Since this little book is not a treatise on palæography, a manual of
art, or a history of learning, and yet has to touch upon all three
provinces, it is important to keep it from straying too far into any of
them, and this is one of the most difficult tasks that I have ever
enterprised. The temptation to dilate upon the beauty and intrinsic
interest of the MSS. and upon the characteristic scripts of different
ages and countries is hard to resist. And, indeed, without some slight
elucidation of such matters my readers may be very much at fault.
I had begun a geographical survey of the field, taking countries as the
units, and had written upon Italy and Spain, and attempted France. But I
found that when the thirteenth and fourteenth centuries were reached my
tract was becoming a disquisition upon palæography, art, and learning,
and, of course, was failing to do justice either to any one of them or
to what it had promised in its title. I now think that a chronological
survey will be more practicable, and that it will be best to take first
the subject of book-production, looking at each country in turn in a
single period, instead of following the course taken by each, from the
sixth century to the fifteenth.
_Sixth and Seventh Centuries._--Italy, France, and Spain are the main
centres. Ireland is active in learning, and in the second half of the
seventh century England, under Archbishop Theodore and Abbot Hadrian,
produces schools which rival the Irish, and, in the person of Bede, has
the greatest scholar of the time. Some of the great Irish monasteries,
such as Bobbio, Luxeuil, St. Gall, are founded on the Continent.
Books are produced in considerable numbers in Italy, France, Spain; and
from Italy they are exported, especially by English pilgrims, such as
Benedict Biscop. The Gospel harmony written in 546 by or for Bishop
Victor of Capua comes to England, and goes abroad again, with St.
Boniface, perhaps, and now rests at Fulda, where also his body lies. A
copy of St. Jerome on Ecclesiastes, written in Italy in the sixth or
seventh century, has in it the Anglo-Saxon inscription, "The book of
Cuthsuuitha the Abbess." The only Abbess Cuthsuuitha we know of presided
over a nunnery in or near Worcester about 690-700. Her book travelled to
Germany with some British or English missionary, and is at Würzburg.
Würzburg is an Irish foundation; its apostle and patron, St. Kilian, is
said to have been assassinated in 689. From Italy, too, came (most
likely) the illustrated Gospels now at Corpus Christi College, Cambridge
(286), which belonged once to Christchurch, Canterbury; and the
beautiful little copy of St. John's Gospel at Stonyhurst College, which
was found in the coffin of St. Cuthbert (d. 687) when it was opened in
1104. And St. Gall must have acquired its ancient Virgil from Italy
also--when, we do not know.
Spain kept her books very much to herself, one would guess, judging from
the very few Spanish MSS. of this age which are to be met with in the
rest of Europe. The guess, however, would not be quite correct. There
was one great Spanish scholar in the seventh century, Isidore of Seville
(636), and his encyclopædia (The _Etymologies_ or _Origins_), which fed
many later centuries with learning, made its way all over educated
Europe very quickly. Not only so, but we find English scholars (Aldhelm
and Bede) quoting Spanish writers on grammar and Spanish poets who were
almost their own contemporaries.
_Eighth Century._--This sees the last part of Bede's career (d.
734)--the zenith of English scholarship, the mission of St. Boniface (d.
758) to Germany, the meeting of Alcuin with Charlemagne (781), and the
beginning of the Carolingian Renaissance. But, on the other hand, Spain
is overrun by the Moors, Italy is inert, England begins to be harried
by the Northmen. On the whole, if there really was a Dark Age, the
middle of the eighth century seems to answer the description best. But,
of course, there were points of light. The great centres of Northern
France, such as Corbie and Laon, particularly Corbie, were beginning
their activities of collecting and copying books. Ireland was capable of
producing such a work as the Book of Kells--whether it actually falls
within the century or not I will not be positive, but work of the same
amazing beauty was carried out before 800. Nor was the export of
treasures from Italy to England quite stopped, in spite of difficulties.
At the Plantin Museum at Antwerp is a copy of the writings of the
Christian poet Sedulius, which has pictures of the old Italian sort,
such as we find in the frescoes of the Roman catacombs. In it is a note
connecting it with a Bishop of the name of Cuthwin, who held the East
Anglian see and died about 754. Another MS., at Paris, has a note
describing an elaborately illustrated life of St. Paul, which, it says,
the same Bishop Cuthwin brought with him from Rome.
