baroque drawings, including magnificent examples by Wren and the Adam brothers, as well as by Piranesi, Soane, and Soane's pupils—is classified chiefly by size and draftsman. Much of the best of the collection is framed and exhibited publicly; the remainder is bound in folders, and kept in drawers. A hand-list of the drawings exists, and a manuscript catalogue, but careful preservation rather than study and reference seems the chief purpose. T h e museum is disastrously understaffed; all except the merest routine guardian work is in the hands of one man alone, Mr. Bolton, the scholar-curator, and in the circumstances this is probably the wisest course. One only wishes that adequate financial support existed to furnish a staff that could make this treasure more easily available to the student. • Since my visit to Rome, I have learned with sorrow of the resignation of Dr. Curtius from the directorship of the Deutsches Archäologisches Institut.

48

Classification and Arrangement

DRAWING C L A S S I F I C A T I O N A T T H E R O Y A L I N S T I T U T E O F BRITISH A R C H I T E C T S

T h e Royal Institute of British Architects collection is also classified largely by size and author; but the existence of certain collections kept and shelved separately complicates the matter. Thus the Burlington collection of Palladio drawings is kept as a separate entity in a safe in the librarian's office; so is the collection of drawings by John Thorpe, the famous English architect of the late sixteenth and early seventeenth centuries. T h e other drawings are in cabinets (to be described later) arranged according to three basic sizes. In each size the drawings are arranged chronologically by architects or artists, the oldest coming first. A hand-list of all the drawings exists, but they have no formal classification numbers; the catalogue references are simply to "Burlington Collection," or " T h o r p e Collection," or simply "Drawing Collection." Since reference to the drawings is supposed to be made only under the direct supervision of one of the staff, this free system works well in practice. In addition to the drawings kept with the "Drawing Collection" in the gallery, there are several portfolios kept in a store room; the separation of these drawings from the rest of the collection constitutes a difficulty in the system, but this separation is only temporary. Other, more recent, drawings of less value at the Royal Institute of British Architects are kept with miscellaneous engravings, classified by building and detail type. This arrangement is left over from an older regime, and the present staff is not satisfied with it. More study would be desirable, if only to weed out the valuable items and transfer them to the regular collection. But even at best such a differentiation (like taking books from their regular classification position in an open-shelf library and

Classification and A r r a n g e m e n t

49

putting them in a separate stack or storeroom because they are considered of less value) is necessarily, at bottom, a mere expression of personal taste. DRAWING CLASSIFICATION A T T H E É C O L E DES BEAUX ARTS

T h e drawing classification of the École des Beaux Arts is conditioned by the fact that the greater number of the drawings came to the library with the Lesoufaché collection and are housed in the Salle Lesoufaché; all accessions of this nature since the date of that gift have been brought together into one group with it, the only exceptions being a small number of drawings, especially of ornament, in the Masson gift in the Salle Masson. T h e classification is into three main divisions—Dessins de Maître, Dessins d'Ornemens, and Dessins d'Architecture. Within each of these there is subdivision by "school" or country (École française, École flamande, and so forth), and within these the classification is alphabetical by artist, designer, or architect. T h e classification numbers give the portfolio or box number, and the number of the plate within each box or portfolio. Each box or portfolio contains a manuscript list of its contents. There is also an official register of the drawings. DRAWING CLASSIFICATION A T T H E A L B E R T I N A

T h e classification of the Albertina collection is somewhat similar, though more detailed; it is probably the most satisfactory of all the systems observed. T h e Albertina is fortunate in having ample space for growth, which allows complete freedom in its arrangement. Its classification is, first, a separation of engravings and drawings, and then a division by school or country, by century, and by artist, successively. Architectural drawings are not specifically separated as such, although in practice

50

Classification and A r r a n g e m e n t

the arrangement in boxes usually brings groups of them together. There are also many hundred miscellaneous architectural drawings of the seventeenth and eighteenth centuries coming from South German and Austrian princely and ducal courts which have not yet been thoroughly studied. These are filed together under the proper century and country, but by place rather than by maker. It has not as yet been determined, I was told, whether or not these would be later regrouped under the makers. T o do so now would be in many cases impossible, for many of the drawings are unsigned. Each drawing has a class number which is purely one of position—Case 1, Section C, Portfolio 6, Drawing 7 would be a rough transcription of a typical number;—each also has a register or accessions number. T h e engravings are classified similarly. DRAWING CLASSIFICATION A T T H E UFFIZI

In the Uffizi, space for the drawings is much more limited; the result is the use of a numero currens system, but within certain definite classes—Figures, Landscape, Ornament, Architecture, and "Exhibition Drawings," of which the last class, formed many years ago, is closed. It consists of a group of characteristic masterpieces by important artists, specially mounted or specially framed; these form the group of drawings previously exhibited publicly in the exhibition gallery. T h i s class is now without meaning, but is kept intact because special storage cases exist which were designed especially for it, and because the ordinary art student who comes to the study rooms of the collection without definite wants can usually be satisfied with drawings solely from this section, and it saves time and trouble for the staff. T h e numero currens system occasionally, of course, leads to a separation of drawings by the same artist; this is manifestly

Classification and A r r a n g e m e n t

51

a disadvantage, but not as serious a one as would at first appear. Practically, collections of drawings by one man have normally come as a single purchase, gift, or transfer, so that they receive successive numbers and are shelved together. Moreover, at least in the architectural section, there are many sketch books and bound volumes of which each leaf receives a separate number, but these are also successive for each volume, so that no difficulty occurs here. Later accessions of occasional single drawings by artists or architects, collections of whose works are already in the library, must, of course, be shelved separately from the main collection in their proper numéro currens position. But the system does make for compactness; steps lost through going to several sections to get drawings of a single author are at least partly saved by the relative smallness of the entire storage area. CONCLUSIONS

Several lessons from these collections seem clear. T h e first is that the classification of drawings is a different problem from that of books. T h e second is that available space exerts a determining influence on the choice of method. A third is that classification by maker is more important than classification by subject, and that from the student's point of view simple major classifications by "type" (architecture, "dessins de maître," and so forth), and within each type by country and century, are desirable and helpful. If there is space enough, some combination of the methods of the École des Beaux Arts and the Albertina would give what seems an ideal result. A fourth lesson is that normally in any large collection each drawing should have a separate register number (which might either be made to correspond with its position number or else be a simple accessions number) and that the official register should contain spaces for notes on subject, attribution, and bibliography.

V Physical Equipment is NOT the place for an extended discussion of the merits of steel or wood shelving, or of special versus standard stacks and furniture; those are matters of general library policy. But there are certain special needs of architectural libraries that make their equipment a special case; it is these special needs and their satisfaction that need study. THIS

BOOK SHELVING

First of all, architectural books have an enormous variation in both width and height, from small duodecimos to the largest possible folios, and the proportion of oversized works is larger than in any usual library of another sort. T h e usual standard stack dimensions do not fit this material at all. T h e Courtauld Institute has a temporary installation of standard stacks, placed somewhat incongruously in exquisite Adam rooms, and the difficulties of shelving large books satisfactorily were noted by the librarian. Many of the largest books have been removed and shelved in special wooden cases in the librarian's office. With standard stack equipment, as with all bookcases of normal size, much space must be wasted by frequently using the total depth of both faces of a double case for large books, which seems wasteful and complicates arrangement. In a closed stack library the problem can be more frankly attacked; thus in the Bayerische Staatsbibliothek at Munich there is a special room or stack section devoted to nothing but folios, with equipment designed to receive them.

Physical E q u i p m e n t

53

In the open-shelf library, however, where a single classification must carry through books of all sizes, the problem is more difficult. Many of the older libraries, like the Oesterreichische National-Bibliothek in Vienna, the École des Beaux Arts, the Münchener Technische Hochschule, and the Victoria and Albert Museum, have specially deep sections below, and narrower shelves above; the École des Beaux Arts also has special folio cases ranged along one entire side, and topped with exhibition cases. As far as it goes, this is an admirable arrangement, though lacking in flexibility. SHELVING IN T H E R O Y A L INSTITUTE OF BRITISH ARCHITECTS

T h e Royal Institute of British Architects, after a careful study of the problem, adopted a compromise. It has beautifully detailed special steel shelving, its material chosen because steel allowed complete freedom in color and finish. Arranged on the above system, the double-faced cases are 2 feet, 6 inches deep, to take care of many of the oversized volumes. Solid backs separate the two faces—an admirable provision which prevents much misshelving and mislaying of small books. Where larger sizes are desired, the back is eliminated and the largest books are shelved from one side only, either vertically or horizontally. T h e back is in sections, so that the amount of space so used is flexible. Even here, however, there was complaint that the system was far from perfect. Perhaps a combination of this plan with a certain number of special oversized cases, either against the wall or under counters or exhibition cases, would give the best results. T h e general consensus of opinion seemed to be that there was never enough space for the large books, especially those which have to be shelved horizontally. Ideally, where roller or similar shelving is called for, each book should be on a separate

54

Physical E q u i p m e n t

shelf. T o have four or five books piled one on another horizontally on roller shelves, as all libraries sooner or later seem to have, not only makes the individual books difficult to handle, but necessitates much disastrous rubbing of the bindings. S H E L V I N G IN T H E V A T I C A N

In the Vatican Library Print and Drawing Department, it has been decided to have all the volumes, however large, stand vertical, and many enormous tomes now stand directly on the mosaic floor. Yet this seems an extreme measure, for, in dealing with such heavy books shelved vertically, both the problems of book ends and the difficulty of moving the weights of such large books, when several lean over against one another, seem almost unanswerable objections. Moreover, when large, heavy books are shelved vertically, the weight of their own pages tends to warp the covers and loosen or break the binding, unless the books are packed tightly together. For the largest architectural and art books the roller horizontal shelf appears to be the only good answer. And for the architectural library one might almost say there cannot be too many of them. Perfect as the library of the Royal Institute of British Architects is, in many other respects, it is here that a serious lack has already developed. T h i s is one section of library design to which ordinary library standards do not and cannot apply. T h i s problem of satisfactory shelving of large books is one to which as yet no perfect architectural solution has been reached, and it is herewith commended to architects for further study.* • If space is not at a premium—a condition all too rare in these ever more crowded days—a possible solution might be to have all cases, at least all wall cases, of a sufficient depth to receive all but the largest books, i.e., from 1 foot 8 inches to 2 feet 4 inches. Then the adjustable shelves could be made with adjustable back pieces, designed to give any required depth from the average 10 inches up. This would obviate the difficulty of shelving small books on deep shelves.

