Bibliomania in the Middle Ages. F. Somner Merryweather
the parchment with his fingers."
Mention has been made of the difficulties under which books were produced; and this is a matter which we who enjoy the conveniences of modern writing and printing can little understand. The hardships of the scriptorium were greatest, of course, in winter. There were no fires in the often damp and ill-lighted cells, and the cold in some of the parts of Europe where books were produced must have been very severe. Parchment, the material generally used for writing upon after the seventh century, was at some periods so scarce that copyists were compelled to resort to the expedient of effacing the writing on old and less esteemed manuscripts.[5] The form of writing was stiff and regular and therefore exceedingly slow and irksome.
In some of the monasteries the scriptorium was at least at a later period, conducted more as a matter of commerce, and making of books became in time very profitable. The Church continued to hold the keys of knowledge and to control the means of productions; but the cloistered cell, where the monk or the layman, who had a penance to work off for a grave sin, had worked in solitude, gave way to the apartment specially set aside, where many persons could work together, usually under the direction of a librarius or chief scribe. In the more carefully constructed monasteries this apartment was so placed as to adjoin the calefactory, which allowed the introduction of hot air, when needed.
The seriousness with which the business of copying was considered is well illustrated by the consecration of the scriptorium which was often done in words which may be thus translated: "Vouchsafe, O Lord, to bless this work-room of thy servants, that all which they write therein may be comprehended by their intelligence and realized in their work."
While the work of the scribes was largely that of copying the scriptures, gospels, and books of devotion required for the service of the church, there was a considerable trade in books of a more secular kind. Particularly was this so in England. The large measure of attention given to the production of books of legends and romances was a distinguishing feature of the literature of England at least three centuries previous to the invention of printing. At about the twelfth century and after, there was a very large production and sale of books under such headings as chronicles, satires, sermons, works of science and medicine, treatises on style, prose romances and epics in verse. Of course a large proportion of these were written in or translated from the Latin, the former indicating a pretty general knowledge of that language among those who could buy or read books at all. That this familiarity with the Latin tongue was not confined to any particular country is abundantly shown by various authorities.
Mr. Merryweather, whose book, as has been intimated, is only a defense of bibliomania itself as it actually existed in the middle ages, gives the reader but scant information as to processes of book-making at that time. But thanks to the painstaking research of others, these details are now a part of the general knowledge of the development of the book. The following, taken from Mr. Theodore De Vinne's Invention of Printing, will, we think, be found interesting:
"The size most in fashion was that now known as the demy folio, of which the leaf is about ten inches wide and fifteen inches long, but smaller sizes were often made. The space to be occupied by the written text was mapped out with faint lines, so that the writer could keep his letters on a line, at even distance from each other and within the prescribed margin. Each letter was carefully drawn, and filled in or painted with repeated touches of the pen. With good taste, black ink was most frequently selected for the text; red ink was used only for the more prominent words, and the catch-letters, then known as the rubricated letters. Sometimes texts were written in blue, green, purple, gold or silver inks, but it was soon discovered that texts in bright color were not so readable as texts in black.
"When the copyist had finished his sheet he passed it to the designer, who sketched the border, pictures and initials. The sheet was then given to the illuminator, who painted it. The ornamentation of a mediæval book of the first class is beyond description by words or by wood cuts. Every inch of space was used. Its broad margins were filled with quaint ornaments, sometimes of high merit, admirably painted in vivid colors. Grotesque initials, which, with their flourishes, often spanned the full height of the page, or broad bands of floriated tracery that occupied its entire width, were the only indications of changes of chapter or subject. In printer's phrase the composition was "close-up and solid" to the extreme degree of compactness. The uncommonly free use of red ink for the smaller initials was not altogether a matter of taste; if the page had been written entirely in black ink it would have been unreadable through its blackness. This nicety in writing consumed much time, but the mediæval copyist was seldom governed by considerations of time or expense. It was of little consequence whether the book he transcribed would be finished in one or in ten years. It was required only that he should keep at his work steadily and do his best. His skill is more to be commended than his taste. Many of his initials and borders were outrageously inappropriate for the text for which they were designed. The gravest truths were hedged in the most childish conceits. Angels, butterflies, goblins, clowns, birds, snails and monkeys, sometimes in artistic, but much oftener in grotesque and sometimes in highly offensive positions are to be found in the illuminated borders of copies of the gospels and writings of the fathers.
"The book was bound by the forwarder, who sewed the leaves and put them in a cover of leather or velvet; by the finisher, who ornamented the cover with gilding and enamel. The illustration of book binding, published by Amman in his Book of Trades, puts before us many of the implements still in use. The forwarder, with his customary apron of leather, is in the foreground, making use of a plow-knife for trimming the edges of a book. The lying press, which rests obliquely against the block before him, contains a book that has received the operation of backing-up from a queer shaped hammer lying upon the floor. The workman at the end of the room is sewing together the sections of a book, for sewing was properly regarded as a man's work, and a scientific operation altogether beyond the capacity of the raw seamstress. The work of the finisher is not represented, but the brushes, the burnishers, the sprinklers and the wheel-shaped gilding tools hanging against the wall leave us no doubt as to their use. There is an air of antiquity about everything connected with this bookbindery which suggests the thought that its tools and usages are much older than those of printing. Chevillier says that seventeen professional bookbinders found regular employment in making up books for the University of Paris, as early as 1292. Wherever books were produced in quantities, bookbinding was set apart as a business distinct from that of copying.
"The poor students who copied books for their own use were also obliged to bind them, which they did in a simple but efficient manner by sewing together the folded sheets, attaching them to narrow parchment bands, the ends of which were made to pass through a cover of stout parchment at the joint near the back. The ends of the bands were then pasted down under the stiffening sheet of the cover, and the book was pressed. Sometimes the cover was made flexible by the omission of the stiffening sheet; sometimes the edges of the leaves were protected by flexible and overhanging flaps which were made to project over the covers; or by the insertion in the covers of stout leather strings with which the two covers were tied together. Ornamentation was entirely neglected, for a book of this character was made for use and not for show. These methods of binding were mostly applied to small books intended for the pocket; the workmanship was rough, but the binding was strong and serviceable."
The book of Mr. Merryweather, here reprinted, is thought worthy of preservation in a series designed for the library of the booklover. Its publication followed shortly after that of the works of Digby and Maitland, but shows much original research and familiarity with early authorities; and it is much more than either of these, or of any book with which we are acquainted, a plea in defense of bibliomania in the middle ages. Indeed the charm of the book may be said to rest largely upon the earnestness with which he takes up his self-imposed task. One may fancy that after all he found it not an easy one; in fact his "Conclusion" is a kind of apology for not having made out a better case. But this he believes he has proven, "that with all their superstition, with all their ignorance, their blindness to philosophic light—the monks of old were hearty lovers of books; that they encouraged learning, fostered it, and transcribed repeatedly the books which they had rescued from the destruction of war and time; and so kindly cherished and husbanded them as intellectual food for