_Ninth Century._--There is immense activity, literary and artistic,
afoot at the Court of Charlemagne (d. 814) and of his successors. The
German abbeys--_e.g._, Lorsch, Fulda--and cathedral schools (Mainz,
Bamberg, etc.) are full of scribes and teachers. Irishmen who know
Greek flock to the Continent, driven from home by Danish invasion: such
are Johannes Scottus Eriugena and Sedulius Scottus. They haunt Liége,
Laon, Aix-la-Chapelle, and penetrate to Italy. Not less prolific are the
French houses: at Tours the handwriting called the Carolingian
minuscule, the parent of our modern "Roman" printing, is developed,
though not at Tours alone. At Corbie, Fleury on the Loire, (now called
St. Bénoit sur Loire), St. Riquier by Abbeville, Rheims, and many
another centre in Northern and Eastern France, libraries are accumulated
and ancient books copied. Of St. Gall and Reichenau the same may be
said. In Italy, Verona is conspicuous. The archdeacon Pacificus (d. 846)
gave over 200 books to the cathedral, where many of them still are; and
at Monte Cassino, the head house of the Benedictine Order, books were
written in the difficult "Beneventane" hand (which used to be called
Lombardic, and was never popular outside Italy). Spain has its own
special script at this time, the Visigothic, as troublesome to read as
the Beneventane; its _a_'s are like _u_'s and its _t_'s like _a_'s.
England is still overrun by the Danes, and does nothing before the very
end of the century, when King Alfred exerts himself to revive education,
and starts a vernacular literature.
An enormous proportion of the earliest copies we have of classical Latin
authors come from this century, when old copies of them were actively
sought out and transcribed. Often great liberties in the way of revision
and even abridgment of the text were taken by the scholars of the time,
and, once transcribed, the old archetypes were neglected or even
destroyed.
Books of very great beauty--Bibles, Gospels, Psalters--were produced for
the Emperors and the great nobles and prelates. In these there is a
marked effort to imitate and continue the traditions of classical art.
_Tenth Century._--The tradition of study and scholarship lives on, but
the impulse from Britain and Ireland has worked itself out, and few
geniuses are born on the Continent. There is a period of splendour and
vigour in England under the Kings Athelstan and Edgar and the
Archbishops Odo and Dunstan. The calligraphic school of Winchester
achieves magnificent results. At the end of the century the great
teacher and scholar Gerbert (Pope Sylvester II.) is a prominent figure
at the Imperial Court. The Ottos emulate Charlemagne in their zeal for
literature and for fine works of art, but their attainment is slighter.
_Eleventh Century._--Men still live on the traditions of the Carolingian
Revival in the early part: there is later an awakening, principally,
perhaps, in France and Italy. Great names like those of Anselm, Abelard,
Bernard, come forward. Monastic reform is active; great schools, as at
Chartres, take their rise; there is a preparation for the wonderful
vigour of the next century. The First Crusade brings East and West
together in a new fashion.
_Twelfth Century._--The strength and energy of Europe is now tremendous
in every department, and not least in that with which we are concerned.
Our libraries are crammed to-day with twelfth-century MSS. The
Gregories, Augustines, Jeromes, Anselms, are numbered by the hundred. It
is the age of great Bibles and of "glosses"--single books or groups of
books of the Bible equipped with a marginal and interlinear comment
(very many of which, by the way, seem to have been produced in North
Italy). Immense, too, is the output of the writers of the time; Bernard,
Hugh and Richard of St. Victor, Peter Comestor, Peter Lombard. The two
last are the authors of two of the most popular of medieval
textbooks--Peter Lombard of the _Sentences_ (a body of doctrine), Peter
Comestor of the _Historia Scholastica_ (a manual of Scripture history).
The Cistercian Order, now founding houses everywhere, is, I think,
specially active in filling its libraries with fine but austerely plain
copies of standard works, eschewing figured decoration in its books, as
in its buildings, and caring little for secular learning. The University
of Paris is the centre of intellectual vigour.
_Thirteenth Century._--This is commonly regarded as the greatest of all
in medieval history; and truly, when we think of achievements such as
Westminster, Amiens, and Chartres, and of men such as St. Louis, St.
Thomas Aquinas, St. Francis, Dante, Edward I., Roger Bacon, we must
agree that the popular estimate is sound. Certainly we see in France and
in England the fine flower of art in buildings and in books.
Paris is still the centre. The "Gothic" spirit is concentrated there.
The book trade is enormous. It is passing--under the influence of the
University, most likely--out of the hands of the monastic scribes into
those of the professional "stationers"; while great individual artists,
such as Honoré, arise to provide for Royal and noble persons examples of
art which stand as high to-day as when they were first produced.