Physical E q u i p m e n t

55

T H E PROTECTION OF RARE BOOKS

Another problem especially pressing in open-shelf libraries is that of the adequate protection of rare and valuable items. These must ordinarily be kept behind locks, by having either some locked cases or some special locked and controlled room for their preservation. In neither case is it probable that the arrangement of these books can work in with the ordinary classed shelving of the rest of the library, and some special addition to the class number may be necessary. In the Royal Institute of British Architects, although many of its valuable books are on open shelves, they are all grouped together in two special alcoves and designated in the catalogue by an EW (early works) before the catalogue number. This makes them at once available and easily found in their special place. T h e most valuable volumes, however, are kept in the librarian's office, in two closet-size safes which are supposed to be both fire and burglar proof. In the École des Beaux Arts, the greater number of book rarities are part of either the Lesoufaché or Masson collections; these are each kept in separate locked rooms, and in each room all the books, boxes, and portfolios are in locked cases. T h e equipment of both of these rooms is lavish. All the case doors are bronze with bronze wire grating widely enough spaced to allow titles to be read; and, in addition, velvet curtains, sliding on rings above, normally hang over the face of each case, to keep out dust and yet allow sufficient ventilation for the books. When the books are desired, the curtains are pushed aside from the desired section and the individual book found before the doors are opened. Without doubt, the use of curtains leaves much to be desired, and they form a constant cleaning problem; yet the very dust which makes this difficulty would other-

56

Physical E q u i p m e n t

wise fall on the books themselves, and certainly the beautiful appearance of the books seems a sufficient reason for the protection. T H E DUST P R O B L E M

T h e dust problem in architectural libraries, and wherever valuable books are kept, is an enormous one; and, short of complete air conditioning (which is perhaps the perfect solution), some protection of beautiful books from dust seems desirable. Glazed doors of course keep out dust, but they keep out air also and so prevent the normal ventilation which the books require. In the National Library of Vienna, dust is the great unsolved problem of the manuscript department. T h e manuscripts are kept in special steel-doored rooms, but the dust sifts in somewhere in surprising amounts, and every valuable manuscript volume is wrapped in brown paper to keep it out. THE DANGER OF OVERDRY AIR

Both American and European architectural libraries suffer from dust, but there is one American atmospheric curse from which the European are largely free—overdry air, the result of the usual convected steam heating. T h i s dryness is ruinous to books, particularly old books; it dries out paste, it eventually wrecks leather bindings. None of the European libraries studied had had much difficulty in this respect, and none used any kind of oil or cream to preserve the leather. A l l used leather extensively in new bindings; in the American Academy in Rome, for instance, all periodicals are bound in half white vellum, lettered in black, and this results in a handsome, lavish-looking periodical room. T h e Royal Institute of British Architects uses three-quarter leather and old paper for needed rebindings of old books, or full leather for the smaller ones. T h e effect is

Physical E q u i p m e n t

57

beautiful and the appearance fitting. Moreover, almost all the libraries use labels of contrasting colors with new cloth bindings, and seem to have none of those troubles with adhesives which make the use of labels so questionable in American libraries. O n e wonders if our dry air is entirely to blame, or whether the European binderies have adhesives that are more permanent or the labels are more carefully applied. Chemical and physical tests should be available to settle this question. In general, the moderate temperatures and primitive heating systems of many of the libraries seem, so far as the books are concerned, a blessing. It will be interesting to find out what effect the advanced heating and ventilating of the new Royal Institute of British Architects building will have upon its books. In our American climate, with a terrific spread between maxim u m and m i n i m u m temperatures and extreme and sudden differences in humidity, the library heating problem is difficult. Certainly the usual method of steam or hot water heat applied through direct convection is extremely destructive to books. Complete air conditioning and the resultant controlled humidity, though relatively expensive, would be a tremendous advantage; it is possible also that panel heating with its direct radiation from walls or ceiling might be an even better answer. GENERAL P L A N L A Y O U T : T H E " H A L L T Y P E " T h e general plan layout of the European architectural libraries varies broadly. Differing types of alcove arrangement are found in the Royal Institute of British Architects, the American Academy in Rome, and the Deutsches Archäologisches Institut. T h e

others are variations of the old traditional

hall

library, with or without balconies, and in one or several rooms —except the Courtauld Institute, where the present temporary installation approximates the reading room plus stack. T h e hall

58

Physical E q u i p m e n t

library has certain advantages in the compact massing of the books in long unbroken cases along the walls, which allows perfect

flexibility

in shelving; but it is extravagant in space. As a

result, in such rooms books are usually shelved from floor to ceiling, and in most cases this means that many cannot

be

reached without sliding ladders or high steps. From the purely aesthetic point of view, this walling of a room with books may be movingly beautiful, as, for instance, in the great room of Fischer von Ehrlach's H o f b i b l i o t h e k in Vienna—probably the most beautiful library room in the world. B u t from the practical point of view this arrangement is bad, especially for study and research libraries, where, ideally, every book title should be easily legible from the floor and every volume within reach. T h e library of the R . Istituto di Archeologia e Storia dell'Arte in R o m e is an admirable compromise between the old hall library and the alcove type. Housed in a succession of nearly square rooms, each about 20 feet square, with windows on one wall only, the scale of each unit is modest, the atmosphere quiet; each room seems almost an enlarged alcove. Moreover, the bookcases are kept low—generally not over 8 feet, o inches to the cornice, so that books can be reached—and a frieze is left above for framed pictures and the like. T h e difficulty is, of course, one of supervision, for each room must have its own attendant. Nevertheless, the system works extremely well in this institution, especially because the library is, in the main, a group of smaller libraries devoted to special subjects. THE ALCOVE T Y P E LIBRARY T h e American Academy in R o m e and the Deutsches Archäologisches Institut are both, at least in part, alcove libraries; but in both the arrangement is varied and the effect rather inform«!. T h e lateral cases that separate the alcoves are irregu-

The Council Room projects above the main roof level, allowing high clerestory lights to the north and south to be provided; there are no windows on the street front. The Periodicals Room is a gallery overlooking the main Library.

FO U BTH FLOOD

No gg

|

iOCTLkND PL.

•

The Library is planned for the open-access system, the card catalogue being placed at the i

V:

LIBRARY

PLANS

principal entrance. The offices of the R.I.B.A. Journal are on the north side

OF

BRITISH

THE

ROYAL

ARCHITECTS

INSTITUTE

OF

Physical E q u i p m e n t

59

larly spaced, and the alcoves themselves vary in size and shape; the effect is that of a hall library, with additional cases added to increase shelf space, rather than that of the regular alcove system. T h e periodical room of the American Academy in Rome is, in fact, a true hall library with a balcony; but additional stacks, widely spaced, fill one end of it—the other end is free for tables. For its purpose, this arrangement is logical and seems efficient. T h e Royal Institute of British Architects has the only thoroughly developed alcove library among the group studied, and both the beauty of its appearance and the excellence of its arrangement make it worthy of more careful examination. T h e entrance is near the end of one of the long sides. Directly in front of the visitor, and on the axis of the room, is the chief attendant's desk; behind it, the end wall is occupied by the catalogue cases, which are only about 3 feet, 6 inches high. Directly opposite the entrance, beyond the attendant's desk, a lobby opens off the library; from this one enters both the stack area and the circulation department, as well as the stairs leading up to the balcony. T h e alcove spacing is determined by the steel framework of the building. As one looks down the room from the attendant's desk, he sees, above the bookcases, the range of high windows on the left, which flood the room with light; on the right the periodical balcony stretches behind the piers, lighted by windows in its rear wall. Beneath the periodical balcony is a stock room. At either end, the high portion of the end walls is set back about twelve feet, so that end balconies are formed; these contain the drawing and engraving collections. T h e whole is simple, dignified, and lovely in proportion, with the continuous rhythm of the steel column spacing carried through frankly and beautifully. T h e cases separating the alcoves are low—only

60

Physical Equipment

about 6 feet, o inches high—so that the effect is definitely that of one long airy room, and there is always the sense of easy supervision. The inward ends of the bookcase ranges themselves are semicircular in plan; this semi-cylindrical space is used to house heating and ventilating units and flood lights which light the ceiling and form the main artificial illumination of the room. Of metal, like the bookcases themselves, these ends are finished with a beautiful, slightly cloudy blue-green; the borders to the bookcases are aluminum, and the shelves a subtle yellow, while the floor is black. T h e whole effect is indescribably restful, studious, and at the same time personal and alive, and the view down over it from the periodical balcony is most charming. The librarian's suite—office and secretary's room—opens off the balcony close to the stairs. The office itself is a large corner room, with beautiful wood finish and ample counter and table work space. On either side of the entrance door are the two fireproof safe closets, mentioned before, where are kept the chief treasures—the incunabula, the collection of drawings by John Thorpe, the manuscripts, and the Burlington collection of Palladio drawings. The cataloguer's room is at the other end of the periodical balcony. The whole arrangement is compact and practical, as well as beautiful. The desk attendant is at a focal point, and his command of the room and its entrance is perfect. T h e separation of the periodical room, with its stacks, work tables, catalogue, and librarian, is also excellent. My only serious question in the arrangement is the position of the cataloguer's workroom, and the difficulty of expansion—a difficulty faced by all open-shelf libraries. There is, however, one major inconvenience—the too close spacing of the alcoves. This occurred, I understand, from the enforced shortening of the building and the consequent re-

Physical E q u i p m e n t

61

duction of column spacing from what was originally planned, because of the need of reducing building costs. Practically, this economy was won at a high price. T h e alcoves are only slightly over 12 feet, o inches center to center; this allows alcove tables only 3 feet, o inches wide. Architectural books are many of them very large, and this table width means that in practice only one side of each table is usable. There is a wider table down the center of the room which can be used, but it is not convenient to the books. Actually, for any architectural or art library, tables to be used from both sides should be 4 feet to 5 feet wide, and alcove spacings, to allow the convenient shelving of large books, not less than 16 feet. Big books mean big dimensions. T h e freer alcoves of the American Academy in Rome give greater flexibility. In conclusion, it seems to me evident that, for an open-shelf library, the alcove system has advantages that far outweigh its difficulties. Its combination of intimate and public character, of semiprivacy with ease of supervision, is a combination ideally suited to the architectural library. But in a library of this character the alcoves must be ample in width; and for ease of supervision—or rather for giving the sense of supervision—the cases separating the alcoves should not be too high, nor the alcoves themselves too deep. LANTERN-SLIDE STORAGE

Lantern-slide storage offers few problems, and slide boxes and cabinets have come to be fairly well standardized. T h e storage of lantern-slide negatives is, however, a more difficult matter. Some are glass, some are film; all are larger than the slides themselves. In all the cases observed the negatives were kept in separate envelopes, stored vertically in wooden boxs large enough to receive them. T h e only unusual feature seen was in

62

Physical E q u i p m e n t

the Courtauld Institute, where the back of each envelope is much longer than the front and projects up, forming a flexible tab on which the negative number and title are lettered. T h i s makes finding the right negative a relatively easy task; one can run one's thumb over the flexible, springy tabs and hit upon the right number with great rapidity, and then use the tab as a handle to remove the envelope from the box. T h i s is a great improvement over the ordinary method, and might well be followed elsewhere. PHOTOGRAPH

STORAGE

Photographs constitute another equipment problem. T h e method, common in America, of mounting photographs on stiff boards and keeping them in high, narrow pigeonholes is little used abroad; the nearest approach to it was the collection of photographs of contemporary architecture in the Royal Institute of British Architects. T h i s growing collection is chiefly of large photographs mounted on heavy cards with grommeted holes in the corners for hanging. T h e y are arranged by building type and are stored vertically in large bins. T h e i r chief use is for traveling architectual exhibits, but they are also much used for illustration purposes.* Elsewhere, the photographs were universally stored in boxes. Mounts are as thin as possible and cut to uniform sizes, and the general practice was about thirty to fifty prints in a box. T h e boxes were of heavy board, cloth covered, with ample overlap at the opening side and the ends, with cloth hinges, and, in some cases, with hinged fronts as well. Such boxes were in use at the Courtauld Institute, the Victoria and Albert Museum, the Alpenbücherei, and the Deutsches Archäologisches Institut. In * T h i s collection is a separate entity, not under the R o y a l Institute of British Architects Library, but handled directly by other Institute secretaries.

AXIOMETB.IC PLAN

I - MAIN ll&ilARY. t-PWIODICAlt AOOM. IN GAllEHY. 3-CW.ua». CATALOGUES AND ISSUING DESK. BELOW. 4-LIMUkBIMK K.OOM. 5-LI58ARIANS SECRETARY 6-TltE DQWIHCS GALLER.Y bOOK. REPAIRS AND STUDY ROOtA 6ttOW. 7-CATALOGUEM OOOIA . ¿-ENTRANCE..

VI: A X I O M E T R I C V I E W O F T H E LIBRARY O F T H E ROYAL I N S T I T U T E O F BRITISH ARCHITECTS

Physical Equipment

63

the last three libraries mentioned, they were shelved vertically, like books, with the backs plainly lettered; in the Courtauld Institute, they were placed horizontally on shelves close together, one to a shelf. T h e general box size in all except the Courtauld is about 10 by 14 inches; in the Courtauld, about 12 by 18 inches. Mounting is usually at the four corners of each print only, and done under heavy pressure, and there was no complaint of curling.* This system has many advantages over the pigeonhole type of arrangement: each box contains a list of its contents, so that misplacing is less common; the thin mounts make a light and compact collection; and it is more flexible, since it is easier to add boxes than to add pigeonholes. On the other hand, if photographs are much handled, the thick mount has some value. DRAWING STORAGE

T h e problems connected with the equipment necessary for storing and exhibiting drawings are complex and difficult, and their adequate solution entails considerable expense. For storing, dust-proof cabinets are a prime necessity. In general these fall into three main types. The simplest type is the drawer cabinet, with wide flat drawers large enough to take the drawings. This type is used in the Soane Museum and in part in the Miinchener Technische Hochschule. It keeps the drawings flat, and it is the least expensive kind of cabinet. But drawers are almost never actually dust proof, and, in practice, additional protection should be provided by covering the drawings, by putting them in portfolios, or by binding them (as at the Soane) with heavy paper • This method of mounting is conditioned upon having prints on sufficiently heavy stock. It is not suitable for the old-fashioned thin architectural photographs of a few decades ago, which require solid mounting.

