[152] In a long list of gifts by Robert de Hecham, I find "librum Ysidore ethimologiarum possuit in armarium claustri et alia plura fecit."—Thorpe Reg. Rof., p. 123.
CHAPTER V
Lindesfarne.—St. Cuthbert's Gospels.—Destruction of the Monastery.—Alcuin's Letter on the occasion.—Removal to Durham.—Carelepho.—Catalogue of Durham Library.—Hugh de Pusar.—Anthony Bek.—Richard de Bury and his Philobiblon, etc.
he Benedictine monastery of Lindesfarne, or the Holy Island, as it was called, was founded through the instrumentality of Oswald, the son of Ethelfrith, king of Northumberland, who was anxious for the promulgation of the Christian faith within his dominions. Aidan, the first bishop of whom we have any distinct account, was appointed about the year 635. Bede tells us that he used frequently to retire to the Isle of Farne, that he might pray in private and be undisturbed.[153] This small island, distant about nine miles from the church of Lindesfarne, obtained great celebrity from St. Cuthbert, who sought that quiet spot and led there a lonely existence in great continence of mind and body.[154] In 685 he was appointed to the see of Lindesfarne, where, by his pious example and regular life, he instructed many in their religious duties. The name of this illustrious saint is intimately connected with a most magnificent specimen of calligraphical art of the eighth century, preserved in the British Museum,[155] and well known by the name of the Durham Book, or Saint Cuthbert's Gospels; it was written some years after the death of that Saint, in honor of his memory, by Egfrith, a monk of Lindesfarne, who was made bishop of that see in the year 698. At Egfrith's death in 721, his successor, Æthilwald, most beautifully bound it in gold and precious stones, and Bilfrid, a hermit, richly illuminated it by prefixing to each gospel a beautiful painting representing one of the Evangelists, and a tesselated cross, executed in a most elaborate manner. He also displayed great skill by illuminating the large capital letters at the commencement of each gospel.[156] Doubtless, the hermit Bilfrid was an eminent artist in his day. Aldred, the Glossator, a priest of Durham, about the year 950, still more enriched this precious volume by interlining it with a Saxon Gloss, or version of the Latin text of St. Jerome, of which the original manuscript is a copy.[157] It is therefore, one of the most venerable of those early attempts to render the holy scriptures into the vernacular tongue, and is on that account an interesting relic to the Christian reader, and, no doubt, formed the choicest volume in the library of Lindesfarne.[158]
But imperfectly, indeed, have I described the splendid manuscript which is now lying, in all its charms, before me. And as I mark its fine old illuminations, so bright in color, and so chaste in execution, the accuracy of its transcription, and the uniform beauty of its calligraphy, my imagination carries me back to the quiet cloister of the old Saxon scribe who wrote it, and I can see in Egfrith, a bibliomaniac, of no mean pretensions, and in Bilfrid, a monkish illuminator, well initiated in the mysteries of his art. The manuscript contains 258 double columned folio pages, and the paintings of the Evangelists each occupy an entire page. We learn the history of its production from a very long note at the end of the manuscript, written by the hand of the glossator.[159]