It is now that we find a large multiplication of textbooks. If the
twelfth century was the age of great Bibles, the thirteenth is the age
of small ones. Thousands of these exist, written with amazing minuteness
and uniformity. Only less common are the Aristotles, the _Sentences_,
the _Summæ_, and the other works of the golden age of scholasticism. The
Orders of Friars, Franciscan and Dominican, form libraries--partly of
duplicates procured from older foundations, partly of new copies to
which they were helped by charitable friends.
Towards the end of the century Italy comes forward as the great purveyor
of books of a special sort. The University of Bologna becomes the great
law school of Europe, and exports in numbers copies of the immense texts
and commentaries of and upon the Church (Canon) and Roman (Civil) law
which were indispensable to the unfortunate student. These books become
common at the end of the thirteenth century, and run over well into the
fourteenth. They are prettily (but often very carelessly) written in a
round Gothic hand, sometimes christened "Bolognese." Some were not only
written but decorated (with poorish ornament) on the spot, but very many
were exported in sheets and provided, in France or England, with such
decoration as the purchaser could afford. A leading example is a copy of
the Decretals in the British Museum (Royal 10, E. iv.) which belonged to
St. Bartholomew's, Smithfield. It is in Italian script, but on each of
the spacious lower margins of its many pages is a picture by an English
artist; these pictures run in sets, illustrating Bible stories, legends,
and romances.
As the centuries go on, the material they have left increases in bulk,
and the complication of the threads is proportionately greater. I cannot
hope in a survey like this to give prominence to every factor; but we
shall not be wrong in fixing upon Northern France and England as the
areas of greatest productiveness and the sources of the best art in the
thirteenth century.
Before we pass to the next century a word must be devoted to a not
unimportant class of books which seem to have been manufactured chiefly
in Picardy and Artois, the illustrated Romances--_e.g._ the Grail and
Lancelot--of great bulk, usually in prose, which served to pass the
winter evenings of persons of quality. A few of these, and a book of
devotions to take to church (oftenest a Psalter at this time; later on a
book of Hours), were the staple books owned by the upper classes.
_Fourteenth Century._--If the thirteenth century gives us on the whole
the noblest books, the early part of the fourteenth affords the
loveliest. They come from England, France, and the Netherlands. A
noticeable element in their art is that of the grotesque and burlesque,
never, of course, quite absent even from early books, but now most
prominent and most delightful. The defect of the art of this time is
lack of strength and austerity; its delicacy is above praise.
The middle of the century sees Petrarch, and with him the Renaissance
begins. Italy has been producing great men in every field, but the work
of Petrarch reached farther and was more enduring than that of any
other.
France, tortured by wars, put forth little in the middle years, but then
came Charles V., a King who was really interested in books, and the
library he formed at the Louvre gave a stimulus to book-production which
spread wide and lasted long. Under Richard II. and through his Queen,
Anne of Bohemia, a foreign influence makes itself felt in England, and
some lovely results are achieved; but on the whole English art is
waning.
The Universities, and to some extent the monasteries, were throughout
this century great customers for the bulky books of scholastic divinity
(Duns Scotus, Albertus, and the like) and the later generation of
commentators on the Bible, such as Nicolas de Lyra and Hugo de S. Caro.
Many shelves are filled with these.
_Fifteenth Century._--The fifteenth century is our last; it ends the MS.
period. Under the influence of the Renaissance, now enormously potent,
every Italian noble forms a library. The scholars are seeking out the
ninth-century copies of the classics, and they discard the Gothic
(black-letter) hands of the thirteenth and fourteenth centuries in
favour of the Carolingian minuscule (or, some say that of the twelfth
century). As early as 1426 we find books written in a script adapted and
refined from this; we call it a Roman hand, though the great centre of
its propagation seems to have been Florence. In all essentials it is the
parent of the type in which this page will be printed.
Italy, then, is the hub of the universe for books; and in Italy,
Florence, Naples, and Rome are the most active _nuclei_. We have a
record written by a Florentine bookseller, Vespasiano Bisticci, in the
form of short biographies of great persons, many of whom had dealt with
him. For some he provided whole libraries, as for Frederick, Duke of
Urbino, whose books are now mostly in the Vatican. Such a man as this
would not look at a printed book--which in Vespasiano's mind is, of
course, very greatly to his credit; for the press was bound to put an
end to his particular industry. We still find, by the way, this
prejudice against print in the very last years of the century. Some rich
persons had MS. copies actually made from printed editions and
elaborately illustrated. Such a one was Raphael de Marcatellis, natural
son of Philip the Good of Burgundy and titular Bishop of Rhossus, near
Antioch.[B] Part of his library may be found at Ghent, part at Holkham,
and stray volumes at Cambridge (Peterhouse) and in the Arundel
collection at the British Museum. They are very handsome books, and many
have full-page paintings by capable artists, but the resulting
impression is on the whole that of decadence.