64

Physical Equipment

protective covers. The first two methods are cumbersome; the third makes the comparison of related drawings difficult, and complicates the problem of making photographs, should this be necessary. Moreover, it is difficult to get large drawings out of a drawer without damaging the edges; and, if the drawings are not in portfolios or bound, rubbing of the surface is unavoidable. DRAWINGS K E P T IN BOXES, SHELVED VERTICALLY

The second type of storage for drawings consists in keeping them in stiff boxes and then shelving these vertically like books. The boxes used resemble in pattern those already described as used for photographs; but naturally, because of the large size of the contents, they must be amply strong. This system is used in the Lesoufaché collection at the École des Beaux Arts and for the Von Gaertner collection at the Miinchener Technische Hochschule; in the former, the shelves are behind bronze grille doors, in the latter in locked wooden cabinets. The advantages consist in the compactness of the arrangement, the small amount of shelving necessary, and the ease with which the box backs can be lettered and the boxes arranged. But there are serious disadvantages. Unless all the drawings are matted or are mounted on stiff mounts, and unless the boxes are completely filled, there is a tendency for drawings to slip down and to curl and crease at the bottom, and much rubbing of the surface may occur. If the drawings are packed sufficiently tight to obviate this movement, the boxes become inordinately heavy. This was notably the case with the boxes of the Von Gaertner collection, where some must have weighed over thirty pounds. Weight is a less important matter at the École des Beaux Arts, where strong guardiens are available to do the lifting.

Physical

Equipment

65

DRAWINGS K E P T IN BOXES, SHELVED H O R I Z O N T A L L Y T h e third basic type of storage is in cabinets with many wide shelves—sometimes sliding, sometimes with rollers—on

which

the drawings are kept horizontally, with or without boxes or portfolios. T h i s is the system used in the Uffizi, the Albertina, and the Royal Institute of British Architects. In all of these the cabinets were comparatively low; 3 feet, 3 inches, the height of the Royal Institute of British Architects cases, seemed ideal. T h e tops of all are covered with linoleum or some similar surface to form a pleasant working area. T h e Uffizi cases are the oldest. T h e y are of heavy sheet steel with applied steel panel molds, and are painted green.

The

steel shelves slide, and are spaced about six inches apart. T h e doors open to exactly 90 degrees, and on their inner surfaces are runners spaced to support the shelves when they slide out. T h e drawings are arranged about twenty or thirty to a shelf, with separating sheets of cardboard for each ten classification numbers. T h e s e sheets project beyond the drawings sufficiently to allow easily read numbers to be lettered on them. T h e drawings are all matted, and there are n o boxes or portfolios. A b o v e each pair of doors is a ticket holder and ticket giving the range of numbers in the cabinet below. In practice, when a certain drawing is asked for, the guard opens the right cabinet, pulls out the necessary shelf, and lifts u p on the cabinet top the ten drawings with their cardboard separators which include

the

one sought. T h e s e are left on the cabinet until the drawing is returned. Naturally, the public has no access to this storage room. T h e system is simple and compact, but it entails leaving many unwanted drawings out on the table top and exposed to dust for a considerable period of time. T h e Uffizi also has a special cabinet for its special class of

66

Physical E q u i p m e n t

"Exhibition Drawings." These are mounted with thick mats, and heavy celluloid covers the faces of the drawings. Being the most used items, they are kept in the study room. T h e cabinet is built particularly for them, arranged by school and artist. In this one case, due to the special arrangement of this part of the collection (which is now a closed class), the drawings are on edge, in pigeonholes. In material and color, this cabinet resembles the others already described. Since this cabinet is situated in the study room itself, the labor of moving its contents from cabinet to tables and back again is reduced to a minimum. DRAWING CASES IN T H E ALBERTINA

T h e Albertina cases are of oak, but basically similar in design-idea to those of the Uffizi, with the same door-andrunner system for the sliding shelves.* Each large case has three different door and shelf widths, and has cabinets on both sides, so that the total table size of the top is nearly 7 feet, o inches by 12 feet, o inches. T h e cases are placed in rows down the center of a suite of great reception rooms in the old Albertina Palace. Smaller cases are at the sides, where convenient, and the total effect is truly magnificent. T h e great difference between the Uffizi and the Albertina lies in the fact that all the Albertina drawings are kept in boxes, one to each shelf. T h i s system does not require the matting of every drawing, as that of the Uffizi does, and it provides also an additional dust protection, particularly while the boxes are out of the cabinets. • T h i s arrangement is common in central Europe; it is used in the map room of the Bayerische Staatsbibliothek at Munich and also in the topographic department of the Oesterreichische National-Bibliolhek at Vienna. It is simple, strong, and efficient, but demands the very best heavy door construction and hardware.

Gabiiietto

Folngraftco,

Firenze

V I i : UFFIZI GALLERY, D E P A R T M E N T O F PRINTS AND DRAWINGS (a) Storage Room. (I)) Study Room

Physical E q u i p m e n t

67

DRAWING CASES IN T H E R O Y A L INSTITUTE OF BRITISH ARCHITECTS

T h e Royal Institute of British Architects cabinets are of steel, 3 feet, 3 inches high, with linoleum working tops; they

T Y P I C A L SLIDING SHELF DETAIL AS USED IN THE A L B E R T I N A AND ELSEWHERE *

are one-faced only, and form the railing of the balcony, extending along its entire length. T w o cases of somewhat similar pattern, but about 7 feet, o inches high and 3 feet, o inches wide, stand against the walls; they are used for architects' letters, account books, scrapbooks, and small sketch drawings. T h e long, • From Handbuch

der

Arckitektur.

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Physical Equipment

low cases are divided, like those of the Albertina, into units of three widths, to take three different-sized boxes. T h e doors of all the cases are of steel interlocking slats, arranged like a rolltop desk, and slide down and under the case when opened.* These sliding doors have one great advantage—they take up no floor space when open, and allow one to stand or sit directly in front of the open cabinet and work easily on the cabinet top. With pairs of swinging doors like those of the Uffizi and the Albertina, this is naturally impossible, and it makes the table surfaces above any opened cabinet virtually useless. T h e steel doors of the widest cabinets at the Royal Institute of British Architects were decidedly heavy and difficult to raise and close; that seemed the only disadvantage of the system. Perhaps doors rising to open, and sliding back just under the top, might be more easy to handle, for they could be balanced by some kind of spring balance (like the Pullman sash balance) to make operation easier. Since vertical sliding doors are used to save space, the shelves are made stationary for the same reason. The Royal Institute of British Architects shelves are simple, flat metal shelves; one reaches in and slides the desired box out. Roller shelves would make the process simpler to handle and easier on the covering of the boxes. D R A W I N G B O X SIZES

T h e boxes at the Royal Institute of British Architects are made in three sizes: 241^ by i8i/£ inches, called Royal; solA by 2o1/£ inches, called Imperial; 43 by 30i/£ inches, called Atlas. These are designed to hold the standard sizes used in old drawing papers. T h e boxes are of stock about 14 inch thick, with • Similar vertical sliding doors, in wood, were used in some of the cases in special rooms of the Bayerische Staatsbibliothek, Munich.

VIII: DRAWING CASES AND BOXES AT T H E I N S T I T U T E O F BRITISH

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inner cardboard surfaces that project upward to give a rebated joint at the closing surfaces so as to make them dust proof. W h e n the cover is opened it lies flat on the table to form a second box, and the back lets down to make removal of the drawings easy. Hooks hold the covers closed. In practice, the box is usually opened flat, and the drawings are slid from the

S O L A N D E R BOX AS USED IN T H E R O Y A L

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O F BRITISH A R C H I T E C T S

box itself into the cover, one by one; then the process is reversed and the drawings are returned to their places; this keeps the order regular. It is all simple and easy; the only difficulty lies in the weight of the largest boxes. These, however, are usually kept only partly filled, to prevent their becoming too heavy for practical lifting. T h e boxes are covered in heavy gray cloth, with a contrasting brown cloth at the back and on the hinges; the boxes for the most valuable drawings have the backs in brown leather. These boxes at the Royal Institute of British Architects were the best-made and the best-looking of all those studied, and seemed to give promise of almost indefinite longevity.

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T H E M O U N T I N G OF DRAWINGS

T h e treatment of the individual drawings varies. All drawings should be so arranged that the backs of the paper can be seen and the watermarks and other paper characteristics studied by transmitted light. T h i s makes solid mounting undesirable unless it is absolutely necessary for the preservation of the drawing. Small drawings, especially small pencil or color sketches, should be matted, but the mats should be hinged, and the mounting of the drawing to the back piece hinged also. If drawings so mounted are loaned for exhibition, a sheet of celluloid can be placed under the outer mat, over the drawing, then the mount fastened shut with clips or adhesive tape; if investigation of the paper is necessary later, it is comparatively simple then to cut the tape or remove the clips. All of the Bibiena drawings in the Royal Institute of British Architects were matted in this way, and the mats cut to sizes that fitted easily into the standard size boxes. Quite large drawings can be mounted in this way, and it makes a collection that is as satisfactory in appearance as in utility. In the case of the largest drawings, however, this is impractical. T h e Royal Institute of British Architects has framed permanently many of its largest renderings; so has the Soane Museum. Many of the large drawings in the Uffizi also are framed. Large working drawings and details are usually kept unmounted, and, if necessary, folded to fit the largest size boxes. Here, despite the desirability of having all drawings observable by transmitted light, solid mounting is frequently necessary; these large drawings are often on cheap paper that dries brittle or powdery, and the only way to preserve them at all is by solid mounting. For this purpose, fine linen is much the best medium.

Physical Equipment

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DRAWING DISPLAY E Q U I P M E N T

T h e exhibiting of architectural drawings demands its own special type of equipment. Protection behind glass is usually absolutely necessary, if only to keep dust from the surface and to prevent rubbing. Framing is often the best answer. At the École des Beaux Arts, for instance, all the drawings in their annual drawing exhibitions are framed. Mounts, as far as possible, are of standard sizes, and the institution is fortunate in owning hundreds of frames stored away which may be used. All the exhibited Soane drawings are framed, as are many of the Thiersch drawings on the walls of the Miinchener Technische Hochschule and some of those in the "Unbuilt Munich" exhibition in the City Museum of Munich. Yet framing is not only impractical for many types of drawings, but is a real aesthetic detriment in the case of many of the mounted, smaller, delicate drawings. Both for these and for the ordinary large working drawings which form so great a portion of any architectural drawing collection, glass-covered cases of some kind are necessary. A good arrangement is that at the Albertina, where the exhibition rooms have a combination set of low wall cabinets, with glass-covered inclined tops, and above them wall cases with the narrowest practicable frames, the broadest practicable sweeps of unbroken glass, and a pleasant, neutral-colored background. The exhibition room of the drawing section of the Uffizi was similarly arranged, with the addition of central cases with inclined tops. Much of the impressiveness of the "Unbuilt Munich" show came from its beautiful arrangement and installation. Here again a combination of inclined and vertical cases was used. T h e vertical cases were large, and seemed almost like great glass-fronted boxes, and there was at least a two-inch clearance

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between the glass and the back, so that large framed pictures could be hung as well as those unmounted or simply in mats. For architectural exhibits, the great danger of the ordinary glazed wall exhibition cases lies in their too limited sizes and too heavy divisions. Wall-pivoted display elements were not evident. T h e Soane Museum, however, had a most interesting arrangement to take their place. In several of the smaller rooms, an entire side of the room would be a single great hinged display, and could be swung out at 90 degrees against the adjoining wall. T h e n the wall behind that—another great double-sided display, hinged on the other side from the first—could be swung out in its turn, revealing a fifth surface—the real wall—on which pictures were hung. Thus the available wall surface, at least on one side of the room, was multiplied by five. T h e large size of the swinging surfaces made the most rugged structure necessary; each was about six inches thick, and there was sufficient clearance to receive heavily framed pictures on all the five surfaces. Naturally the hardware was tremendously heavy, but so well designed that the actual swinging was a simple matter. Other, smaller wall surfaces were sometimes treated in the same way. In no other manner, it seems, could the extraordinary wealth of the Soane Museum be made available to public inspection within the cramped area of the house, with equal dignity. CONCLUSIONS

From all of this, certain conclusions may be drawn. First, the storage of architectural drawings is a special problem, involving special equipment. Second, drawings are best kept in boxes, like those in the Royal Institute of British Architects or the Albertina; portfolios are now considered out-of-date, clumsy,

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and impermanent—the only ones seen in use in any of the libraries visited were in the Masson room at the École des Beaux Arts, and it is the hope of the librarian to replace these with boxes at the earliest opportunity. Third, boxes are best stored horizontally, not vertically. Fourth, one box to a shelf should be the rule. Fifth, the best cases should be about 3 feet, 3 inches high and have vertical sliding doors and roller shelves. Sixth, for exhibition, a combination of inclined-top wall cabinets with vertical wall cases behind and above them works well, provided the detail is sufficiently delicate and the unbroken glass areas are sufficiently large not to interfere with the effect of large drawings. This seems the best arrangement unless special and unusual conditions, like those at the Soane, force special arrangements. With equipment of these types, the development of a collection of architectural drawings would become a delight. Architectural drawings are important indices to architectural culture, and so to human artistic culture. They are the architect's means of diagramming and expressing his conceptions; in a sense they are the flowering of the ideas whose seeds are in the books of the architectural library. As such, they deserve the best housing and the best facilities for exhibition; given these, they may add much to the art-culture of those who see and study them, and so widen and deepen the influence of the architectural library.

