On Books and The Housing of Them | Page 5

lie a subtler question -- whether the arrangement of a library ought not in some degree to correspond with and represent the mind of the man who forms it. For my own part, I plead guilty, within certain limits, of favoritism in classification. I am sensible that sympathy and its reverse have something to do with determining in what company a book shall stand. And further, does there not enter into the matter a principle of humanity to the authors themselves? Ought we not to place them, so far as may be, in the neighborhood which they would like? Their living manhoods are printed in their works. Every reality, every tendency, endures. Eadem sequitur tellure sepultos.
I fear that arrangement, to be good, must be troublesome. Subjects are traversed by promiscuous assemblages of 'works;' both by sizes; and all by languages. On the whole I conclude as follows. The mechanical perfection of a library requires an alphabetical catalogue of the whole. But under the shadow of this catalogue let there be as many living integers as possible, for every well-chosen subdivision is a living integer and makes the library more and more an organism. Among others I plead for individual men as centres of subdivision: not only for Homer, Dante, Shakespeare, but for Johnson, Scott, and Burns, and whatever represents a large and manifold humanity.
The question of economy, for those who from necessity or choice consider it at all, is a very serious one. It has been a fashion to make bookcases highly ornamental. Now books want for and in themselves no ornament at all. They are themselves the ornament. Just as shops need no ornament, and no one will think of or care for any structural ornament, if the goods are tastefully disposed in the shop-window. The man who looks for society in his books will readily perceive that, in proportion as the face of his bookcase is occupied by ornament, he loses that society; and conversely, the more that face approximates to a sheet of bookbacks, the more of that society he will enjoy. And so it is that three great advantages come hand in hand, and, as will be seen, reach their maximum together: the sociability of books, minimum of cost in providing for them, and ease of access to them.
In order to attain these advantages, two conditions are fundamental. First, the shelves must, as a rule, be fixed; secondly, the cases, or a large part of them, should have their side against the wall, and thus, projecting into the room for a convenient distance, they should be of twice the depth needed for a single line of books, and should hold two lines, one facing each way. Twelve inches is a fair and liberal depth for two rows of octavos. The books are thus thrown into stalls, but stalls after the manner of a stable, or of an old-fashioned coffee-room; not after the manner of a bookstall, which, as times go, is no stall at all, but simply a flat space made by putting some scraps of boarding together, and covering them with books.
This method of dividing the longitudinal space by projections at right angles to it, if not very frequently used, has long been known. A great example of it is to be found in the noble library of Trinity College, Cambridge, and is the work of Sir Christopher Wren. He has kept these cases down to very moderate height, for he doubtless took into account that great heights require long ladders, and that the fetching and use of these greatly add to the time consumed in getting or in replacing a book. On the other hand, the upper spaces of the walls are sacrificed, whereas in Dublin, All Souls, and many other libraries the bookcases ascend very high, and magnificent apartments walled with books may in this way be constructed. Access may be had to the upper portions by galleries; but we cannot have stairs all round the room, and even with one gallery of books a room should not be more than from sixteen to eighteen feet high if we are to act on the principle of bringing the largest possible number of volumes into the smallest possible space. I am afraid it must be admitted that we cannot have a noble and imposing spectacle, in a vast apartment, without sacrificing economy and accessibility; and vice versa.
The projections should each have attached to them what I rudely term an endpiece (for want of a better name), that is, a shallow and extremely light adhering bookcase (light by reason of the shortness of the shelves), which both increases the accommodation, and makes one short side as well as the two long ones of the parallelopiped to present simply a face of books with the lines