Matthias Corvinus, King of Hungary (d. 1490), is a name famous among old
bibliophiles. He got together a library of fine books, mostly recent
copies made for him, and it was dispersed and sacked by the Turks in
1526. It is spoken of with bated breath by the old writers, as if it had
contained priceless treasures. I am sceptical.
Ferdinand of Aragon and Calabria was a collector of the same kind, whose
beautiful books, adorned with his arms in the lower margin of the first
page, are many of them at Valencia, having passed to the University
there by way of the Abbey of St. Miguel de Los Reyes. These are of
Italian and not of Spanish manufacture, and very fine they are.
These last-mentioned libraries have been scattered, but there are still
some of the Renaissance period which survive in their original homes.
The Laurentian at Florence and the Vatican at Rome stand at the head of
all. With regard to the latter it may be said that though earlier Popes,
of course, had libraries (that of Avignon was quite considerable), yet
Nicholas V. (d. 1455) must be regarded as the founder of the Vatican
library in its present state. So, too, the Marciana at Venice and the
Malatestiana at Cesena must rank as genuine Renaissance collections.
It was not only the great men who loved to have books. The tribe of
scholars, foreign as well as native, who coveted them was numerous.
Every library now has its quota of humbler copies of the classics, often
on paper, in the Roman or the more cursive Italic hand, not written by a
professional scribe. Often these are of infinitesimal value,
transcripts of extant copies of no greater age; but there is always the
possibility that they may be a competent scholar's own careful apograph
of some ancient MS. which a Poggio had unearthed at St. Gall, and which
has since vanished. A glance at the _apparatus criticus_ of a few
editions of classics will show that often a fifteenth-century MS. ranks
high among the authorities for the text. Pedigree is what matters, not
beauty of hand, nor, necessarily, date.
It has been the fate of these scholars' books, as it is the fate of all
MSS., to be absorbed into great libraries, and many of them lurk there
still unexamined and their origin undetermined. Discoveries, no doubt,
yet remain to be made among them.
Whether or not a breath of influence from Italy was the cause, it is
plain that library-making was popular in countries and circles which
were not obviously affected by the Renaissance. The monasteries of
England were certainly not so affected, yet we find many of them setting
their books in order and building special rooms to contain them.
Christchurch at Canterbury and Bury St. Edmunds are leading instances.
Now, too, Universities and colleges made fresh catalogues, and received
large accessions of books.
If the Renaissance did not touch the English public as a whole in this
century, it made some proselytes. Among Englishmen who dealt with our
Florentine Vespasiano were John Tiptoft, Earl of Worcester, Humphrey,
Duke of Gloucester, William Gray, Bishop of Ely, Andrew Holes, of Wells.
Others who resorted to Italy were John Free, Thomas Linacre, John
Gunthorpe, Dean of Wells, William Flemming, Dean of Lincoln, William
Tilley of Sellinge, Prior of Christchurch, Canterbury. We shall see
later on what traces some of these have left on our libraries.
In places to which the Italian influence did not penetrate the humdrum
trade of copying went on. Anselm, Bernard, and Augustine; sermon-books
by the score; Burley on Aristotle, etc. Then, in another class, the
production of books for use in church was very large. There were few
Bibles, but Missals, Breviaries, large choir-books to be laid on the
lectern, Graduals and Processionals, are legion. Then, again, every
well-to-do person must have his or her Book of Hours, illuminated if
possible. Such things were common wedding-presents, it seems. Upon the
best of them really great artists were employed, like Foucquet of Tours
and Gerard David; we even find Perugino painting a page in one, but the
average are shop work made for the Italian market at Naples or Florence,
for the French at Paris, Tours, or Rouen, for the English very often at
Bruges, where also many sumptuous chronicle books and French versions
of secular history and romances were turned out. Edward IV. had a
considerable number of such in his library.
These private Prayer Books are, of course, incomparably the commonest of
all illuminated manuscripts. They vary from loveliness to
contemptibility. Perversely, they figure in catalogues, and are lettered
on their backs, as Missals; our ancestors of the eighteenth and
nineteenth centuries forgot that a Missal must contain the service of
the Mass, and that none of these books do.
There, then, is a second survey of our ground, somewhat more detailed
than the first, but woefully sketchy. Everyone who has studied MSS. of
any class or period would detect omissions in it which for him would
vitiate the whole story. The best I can hope is that the assertions in
it are not incorrect, and that it gives a true notion of the general
course of book-production in medieval times.