VI The Function and Place in Culture of the Large Architectural Library SOME CONSIDERATIONS with regard to the various types of readers who make use of architectural libraries have already been given. It remains to see how these varying uses may best be served, and what place in the general world of culture these libraries hold. LIBRARIES F O R ADVANCED RESEARCH

One thing is obvious. No general statement of use and no one general system of organization or method is applicable to all libraries of this class. A system which is designed primarily for advanced research is not the best system for a library which is used by the general public. It would almost seem as though the most efficient library is that in which the whole method has been most carefully specialized for its specific use. T h i s is the case especially in the American Academy in Rome and the Deutsches Archäologisches Institut. Both have a quality of welcoming freedom, of informality which results from, as it is designed for, their use by advanced students. T h e reader has the feeling of being in a "home" of books, in which he is free to browse or study. T h e staff keeps itself entirely in the background; in the American Academy in Rome there is no obvious librarian's desk with its formal array of records and card trays. T h e careful and beautiful classification allows the reader, after the most brief study, to find his own books, his own periodical

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articles. In the Deutsches Archäologisches Institut, though perhaps the room is not as attractive architecturally, or the classification as crystal-clear, the same atmosphere prevails. Both are book and knowledge treasuries to which the reader has the complete open

sesame.

T h i s does not mean that the reader cannot find advice or help if he wants it. In both these libraries, the staff, though chiefly in a separate room or rooms, aims to keep itself constantly available for consultation. In the long run, scholarly assistance is even more necessary in the advanced library than in any other; but in these two libraries it must be sought for, informally and by conversation—it is never forced on

the

reader. Each student is responsible for his own curiosities, his own research methods. T h e result in both of these archaeological libraries is an atmosphere of quiet, scholarly charm, neither dry-as-dust nor mechanically impersonal. In administration, the Ovidian ars celare artem has been most pleasantly observed. LIBRARIES FOR UNDERGRADUATE STUDENTS

Such informality w o u l d be manifestly unfitted for the undergraduate or elementary student. In the Münchener Technische Hochschule, for instance, where a somewhat similar informality has been forced upon the library by lack of staff, there was unanimous complaint that the students made only the most cursory use of the library, and that the present condition was hopeless. T h e r e an unsystematic classification—the result of continuous lack of staff and rapid but unsystematic growth (largely by the gift of professors' libraries)—adds to the difficulty of use. O n the other hand, the library of the École des Beaux Arts is admirably catalogued for professional students, and the librarian's desk is convenient and accessible. T h e guardien

chef

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is himself as much an assistant librarian as a guardien, and he is legendary as guide, counselor, and friend of the students. T h e elaborate system of book slips—"bulletins"—required is, to American eyes, cumbersome, and it may well be that an openshelf system would be more useful. Yet, given the current French tradition of fear of the open-shelf system and the timehonored boisterousness of the École des Beaux Arts students, the library is excellently organized for student use. One only regrets its unconscious cultural nationalism, and the fact that so few of the foreign architectural periodicals—none from this country at present—are kept on its shelves. Yet the École des Beaux Arts, because of the drawings in the Lesoufaché and the drawings and incunabula in the Masson collections, is much more than a students' library. Here, perhaps, is its greatest failing, for the needs of the advanced student or research worker who wishes to use this magnificent material—which is housed in a princely way—are completely subordinated to the needs of the elementary students of the general library. T h e books and drawings of these collections are kept in separate halls, and the size of the staff does not permit permanent separate attendants. All books are in the author catalogue, to be sure, but lack of staff has made both supervision and cataloguing of this immense wealth of material skimped and incomplete. In practice, the usual advanced student is sent into these rooms with a guardien, who remains present as long as the room is in use, and who gets out and puts back the material, which is all behind locks. Unless the student comes with very definite wants, his work is arduous and difficult, for he can neither browse at will nor enjoy the aid of a good catalogue or scholarly advice and aid, unless, by chance, the librarian or assistant librarian happens to have the time free from other duties.

Herbert Felton,

London

IX: INTERIOR O F T H E LIBRARY O F T H E ROYAL O F BRITISH

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T H E BROADER T H E PATRONAGE T H E HARDER T H E PROBLEMS

Manifestly, the broader the use of a library, the more complex are its problems of organization and administration. Each new class of readers brings its own problems. Nevertheless, the necessity of designing the entire library system around its users, c o m p l e x as their needs may be, remains paramount. Wealth of material is a challenge to making it serviceable; breadth of use implies, at least, the possibility of cultural leadership. A n d the quality of the service and leadership are going to be dependent partly on the library organization and method. T H E L I B R A R Y AND T H E READER A T T H E R O Y A L INSTITUTE OF BRITISH ARCHITECTS

It is the peculiar virtue of the Royal Institute of British Architects Library that it so thoroughly realizes this problem, and has so carefully developed its system to make it serviceable to all its readers. T h e needs of the architectural student—especially the student for Royal Institute examinations,—of the research worker, of the practicing architect, and of the interested lay public have all been studied and considered. For the first, there is a special students' lending library of some 7,000 volumes, whose circulation is as free as possible. As many as seven or eight copies of popular textbooks are available. For the research worker there are special quiet recesses, stack desks, and the " E W " alcoves where he can surround himself with material, and where most of the books he may want are within easy reach; there is also the quiet end gallery where he may examine the drawings at his leisure. For the practicing architect, or the student of contemporary trends, there is the periodical gallery, with its own special librarian and catalogues, and

7

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with an extraordinary wealth of contemporary architectural periodicals from all over the world. A n d for the layman there is not only this material, but excellent, pleasant, informal reference assistance. Moreover, the atmosphere, helped by the loveliness of the room, is kept as personal and as unmechanized as possible. Smoking is freely permitted everywhere, and unobtrusive ash trays are on every table. In its entirely different way, something of the same welcoming, personal spirit prevails in the beautiful Empire halls of the Albertina. F O R M A L I T Y VERSUS I N F O R M A L I T Y

T h e whole question of formality versus informality, of system versus personality, is perhaps rooted in a larger, more difficult matter—the problem of unlimited versus limited use. It is, doubtless, the stubborn fact that the wider and freer the use of a library is, the more its administration must be guided by strict rules and limitations. T h e more limited the users are, the freer, more informal may be the organization and functioning of the library. N o one could expect, in large public libraries like the British Museum, the Bibliothèque Nationale in Paris, or the great libraries of Munich and Vienna, the same almost careless spirit which make the charm of such libraries for advanced students as the American Academy in Rome and the Deutsches Archäologisches Institut.* • Nevertheless, the freedom of the British Museum with its priceless treasures is proverbial. Once your reader's ticket is obtained, the doors are all opened. I do not know how well the applications for readers' tickets are checked; at least in my case it all seemed routine and summary enough. But perhaps the mere fact of making an application is considered a sufficient guarantee of seriousness and good "book manners." In any case, I know that I was impressed with the freedom. At the main reading-room desk I expressed a wish to see the earliest and most important of Vitruvius manuscripts. T h e desk attendant directed me to the manuscript room, and told me to tell the librarian there that he had sent me. Now I did not have a special manuscript room permit, which I should have had. Nevertheless, I did as I was told, filed my slip for Harleian manuscript No. 2767, and in less than ten minutes it was placed on the table be-

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T H E O P E N - S H E L F SYSTEM AND READER RESPONSIBILITY

In this matter of controlled use, the specialized architectural library has marked advantages. Even if it is open to the public, like the Royal Institute of British Architects, its own limited field is a selective agent in making its public. Generally speaking, people go there because they are interested in architecture and the allied arts, and not merely to kill time or keep warm. Still speaking generally—for there are, alas, many exceptions— an interested public is a careful public; and, when the field of interest is something like architecture, a still further selective process has tended to weed out the greater number of book abusers. The architectural library can usually well afford to aim for slightly more, rather than slightly less, freedom than it thinks it can safely allow. Another fact, noted at the Royal Institute of British Architects, and confirmed by the experience of the Avery Library, is that the public (at least the part of it which uses these libraries) welcomes, appreciates, and lives up to any trust in it which the library may express. In such freely used open-shelf libraries as these two, the proportion of book losses is less, not greater, than that in the average library strictly rule-bound. In these open-shelf libraries, one at least removes from the reader the temptation of trying to see what he can "get away with," and the readers become, not sheep to drive through a complicated routine—at which some of them feel the need to rebel—but fellow-workers, colleagues, friends. In nine cases out of ten, library rules are less a protection to the library contents than a mere method of saving—at besttime, and—at worst—imagination and thought. fore me as simply—and apparently in as routine a way—as though it had been a recent five-dollar book. And it is the Vitruvius manuscript, the earliest and most complete, beautifully written between nine hundred and a thousand years ago!

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T H E ARCHITECTURAL LIBRARY AND T H E WIDER WORLD OF CULTURE

But the large architectural library has not fulfilled all its responsibilities by taking care of its readers. T h e possession of valuable material is itself a challenge to wider use and wider influence; for these libraries can and should play an important role in the whole world of art and architecture. In a sense, the intellectual leadership of this world is founded upon them; vicariously, at least, their usefulness extends far beyond the small circle of their readers. How may this influence be made most creative, most active, most solid? How best may the individual library play its role in the great drama of changing artistic culture? T h e answers to these questions break down into two major classes. T h e first concerns the relation of libraries to each other; the second concerns the relations of the library to the outside world. In general, opportunities for the large architectural library to work with other libraries may be summated in one w o r d exchange, the sharing of special knowledge and special experience. It is one of the pleasures (or should be) of working in a field like this, that rivalry between institutions should be a rivalry of emulation, not of competition. Ideally, the field of this branch of culture, like that of all culture, is one, without national, regional, or institutional boundaries. Competition has no place in such a field; it is part of the professional ideal that mutual cooperation and assistance is an integral part of the library function. Exchanges may be of many types of material. Accessions lists, exhibition catalogues, bibliographies, and published catalogues suggest themselves as obvious material for exchange. T o be

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sure, much of this information may be useless to some of the libraries with which this material is exchanged; but, on the other hand, some of it may be of inestimable value. T h e Royal Institute of British Architects deplored its lack of early American architectural books, of any bibliography listing them, and even of any good bibliography dealing with American architecture as a whole. It would welcome many useless bibliographies if among them one should prove to be to this purpose. T h e École des Beaux Arts expressed a similar eagerness for exchange material. E X C H A N G E SYSTEMS A N D M I C R O P H O T O G R A P H Y

But the exchange of such material is only the beginning. Even more important is the question of exchange of photograph or photostat reproductions of manuscripts or drawings or engravings. With the development of microphotography, this type of exchange becomes relatively inexpensive, and could be enormously useful. Each library may have—probably does have—items which it cannot lend or exchange, and which are either unique (like all manuscripts) or so rare as to be obtainable with difficulty; and each library undoubtedly frequently wants copies of material of this type in other institutions. Microfilm reproductions make the satisfaction of this want easy—provided that each library has the available facilities, and that the proper machinery for handling such transactions exists. It would seem, then, that every large library should either have this equipment itself, or else maintain close connections with professional photographers who have it. This equipment should include photostat, photograph, and microfilm photograph apparatus at least; if the collection is rich in manuscripts, X-ray and infra-red equipment might well be added.* • T h e Bayerische Staatsbibliothek in Munich was the only library among those

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The problem of exchanging reproductions when made is even more difficult than the problem of equipment. Miss Rhoda Welsford, the librarian of the Courtauld Institute, has been trying for three years to develop some kind of exchange system for microfilms of manuscripts, of which the Courtauld Institute has several thousand, including photographs of important manuscripts in Oxford, Cambridge, and elsewhere in England, as well as of many in London. So far she has had little success. Library rivalries, foreign-exchange variations, the question of whether exchanges should be on a film-for-film or on a money cost basis, and lack of personnel and equipment in some of the libraries approached—all these have interfered. A society was founded in Paris some time ago to urge and aid some such system of reproduction of manuscripts and the exchange of these reproductions, but after a brief existence it died. The difficulties are enormous. No one library has the time or the staff to attack them satisfactorily. What, then, is needed to make this new, permanent, cheap type of reproduction, the microfilm, as useful as it might be? Every librarian who was questioned on the subject expressed a desire to have some exchange system for this material; but each expressed as well the complete inability of the staff of his own library to take on any more work than was regularly necessary, and his doubt as to how the difficulties listed above could be overcome. visited which had the entire list of equipment suggested. T h e Oesterreichische National-Bibliothek in Vienna and the Uffizi in Florence both have all except the infra-red, and expect to obtain this before long. In general, French libraries depend entirely on outside photographers. A peculiarity of the Uffizi is that much of its drawing collection has been photographed by Broggi, and those who seek copies are referred to this photograph collection first. Broggi holds the copyright on his photographs. T h e Courtauld Institute has photostat, photograph, and micro-film; the Royal Institute of British Architects uses the British Museum and South Kensington Museum photograph and photostat facilities, which are quite complete.

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SOME CENTRAL ORGANIZATION FOR MICROFILM EXCHANGE DESIRABLE

What seems necessary is some large central organization, with one or more branches in Europe and one in this country, to which requests for exchanges could be sent, and from there routed to the most likely source. In this way a sort of pool of the varying needs of the libraries would be formed, and exchanges through this pool would be simple and easy. Furthermore, such an organization could establish general rules, which, because they were general, would be more easily accepted than the sometimes arbitrary decisions of each individual library. Exchanges should be, it seems to me, on a strictly film-for-film basis; to try to work a system based on the money cost of films would produce only confusion and injustice. Such an organization, moreover, could act as adviser to the participating libraries in suggesting what should be photographed; its pooling of requests would see to that. In time, it might organize its own photographic section to reproduce material outside of the participating libraries and beyond their sphere of influence, and it could arrange to sell or exchange these photographs of its own as it saw fit. Thus eventually an extraordinary amount of material of enormous value dealing with manuscripts (and perhaps also with drawings) would be made widely available at a fraction of the present cost. Much of it would be, it seems, material available in no other way. LIBRARY SERVICE TO WIDER FIELDS: PUBLICATIONS A N D EXHIBITIONS

The second great factor in connection with the place of the architectural library in general culture, that is, the relation of

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the library to the interested layman, can be summed up under two heads—publications and exhibitions. Both exhibitions and publications serve a double purpose: they bring the interested public to the library, and they widen the library's sphere of influence. T o be useful, a library must be known to those it can serve. If publications bearing its name, and conceived in and expressive of its spirit, are widely distributed, their readers will come to know the libraries themselves and their contents and their purposes. Readers of the library's publications will become readers of the library; interest in the library will grow; and not only will its function be better served, but also increased interest may bring increased support. Library publications may take numerous forms. T h e value of published catalogues has already been discussed. Thus, many who go to the Royal Institute of British Architects Library in London or to the Deutsches Archäologisches Institut in Rome know of them through their catalogues; and the magnificent catalogues of drawings in the Albertina and the Uffizi inevitably attract to them all serious students of the graphic arts who can possibly visit Vienna and Florence. Moreover, not only do such things increase the number of readers, but they also serve an important function for those who have not visited and cannot visit the libraries themselves. Book lists and bibliographies are also valuable forms of library publication. Usually no other institutions are in the position to do the enormous amount of routine research behind such lists, and to other librarians, research workers, and book collectors they may be of inestimable value. T h e Courtauld Institute's annual bibliography of the year's art books is an excellent example of the kind of valuable bibliography such a specialized library can produce. Scholarly subject bibliogra-

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phies are also often of sufficient value to warrant wide distribution; and, in some special cases, even accessions lists may deserve publication.* Architectural and art libraries might well undertake the publication of collections of papers or articles the research for which was done at the library making the publication; these could be issued quarterly, semi-annually, annually, or merely once in a while as available material and financial support dictated. The Papers of the American Academy in Rome and the Papers of the Metropolitan Museum in New York suggest themselves as models. The Ricker Library translations of great architectural classics,f some of which were published periodically in architectural periodicals years ago, might well have been issued in such a library publication. The problem of publishing research, historical, or critical articles on architecture is a particularly pressing one at this time, and there is any amount of valuable and interesting work being done which is often lost, or buried in masters' essays. Could not the architectural libraries furnish an outlet? Historical societies do a little, • T h e library accessions lists published periodically in the Journal of the Royal Institute of British Architects are examples; they are widely used as check, lists by many other libraries, and they keep constantly before the British architects the fact that their library is no mere vague ideal, but a living, growing, up-to-date entity. T h e whole close connection of the library with the Journal of the Royal Institute of British Architects is exceptionally valuable. T h e librarian is also the editor of the Journal, and this not only keeps the library almost automatically alive and abreast of current architectural thought and problems but also serves to give the Journal a spirit remarkably scholarly, idealistic, and broad. This close relation of research center and publishing outlet has had a marked influence in setting the intellectual tone of the architectural profession in England, and accounts, at least in some measure, for the apparent vivid interest taken by British architects in such matters as the history of English architecture; I can think of no parallel to this in any other country. •f Dr. N. C. Ricker, who was for a long time professor of architecture in the University of Illinois, and for whom the Ricker Library is named, made many translations of important French and German architectural books. These translations, made for the use of architectural students, exist in manuscript form in the Ricker Library; a very few were published in architectural magazines.

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but the specialized scholarship centered in the libraries could do much more. Of course, the problem of support for such undertakings is difficult. Few if any such publications could be self-supporting, especially if they were illustrated as they ought to be. Even the publishers of the Courtauld Institute Annual Bibliography require a subsidy or guarantee. Yet this problem should not be insoluble. The actual cash required would not be great, while the need is certainly great. Moreover, the publication of any work gives the library the opportunity of getting large amounts of valuable material in exchange—an advantage not to be minimized. EXHIBITIONS

The effect of exhibitions is more debatable. Manifestly, the usefulness of an exhibition is largely local, except when important catalogues of it are printed and widely distributed. T o make a good exhibition is a difficult task, and attendance is sometimes disappointing. Yet a well designed exhibit which exposes material the ordinary visitor or reader would not otherwise see, and does it in such a way as to arouse as well as satisfy curiosity by making unexpected relationships vivid, is a creative work of art itself, and, though its audience may be limited, its effect on that audience may be profound and exciting. It may open up whole new vistas of cultural landscapes; it may cast sudden new lights on the problems of current art. Moreover, interesting exhibitions not only create within a library an atmosphere of vivid life (as the example of the New York Public Library, in a much broader field, shows), but they also serve as vitalizing agents for the library staff itself. Bare routine is the curse of the librarian, and the temptation to it is ever present. Exhibitions may be a sovereign remedy.

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T o act in this way, of course, the exhibitions should not themselves be routine. In general, two classes of exhibitions can be treated most creatively—those which illustrate or allude to some topic of current interest like anniversaries, or subjects in the popular m i n d such as housing—and those w h i c h reveal riches in the library not usually seen and which can be most fully appreciated only by means of the exhibition technique. O f the library exhibits studied in Europe in the summer of 1937, the Descartes exhibit at the Bibliothèque Nationale was an excellent example of the first class, though not, of course, architectural; the summer exhibition at the Albertina, of selected masterpieces from the collection; and the Uffizi exhibition of drawings and prints by Jacques Callot were beautifully chosen and extremely well presented examples of the latter. EXHIBITS OF A R C H I T E C T U R A L DRAWINGS

T h e last two were especially interesting because of the large proportion of original drawings. A n d it is here, it seems to me, that the library w i t h architectural drawings has a great opportunity, not only to arouse interest in its collections, but also to widen and deepen popular architectural interest and knowledge. ( T h e same w o u l d be true of such general libraries and historical societies as own such material.) In general, institutions have been rather afraid of architectural exhibits of this type because they felt that the appeal would be to only a limited public. T h u s the École des Beaux Arts has so far only had exhibits (which have been popular and widely attended) from its collection of "dessins de maître"—painters' drawings—and there were few architectural drawings shown in the Albertina exhibit. T h e Bibliothèque Nationale in Paris, however, showed its Villard de Honnecourt sketch book in its great manuscript show—a

magnificent

selection

of

masterpieces—but

had

it

88

F u n c t i o n a n d Place in C u l t u r e

opened to pages where the interest was only indirectly architectural. Of purely architectural exhibitions, the permanent exhibit at the Soane Museum is noteworthy. It has the special interest of being devoted to the work of one period and, in general, one architectural point of view—the free, creative classic revival of which Soane was the chief prophet. This period and point of view is illustrated intensively and extensively. Drawings by Piranesi and by Gandy, of Italian antiquities, set the background; early designs by Soane as a student give the beginnings; and later designs and sketches of much executed work, especially of the Bank of England, by Soane and his draftsmen and followers, present the culmination. All drawings are framed and under glass, and an ingenious arrangement of hinged wall panels swinging one over the other makes u p somewhat for the lack of space. But the Soane Museum's architectural drawing collection is extraordinarily rich in drawings that are never exhibited, notably in beautiful works by the Adam brothers. One wishes that the available facilities would permit exhibitions of this other material which could be changed from time to time. T h e r e seems to be something in the atmosphere of a permanent exhibition which is almost inherently a little deadening, a little soporific, and, when the collection is as rich as that of the Soane, a little frustrating to normal curiosity. T h e most remarkable architectural exhibit seen * was that in the city museum in Munich, called "Das ungebaute Miinchen." It consisted of two rooms filled with magnificent drawings which not only gave a remarkable picture of a city that might have been, and of the changing character of the • Unfortunately the exhibition in honor of Robert de Cotte in Paris was not open during ray visit there.

Function and Place in Culture

8g

dreams for city architecture that its architects and rulers had had, but also presented a fascinating panorama of the history of architectural development, taste, and skill, and of architectural drawing itself, for a period of over two hundred years, from the seventeenth to the nineteenth centuries, from the imported Italianesque Renaissance to the eclecticisms of Von Gaertner and, later, of Von Thiersch. T h e material was collected from widely different sources—provincial and municipal archives, the Munich museums, the Bayerische Staatsbibliothek, and a great deal from the rich though as yet little studied Architektur Sammlung of the Technische Hochschule. LENDING EXHIBIT MATERIAL

The architectural library rich in original drawings may not only hold exhibitions itself, but may often aid other institutions by the loan of material. Thus the Royal Institute of British Architects not only sponsors the exhibitions of its own material held occasionally in its large exhibition hall, but also lends its drawings frequently for exhibits in museums in London and elsewhere in England, where real desire for or interest in special items is indicated. It does not, however, make a policy of sending traveling exhibitions of its drawings, since the work entailed and the risk involved would counterbalance any possible advantage. Architectural drawings are often fragile, easily damaged, and too large for convenient matting or framing; and any question of their loan for exhibitions must be answered with almost primary reference to this unfortunate fact. Yet, when practical, such loans are, or should be, of as much value to the lending library, by increasing its prestige and widening the sphere of its influence, as they are to the exhibiting museum. The example of the Royal Institute of British Architects in this respect might be much more widely

90

Function and Place in C u l t u r e

followed. Museums have become accustomed to such loans, and cooperation between them is general, but too often library collections are considered a kind of special private property; rivalry in possessions is still too keen. In library exhibitions of architectural material, complete, definite, and explanatory labeling, as well as the most careful arrangement, are especially necessary. Such exhibitions, at their best, are much more than mere picture shows; the public is notoriously illiterate in architecture, and often needs to have even the simplest relationships pointed out. Since one of the chief purposes of such exhibitions is the attack on this architectural illiteracy, explicit exposition in the form of descriptive labels is an obvious necessity. Here again the Munich exhibition referred to above stands out for the completeness and simplicity of its labeling. T o o often the European exhibitions have merely the briefest artist and title labels; beyond this the observer is left entirely to his own resources. Related to the question of labeling is that of catalogues for such exhibitions. Frequently in Europe the lack of labeling is compensated for by carefully prepared published catalogues. T h u s the École des Beaux Arts prints beautiful catalogues of its periodical drawing shows; these are sold, admission to the exhibitions is charged, and the exhibitions usually yield a slight profit. T h i s system seems to be contrary to usual American custom, so that in this country adequate labeling becomes especially important. Yet the good annotated exhibition catalogue, like the good printed library catalogue, has a value of its own which should not be minimized. T H E LIBRARY AND T H E MUSEUM

In general, few of the libraries visited, with the exceptions noted, made a practice of holding exhibitions; that was left to

F u n c t i o n and Place in C u l t u r e

91

the museums. Yet many librarians expressed their approval of the idea, and recognized its value. Even the Miinchener Technische Hochschule, temporarily unorganized as it is today, tries to make its drawing collection available by exhibiting samples of it in the library rooms, which are lined with framed and mounted architectural drawings from its collection. In this whole exhibition question, the functions of library and museum tend to coalesce, and the museum today is less and less a mere warehouse for the preservation of art works and a collection of hoarded objects, and more and more a reservoir of knowledge which uses its objects for wider educational purposes. In this it is similar to the library. T H E L I B R A R Y AND G E N E R A L CULTURE

T h e architectural library, then, must play an increasing role in today's world of art. Its own wealth is its own responsibility. It can become a power for progress or for reaction. By the free exchange of its material, by its publications, and by its exhibitions, it can, like the Royal Institute of British Architects, assert a true leadership in sound research and at the same time be alert to the problems of today. It can help to create an atmosphere, alike among architects and laymen, in which architecture will flourish as a living and growing art. More than any other institution, it can use the architecture of the past to illumine the perplexities of the present, and the problems of today to interpret the architecture of yesterday; and, more than any other institution, it has the opportunity of making these contributions living influences in the culture of today.

Name of library

ALBERTINA

AMERICAN ACADEMY IN R O M E

COURTAULD INSTITUTE

DEUTCHES ARCHÄOLOGI S C H E S INST.

ECOLE DES INSTI1 BEAUX ARTS DE FfW

NO.OF SENIOR S T A F F

3

4

3

2

APPROX.NO.OF VOLS.

30 000

12 000

60 0 0 0

70 000

CLASSIFICATION b o o k s - elafe

c. 1915

c.1933 c. 1 9 0 0 modified library special of c o n a r e s s

slides

special num. currens

photographs

geographic

kind

drawinas

fype & geographic

arad. arowth numero currens

fype & subjeef

fype, school, artist l i k e m

fype, school, arfisf

CATALOGUES type prinfed photographs drawinas

dictionary no no aufh.&subi.Unc.) no in Darf

PERIODICALS analysed cliDDed

yes ves

aufh. & subj. no reaister no

aufh. & subj. yes reaisfer

aufh. & subi.aufh.& no yestn no no

no no

no no

art. on sfruc. no

•

• • •

aufh. onlvtinc.lin ms

USE archifecfs professional students scholars lavmen

• •

•

PUBLICATIONS

cafaloaues

DapersCbv inst.) biblioaraDhies

oaoers Cbv inst.)

no

EXHIBITIONS

ves

no

no

no

ves

alcove sfacks wood steel

sfacks sfeel

hall type&alcove hall hyDe wood wood

BOOK SHELVING fype maferials OTHER fype material

EQUIPMENT

drawing cases, display wood

•

•

•

hall f wooc

Masson&Lesou fache rooms wood& bronz

INSTITUT DE FRANCE

100 000

h

ROYAL INSTI- UFFIZI TUTE OF BRITISH ARCHITECTS

VICTORIA AND ALBERT MUSEUM

none

5

9

4 000

45 000

160 000

grad growth

none

c 1930 modified Brussels

NST. D'ARCHEO- MÜNCHENER LOGIA E STO- TECHNISCHE RIA DELL'ARTE HOCHSCHULE

c. 1932 special

special type & geograohic

like mss.

auth & subj. yeslmss.) no :.)i n mss. cat.

like mss.

not yet classified

si ze & maker

type & num. currens

aufh. & subi. no no in aenl. cai-.

auth. only no no incomplete

aufh. & subi. ves

in Dart

no no

no no

ves ves

in oart no

• • • •

• •

• • • •

no

catalogue accessions lists

catalogues

notes, catalogues

no

bv loan

yes, also bv loan

ves

ves

small halls wood

hall fype wood

alcove steel

• monographs.

hall Fype wood

ou

z

•

aufh. & subì. ves reaisfer

aufh. onlv Cine.) subi. & aufh.

stacks steel

drawing drawing cases, display drawina cases cases, display sfèel wood steel wood

hall type wood

1 1

Appendix I A B S T R A C T OF T H E CLASSIFICATIONS OF T H R E E A R C H A E O L O G I C A L LIBRARIES

T H E A M E R I C A N A C A D E M Y IN R O M E

was the joint creation of A. W. Van Buren for the classic fields, and S. B. Lothrop for the medieval and modem periods. THIS CLASSIFICATION

000-099 100-111 100-199 200-299 300-399 400-499 500-519 520-559 560-599 600-699

700-709 710-799 800-807 808.1 808.9 809-816 820-828 820

General Reference Works Classical Dictionaries, Collections of Classical Literature, etc. Classical Literature Classical History Religion, Philosophy, Church History, and Early Christian Art Ancient Topography, generally divided under Egypt, Near East, Asia Minor, Greece and Rome Classical Archaeology Classical Art, divided under Architecture, Sculpture, and Painting Classical Minor Arts Medieval and Modern Literature 680-689 English Literature 690-699 History of Literature Medieval and Modern History, General and by Periods Medieval and Modern History, Europe and America Fine Arts, General Fine Arts, by Country and Locality Fine Arts: Collections, Exhibitions, History Architecture Architecture, General History

Classification Systems

94 820.05 820.1820.9 821 822 823 824 825 826 827

828 829 830-849 850-859 860-899 900-999

Architecture, Exhibitions Architecture, by Countries; a second decimal further by cities

divides

Early Christian Architecture Medieval Architecture Gothic Architecture Renaissance Architecture Oriental and Arabic Architecture Modern Architecture Architectural Monuments, including all monographs on special buildings; this class is divided by a first decimal for country and a second decimal for place Architectural Design Landscape Architecture Sculpture Painting, Drawing, and Engraving T h e M i n o r Arts Miscellaneous Classes, generally of books but little used; e.g.: 913, Metaphysics; 915, Logic; 925, Education; 940949, Natural Sciences; etc.

T h e typical book number has the class number at the top; below this, the first three letters of the author's name, or of the building; below this, the number of the book by that author. A t times two or even three sets of letters are used. T h u s : 827.28 Flo Vec Sin is the exact classing of Sinibaldi, Giulia: Il Palazzo Vecchio di Firenze, R o m a , 1934. (No. 39 of the Itinerari dei Musei e Monumenti d'Italia.) A n index to the library classification was printed in R o m e in 1915-

Classification Systems

95

B T H E DEUTSCHES ARCHÄOLOGISCHES

I N S T I T U T IN

ROME

A B C D G H I "1 J j K L La Lb Le

General Works Philosophy and Religion Greek Literature Roman Literature Classic History and Classic Life Archaeology: Greek, including Topographical Works Excavations of Special Buildings and Cities, by Place Alphabetically Archaeology of the City of Rome Archaeology of the Roman Provinces—Italy —Western and Central Europe —France —Africa Etc. M Roman History N Greek and Roman Religion O General Art History P Museum Reports, Catalogues, and Guides, by Place Q Architecture Qb Painting R Sculpture S Pottery and Vases T T h e Minor Arts, Industrial Art U Epigraphy and Inscriptions V Numismatics W Modern Art X Z

Festschriften and similar works Periodicals

A small "a" subscript to any class letter signifies that the work deals with the Early Christian field. Thus: Aa General Works on the Early Christian Period la 1 Early Christian Archaeological Excavations, by Place, AlphaJa \ betically

Classification Systems

96 Ka Qa Va

Early Christian Archaeology of Rome Early Christian Architecture Early Christian Epigraphy Etc.

W i t h i n each broad class books are arranged by author alphabetically, except where arrangement by locality has been indicated. c T H E L I B R A R Y OF T H E R. ISTITUTO DI ARCHEOLOGIA E STORIA D E L L ' A R T E

Section I A

B b C D E F G H h I i

J Section K k Section L M N n

Dizionari, Enciclopedie, Repertori, Manuali per l'arte, la storia, la letteratura e la vita antica, Mitologia e Storia delle religioni antiche Arte antica (pittura, scultura, architettura, ecc.) Monografie, Raccolte celebrative e commemorative Storia antica e antichità Topografia, Scavi, Città antiche, Missioni archeologiche Epigrafìa Numismatica Preistoria, Etruscologia, Arte italica Scrittori greci Traduttori dei greci Scrittori latini Traduttori dei latini Filologia classica II Antichità cristiane Letteratura religiosa III: Arte medioevale e moderna Dizionari, Repertorii vari per l'arte medioevale e moderna Fonti per la storia dell'arte Monumenti (monografie) Viaggi (n I '600, n II '700, n III '800, n IV '900)

Classification Systems O o oo P Q R S s T U V W

97

Musei e Gallerie (Cataloghi) Cataloghi di esposizioni, congressi, esposizioni personali Cataloghi di vendite Storia dell'arte Arti minori. Arti popolare Collezioni (Monografìe formanti) Monografìe su artisti (fuori collezione) Estetica e Varietà Monografie di città Guide di città Araldica Arte contemporanea

Section IV: Consultazione generale X Bibliografìa, Fonti storiche. Dizionari, Consultazione generale, Cataloghi librari A B C D E F G H I K L M N O Y Z

Dizionari, Consultazione, Almanacchi, Bibliografìa Illustrazioni di libri, Cataloghi di Mss., Miniature Dizionari generali Storia, Geografìa Annuari, Citazioni Bibliografìe particolari, Biografìe Arte del libro, Paleografìa, Diplomatica Grammatiche e Letterature Bibliofilia, Biblioteconomia, Archivistica, Biblioteche particolari Dizionari storici e biografici Consultazione artistica, Terminologia artistica Fonti per la storia, Enciclopedie Rimari, Dizionari dialettali, Repertori di voci (es. Laterculi) Cataloghi librari Geografìa Cataloghi fotografici, tecnici, ecc.

Classification Systems

98

Section V: Sala Roma (Sala Lanciarli) I Bibliografìa, Fonti, Storia II Guide, Itinerari, Viaggi III Roma antica IV Roma medioevale e moderna V Catacombe, Chiese VI Musei, Gallerie, Esposizioni VII Piante topografiche VIII Campagna romana IX Varietà X Rari XI Topografia romana Section VI: Libri rari e Mss.; Piccoli formati Section A B C D E F G H I K

VII: SMT-(Musica) Consultazione, Dizionari, Enciclopedie Testi di musica Canto gregoriano Verdiana Storia, Critica e Tecnica musicale Monografie, Biografie, Autobiografie, Epistolari Wagneriana Varietà teatrali Miscellanea musicale Strumenti

Section Vili:

ST-(Teatro)

Appendix II SUBJECT C A T A L O G U E HEADINGS OF T H E L I B R A R Y OF T H E É C O L E DES B E A U X A R T S arranged in strictly alphabetical order. They are listed below as they appear in the boxes; each box from front to back, and the boxes from left to right. T h i s is the natural order of consultation. T h e guide cards are of two heights; the main divisions, distinguished below by capitals, project at least s/4 inch more than the minor subject head guide cards. T h i s arrangement is eminently practical, and makes consultation extremely simple.

THESE ARE N O T

BIBLIOGRAPHY ESTHETICS ART HISTORY

Classic Archaeology Epigraphy Mythology Celtic and Gallo-Roman Archaeology Germanic Archaeology Early Christian Art Medieval Art Renaissance Art Modern Art, from the 17th century to our own time MOHAMMEDAN ART ART OF THE FAR EAST DICTIONARIES OF A R T AND ARTISTS ARTISTS' BIOGRAPHIES ARTISTS' LETTERS AMATEURS, COLLECTORS, ANTIQUARIANS DRAWING

Drawing Technique Drawing Reproductions

îoo

Subject Headings of École des Beaux Arts

ARCHITECTURE: GENERAL

Programmes of the Concours of the Ecole des Beaux Arts, classed by subjects, alphabetically ARCHITECTURE: TREATISES (the most recent first) Orders of Architecture Special Subjects General Theory of Architecture ARCHITECTURE: PERIODICALS a n d COLLECTIONS ARCHITECTURE: CONSTRUCTION

General Special Subjects Stereotomy Materials Strength of Materials Mortars Stones Marbles Brick Reinforced Concrete Iron and Steel Wood Carpentry Heating and Ventilation Lighting Sanitation and Plumbing

(the most recent first)

ARCHITECTURE: E L E M E N T S , AND BUILDING T Y P E S CLASSED ALPHABETITICALLY

(I omit the subheads here.) ARCHITECTURE AND LEGISLATION ARCHITECTURAL HISTORY

General Ancient Architecture Byzantine Architecture Medieval Architecture, General Romanesque Architecture Gothic Architecture Renaissance Architecture

Subject Headings of École des Beaux Arts

101

17th and 18th Century Architecture 19th and 20th Century Architecture Oriental Architecture ARCHITECTS (Biographies, Essays, etc.), alphabetically SCHOOLS AND SOCIETIES OF ARCHITECTS

The remaining portion of the catalogue I give in a more summary way, omitting all subheads. PAINTING: GENERAL PAINTING: TECHNIQUE PAINTING: HISTORY PAINTING: DICTIONARIES

(alphabetically) Sculpture and Engraving are treated similarly. PAINTERS:

It will be noted that the topics are arranged not alphabetically, but as far as possible logically; the subject catalogue becomes, in essence, an attempt to create a complete, logically related outline of the entire field of art knowledge. Cards within each subject are arranged alphabetically by author, except when an inverse chronological order is noted on the guide cards.

Index Accessions lists, published, 85 n. Accessions number, classification by, see Numero currens system Adam brothers, drawings, 47 Adhesives for labels, 57 Admission during period when library is officially closed, 10 n., 11 Air conditioning, 56, 57 Albertina, x; printed catalogues, 19, 25, 84; architectural drawings, 24; private catalogues of drawings and engravings, 25; system almost ideal for purpose, 26; exhibitions, 26, 87; drawing classification, 49; drawing cases, 66; drawing storage, 65, 68; ill., 67; sliding shelf detail, ill., 67; drawing display equipment, 71 Alcove type library, 57, 58; arrangement, 57; advantages outweigh difficulties for open-shelf library, 61 Alinari Company, slides, 41 Alpenbucherei, x; lantern-slide catalogue, 22; slide classification and filing, 41; photograph classification, 42; photograph storage, 62 American Academy in Rome, library, xi; organization problems, 5; number of volumes, 6; method of choosing books, 6; personnel, 7; atmosphere, 10, 78; staff, 10; hours, 11; use of dictionary catalogue, 13; use of American-size cards, 14; lanternslide catalogue, 22; sensitized cards, 23; catalogue of periodical articles, 28; one-room-type library, 37; classification system, 39, 40; periodical room, 40; slide classification and filing, 41; photograph classification, 42; bindings, 56; layout, alcoves, 57, 58, 61; hall type periodical room, 5g; advanced research, 74; Papers, 85; classification, 93

American material, lack of, in European libraries, 76, 81 Annual Bibliography of Courtauld Institute, 84, 86 Architects, seek technical information, 2 Architectural drawings, see Drawings Architectural exhibitions, 88 Architectural profession in England, 85 n. Architecture, history of, an important branch of knowledge, 1; creative vs. non-creative and derivative, relation of library towards, 2 n. Architecture, domestic, division of periodical catalogue into price categories, 28 Art, history of, an important branch of knowledge, 1 Articles and papers, publication of, 85 Art Index, 28, 29 Assistants, qualifications, 6; possibility of progress, 9 Associated Alpine Clubs, library, see Alpenbucherei Atlas drawing boxes, 68 Atmosphere, 9 Author catalogues, see Catalogues Availability of material, 5 Avery Library, book mutilation, 2 n.; catalogue, 19 n.; freedom and reader responsibility, 79 Bank of England, designs and sketches for, 88 Bavaria, catalogue of periodical articles on, 29 Bayerische Staatsbibliothek, x; separation of author and subject catalogues, 14; special catalogues, 18; catalogue of manuscripts, ig; catalogue of drawings, 23; catalogue of

Index periodical articles on Bavaria, 29; numero currem system of classification, 33; shelving of folios, 35; drawing classification, 46; shelving of folios, 52; sliding shelves, 66 n.; sliding doors, 68 n.; equipment for making reproductions, 81 n.; material in M u n i c h exhibit, 8g Bibliographies, 84, 86; vertical file of, 3° Bibiena drawings, 70 Bibliotheque Nationale, special catalogues, 18; numero currens system of classification, 33; Villard de Honnecourt sketch book, 87; Descartes exhibit, 87 Bindings, book, 56 Bolton, Arthur T . , 47 Book lists, 84 Book number, g4 Books, mutilation decreased, 2; variation in sizes, 3; stack equipment for large, 52; shelving, problems growing out of variation in size, 52-61 (see also Shelving); protection of rare, 55, 60; dust problem, 56; effect of overdry air upon, 56; losses through readers, 79 Boxes, photographs stored in, 62; drawings stored in, 64, 65; sizes, 68; the best of those studied, 69; ill., 69 British Museum, freedom of, 78 n. Broggi photographs, 82 n. Buildings, bad, make bad classifications, 34 Burlington collection of Palladio drawings, 48, 60 Cabinets, drawings stored in, 63, 65, &7 Callot, Jacques, drawings and prints, 87 Cards, used on Continent, 13; advantage of larger size, 14; use of American-size, 14 Caste system in personnel, 8, 9 Catalogue cases, used on Continent, 13 Catalogues, 13-31; transitional state, 13; separation of author and subject,

13, 14-16; use of American-size cards, 14; author catalogue in bound folios, 14; disadvantages of separation, 15; shelf-list subject, 16; chronological arrangement of cards, 17; subject catalogue of the £cole des B e a u x Arts, 17; A p p e n d i x II, 99; arrangement of trays, 18; specialized catalogues, 18; value of published, 19, 84; author and subject vs. dictionary, 20; of supplementary collections, 21; of lantern-slides, 22, 41; of drawings, 23, 27; for staff and public, 25; of work of nineteenth-century English architects, 28; published, of exhibitions, 90; subject headings. École des Beaux Arts Library, 99-101 Cataloguing, 13-31; of drawings not yet solved, 26; a double catalogue the ideal, 27; periodical material, 2831; value of, 29; of clipping files, 30 Celluloid, 70 Chronological

arrangement

of

cards,

17. 18 Classification, affected by difficulties in shelving, 3; and arrangement, 32-51; importance in open-shelf library, 32; purpose, 32; numero currens system, 33- 35. 36, 41. 5°: bad buildings make bad classification, 34; of openshelf library, 36; Brussels system at the Royal Institute of British Architects, 38; of photographs, 41-45; of slides, 41; geographical system, 42; of drawings, 45-51; possible addition to, for locked and controlled material, 55; three archaeological libraries, A p p e n d i x I, 93-98 Classification index, used with subject catalogue, 17 Clipping files, 30 Closed-shelf library, advantage of numero currens system, 35; shelving of large books, 52 Codices Vaticanae, 22 Copying, problem of, 2 Cotte, Robert de, 88 n. Courtauld Institute, ix; personnel, 7, 11; number of volumes, 11; hours,

Index 11 n.; separation of author and subject catalogues, 13; use of Americansize cards, 14; use of shelf-list as classed catalogue, 17; photograph collection, clipped material, and engravings, 30; use of Library of Congress classification system, 37; photograph classification, 42, 43, 45; collections of photographs of English art, 43; drawings classification, 46; shelving of large books, 52; general plan layout, 57; lantern-slide negatives, 62; photograph storage, 62, 63; efforts to develop exchange system, 82; manuscript reproductions, 82; equipment for making reproductions, 82 n.; Annual Bibliography, 84, 86 "Cribbing," problem of, 2 n. Cross reference, 14; use of shelf-list and, 17 Culture, function and place in, of large architectural library, 74-91; how library may play its role in changing, 80, 91 Curtains, velvet, 55 Curtius, Dr. Ludwig, 42, 47; desire to keep library always open, 11 Descartes exhibit, Bibliothèque Nationale, 87 Deutsches Archäologisches Institut, library: xi; organization problems, 5; number of volumes, 6; method of choosing books, 6; personnel, 7; atmosphere, 10; hours, 1 1 ; one-roomtype library, 37; classification system, 39, 95; slide classification and filing, 41; photograph classification, 42, 44; drawings, 47; layout, alcoves, 57, 58; photograph storage, 62; advanced research, 74, 75; informal atmosphere, 78; published catalogues, 84 Display equipment for drawings, 71 Donati, Lamberto, 23, 47 Door-and-runner system for sliding shelves, 66 Doors, glazed, 56; sliding, 68; swinging, 68

Drawer cabinet, 63 Drawings, catalogues, 23; cataloguing of, not yet solved, 26; double catalogue the ideal, 27; annotated bibliographical catalogue, 27; classification, 45-51; the Uflizi, 45, 50; the Vatican, 46; Soane Museum, 47; Royal Institute of British Architects, 48; École des Beaux Arts, 49; Albertina, 49; storage in drawer cabinets, 63; equipment for storing and exhibiting, 63; boxes for, 64, 65, 68, 69; ill., 69; matting, 65, 66, 70; filing cases in the Albertina, 66; filing cases in the Royal Institute of British Architects, 67; mounting, 70; framed, 70, 71; display equipment for exhibiting, 71; values, 73; exhibits, 87 Dust, protection of books from, 56; protection of drawings from, 63, 66, 71 École des Beaux Arts, library, ix; organization problems, 5; number of volumes, 5; method of choosing books, 6; personnel, 7; subject catalogue, 17; specialized catalogues of early books and drawings, 18; Lesoufaché collection, 18, 34, 49, 55, 64, 76; Masson collection, 18, 34, 49, 55, 73, 76; drawing collections, 24; catalogue of technical articles, 29; numéro currens system of classification, 33; library basically a hall library, 34; quarters complicate classification system, 34; drawing classification, 49; shelving, 53; protection of rare books, 55; drawings storage, 64; framed drawings, 71; provision for students, 75; cultural nationalism, 76; lack of provision for research workers, 76; eagerness for exchange material, 81; exhibits of drawings, 87; exhibition catalogues, 90; subject catalogue headings of library. Appendix II, 99-101 École des Hautes Études Urbaines, city planning a subject for, 6 n.

io6

Index

F.gger, H e r m a n n , 25 F.hrlach, Fischer von, see Fischer v o n Ehrlach's H o f b i b l i o t h e k Employees, see Personnel England, flexible system of employment, 9 English art, photographs, 43 Envelopes, lantern-slide negatives in, 61 Equipment, physical, 52-73; book shelving, 52-61; shelving in the Royal Institute of British Architects, 53, 54; shelving in the Vatican, 54; protection of rare books, 55, 60; the dust problem, 56, 63, 66, 7 1 ; danger of overdry air, 56; general plan layout: the "hall type," 57; the alcove type library, 57, 58; lantern-slide storage, 61; photograph storage, 62; d r a w i n g storage, 63; drawings kept in boxes, shelved vertically, 64; horizontally, 65; d r a w i n g cases in the Albertina, 66; drawing cases in the Royal Institute of British Architects, 67; drawing box sizes, 68; drawing display equipment, 71-; photographers', 81 Exchange system, 80, 81-83; types of material, 80; aided by microphotography, 81; difficulties, 82; central organization desirable, 83 " E x h i b i t i o n D r a w i n g s " at the Uffizi, 65 Exhibitions, as a means of extending service, 83; effect of, 86; two classes, 87; of drawings, 87; most remarkable, 88; permanent, 88; lending material, 8g; labels, catalogues, go Expansion, a difficulty of open-shelf libraries, 60 Fischer von Ehrlach's H o f b i b l i o t h e k in Vienna, beauty of, 58 Flood lights, 60 Formality vs. informality in use of library, 78 Framed drawings, 70, 71 Freedom and reader responsibility, 79 Fuhrmann, Heinrich, 7

Function and place in culture, large architectural library, 74-91

of

Gaertner, Friedrich von, collection, 64, 89 G a n d y , Joseph, drawings, 88 Geographical classification, advantages and disadvantages, 42 Germany, caste system in library personnel, 8 Giordani, Egidio, 20 Glazed doors, 56 Glazed drawings, 71 Gothic drawings on vellum, 46 Gratzl, Emil, 14, 22 G u i d e cards, catalogue, 99 Hall type library, 57; transition from, to stack library, 32 Harleian manuscript N o . 2767, 78 n. Heating systems, effect upon books, 56. 57 Historical Society, Detroit, collection of newspaper and periodical material, 30 n. Honnecourt, Villard de, sketch book, 87 Horizontal shelving, 64 Hours, length of, 10, 11 n.; admission d u r i n g period when library is officially closed, i o n . , 11 Illinois, University of, use of prints of slide negatives on standard-size cards, 23 n. Illumination, artificial, 60 Imperial drawing boxes, 68 Infra-red equipment, 8i Institut de France, library, ix; catalogue of manuscripts, 19: drawings, 23. 46 Interior designers, seek technical information, 2 International Index to Periodicals, 29 Journal of the R o y a l Institute of British Architects, 85 n. Klassieke

Bibliographic,

29

Index Labeling exhibit material, go Labels, book, 57 Lanciani, R o d o l f o , collection, 47 Lantern slides, catalogues, 22, 41; use of reduced prints of negatives on standard-size cards, 23 n.; classification and filing, 41; storage, 61 Layman, served by architectural library, 1, 2; by publications and exhibitions, 84 Leather bindings, 56 Lecture courses, slides, 41 Le Grelle, Monseigneur, 21 Lending library, Royal Institute of British Architects, 77 Lending material for exhibits, 89 Lesoufaché collection, 18, 34, 49, 55, 64, 76 Librarian, responsibility for stimulating creative knowledge, 2 n.; qualifications, 6; Ph.D. a requisite in German libraries, 8 Libraries, archaeological: classifications, 93-98 Libraries, architectural: special problems, 1-4; problems w h i c h differentiate architectural f r o m general libraries, 1; varied service demanded by different types of usage, 2; relation towards creative vs. non-creaarchitecture, tive and derivative 2 n.; collections of non-book material, 3; coalescence of museum and library functions, 3, go; atmosphere, 9, 60; transition from hall library to stack library, 32; special needs determine choice of classification system, 37; function of, and place in culture, 74-91; Royal Institute of British Architects' reader service, 77; formality vs. informality in use of, 78; relation to each other, exchanges, 80; extension of service to layman, through publications, 83; through exhibitions, 83, 86 Libraries, general: personnel of art departments, 7 Library of Congress classification system, 40

L i n e n mounting, 70 Locked and controlled material, 55 Lothrop, S. B., 93 Magazine articles, see Periodical catalogues Manuscript departments, kept out of numero currens system, 36 Manuscripts, protection from dust, 56; reproductions, 81, 82 Masson collection, 18, 34, 4g, 55, 73, 76 Matting of drawings, 65, 66, 70 Metropolitan Museum of A r t , New York, Papers, 85 Microfilm reproductions, 81; central organization for exchange of, 83 Microphotography, 81 Mounting, of photographs, 62, 63; of drawings, 66, 70 Münchener Staatsbibliothek, see Bayerische Staatsbibliothek M ü n c h e n e r Technische Hochschule, Architektur Sammlung, x ; has no librarian, 11; catalogue of drawings, 23; collection of drawings, 46; Gothic drawings, 46; shelving, 53; drawi n g storage, 63, 64; unsatisfactory conditions for readers, 75; material from Architektur S a m m l u n g exhibited, 89; drawing exhibits, g i M u n i c h , City Museum of: " U n b u i l t M u n i c h " exhibition, 71, 88, go M u s e u m , coalescence of library and museum functions, 3, go Mutilation, book: decrease in, 2 n. National Library of Vienna, see Oesterreichische National-Bibliothek Negatives, lantern-slide, 23 n., 61 New York Public Library, exhibitions, 86 Xumero currens system of classification, 33; advantages and disadvantages, 35; manuscript departments kept out of, 36; use for slide collection, 41; for drawings, 50

io8

Index

Oesterreichische National-Bibliothek, x: personnel, 8; use of Americansize cards, 14; s e p a r a t i o n of a u t h o r a n d subject catalogues, 14; subdivision of subjects, 15; special catalogues, 18; numéro currens system of classification, 33; shelving, 53, 66 n.; e q u i p m e n t for m a k i n g reproductions, 82 n.; see also Albertina Open-shelf library, i m p o r t a n c e of classification, 32; classification, 36; shelving of large books, 53; expansion a difficulty of, 60; advantages of alcove system, 61; reader responsibility. 79 Organization a n d administration, 5-12; differing uses involve differing problems, 5; personnel, 6 ff.; flexibility a n d informality desirable, 12 Overdry air, a d a n g e r t o books, 56 Palladio, A n d r e a , drawings, 48, 60 I'anel heating, 57 Papers a n d articles, publication of, 85 Paris, University of: Bibliothèque d ' A r t et d'Archéologie, 29 Patronage, library p r o b l e m s complicated by b r o a d usage, 77 Periodical catalogues, 28-31; value of, 29 Periodicals, foreign, in École des Beaux Arts, 76 Personnel, 6 - 1 2 ; continental system, 8; caste system, 8, 9; flexible British system of e m p l o y m e n t , 9; possibilities of progress in E u r o p e a n d America, 9; size of staff, 10; for care of p h o t o g r a p h s , 45 P h o t o g r a p h e q u i p m e n t , 81 Photographers, specialists in English architecture a n d art, 43; making of reproductions, 81, 82 n. P h o t o g r a p h reproductions, exchange of, 81 Photographs, desirability of circulating, 2 n.; n o t generally catalogued, 23; classification a n d arr a n g e m e n t , 23, 41-45; classification, at C o u r t a u l d Institute, 42, 43, 45;

at Deutsches Archäologisches Instit u t , 42, 44; staff for care of, 45; storage, 62; mounting, 62, 63 Photostat reproductions, exchange of, 81 Physical e q u i p m e n t , see E q u i p m e n t Pigeonholes, storage of photographs in, 62, 63 Piranesi, drawings, 47, 88 Plates, desirability of circulating individual, 2 n. Portfolios, out-of-date, 72 Preussische Staatsbibliothek, see Staatsbibliothek Publications, 83; forms, 84; as u n d e r takings of library, 85 R a r e books, protection of, 55, 60 Readers, varying types, 2, 5; at Royal I n s t i t u t e of British Architects, 77; problems of library complicated by broad patronage, 77; responsibility felt by, 79; of publications will become readers of library, 84 Readers' Guide to Periodical Literature, 29 Reale I s t i t u t o di Archeologia e Storia dell" Arte, xi; care of drawings in t h e Sala Lanciani, 24, 47; classification, 36, 47, 96; general plan layout, 58 Regensburg Cathedral, 46 Répertoire d'art et d'archéologie (University of Paris), 29 Reproductions, exchange of, 81, 82; facilities for making, 81 Research, libraries for advanced, 74 Ricker, N . C., 85 n. Ricker Library, translations of architectural classics, 85 Rivalries, library, 82, 90 Roller shelves, 53, 54 Roritzer, Matthew, 46 Royal d r a w i n g boxes, 68 Royal I n s t i t u t e of British Architects, library, viii; book mutilation, 2 n.; n u m b e r of volumes, 5; organization problems, 5; m e t h o d of choosing books, 6; personnel, 7, 10; atmos-

Index phere, 9, 60; hours, 11 n.; separation of author and subject catalogues, 13; use of American-size cards, 14; use of shelf-list as classed catalogue, 17; shelf-list subject catalogue, 17; hand-list of drawings, 24; catalogue of drawings, 26; periodical catalogue, 28, 29; clipping files, 30, 31; file of bibliographies, 30; one-roomtype library, 37; use of Brussels system of classification, 38; treatment of rare and early books, 39; drawing classification, 48; shelving, 53, 54; protection and designation of rare books, 55, 60; bindings, 56; heating and ventilating, 57; layout, alcoves, 57, 59; excellence of arrangement, beauty, 59; photograph storage, 62; drawing storage, 65, 68; drawing cases, 67; framed drawings, 70; matting of drawings, 70; the library and the reader, 77; freedom and reader responsibility, 79; lack of early American material, 81; facilities for making reproductions, 82 n.; published catalogues, 84; published library accessions lists, 85 n.; association of library with Journal, 85 n.; lending exhibit material, 89; leadership in research, alertness to problems of today, gi

109

type, 57; alcove arrangement, 57, 58; of drawings in boxes, 64, 65 Sinibaldi, Giulia, 8, 25 Slides, see Lantern slides Soane, Sir John, 47, 88 Soane Museum, ix; classification, 47; storage, 63; display equipment, 71, 72; permanent exhibit, 88 Solander drawing box, ill., 69 Spitzmiiller, Anna, 8 Staatsbibliothek, Berlin, printed cards issued by, 14; numero current classification system, 35 n. Stacks, transition from hall library to, 32; for large books, 52; standard, 52; see Closed-shelf library, Openshelf library Staff, size of, 10; see also Personnel Steam heat, effect upon books, 56 Steel shelving, 53 Students, of history of art, provision for study and research, 2; of architecture, seek technical information, 2; undergraduate, libraries for, 75, 77 Subject catalogues, see Catalogues Subject headings, Uffizi catalogues, 45; £cole des Beaux Arts Library, 99101 Supervision, 60, 74 Tables, sizes, 61

Safes, storage in, 55, 60 Scholars, thoroughness of older, 21 Shelf-list, used as classed catalogue, 16; catalogue used as, 27; Shelf-list subject catalogue, chronological arrangement of cards, 17 Shelves, roller, 53, 54; sliding, 65, 66, 68; ill., 67 Shelving, difficulties growing out of variation in size, 3, 52-61; affects classification system, 3; in Royal Institute of British Architects, 53, 54; in the Vatican, 54; protection of rare books, 55; dust problem, 56; danger of overdry air, 56; general plan layout, 57; traditional hall

Temperature, effect upon books, 56, 57 Thomas, Mary Wynne, 8 Thorpe, John, drawings, 48, 60 Thiersch, Friedrich von, drawings, 46, 7«. 89 Tietze, Hans, 25 Traveling exhibitions, 89 Uffizi, x; architectural drawings, 24; printed classified catalogue, 25; printed catalogue of drawings, 26, 84; drawing classification, 45, 50; drawing storage, 65, 68; drawing display, 71; equipment for making reproductions, 82 n.; drawing collection photographed by Broggi, 82 n.;

1 IO

Index

Jacques Callot drawings and prints, 87 "Unbuilt Munich" exhibition, 71, 88, 9° Van Buren, A. W., 93 Vatican Library, reorganized on American system, 13; use of Americansize cards, 14; new dictionary catalogue, criticized, 20; supplementary collections, 21; catalogue of drawings and engravings, 23; classification of drawings, 46; book shelving in Print and Drawing Department, 54 Velvet curtains, 55 Ventilation, 56, 57 Vertical shelving, 63, 64

Victoria and Albert Museum, library, ix; personnel, 8; number of volumes, 10; understaffed, 10, 34; hours, 11 n.; drawings, 24; bad quarters, 34; shelving, 53; photograph storage, 62 Vitruvius manuscript, 78 n., 79 n. Wall-pivoted display elements, 72 Walter, Frank K., 35 n. Welsford, Rhoda, 82 Wilson, H. W., Company, 29 Windsor, Phineas L., »3 n. Wren, Sir Christopher, drawings, 47 X-ray equipment, 81 Youtz, Philip, 2 n.