As the extant Greek manuscripts of the New Testament supply both the most copious and the purest sources of Textual Criticism, we propose to present to the reader some account of their peculiarities in regard to material, form, style of writing, date and contents, before we enter into details respecting individual copies, under the several subdivisions to which it is usual to refer them.
1. The subject of the present section has been systematically discussed in the “Palaeographia Graeca” (Paris, 1708, folio) of Bernard de Montfaucon [1655-1741[16]], the most illustrious member of the learned Society of the Benedictines of St. Maur. This truly great work, although its materials are rather too exclusively drawn from manuscripts deposited in French libraries, and its many illustrative facsimiles are somewhat rudely engraved, still maintains a high authority on all points relating to Greek manuscripts, even after more recent discoveries, especially among the papyri of Egypt and Herculaneum, have necessarily modified not a few of its statements. The four splendid volumes of M. J. B. Silvestre's “Paléographie Universelle” (Paris, 1839-41, &c. folio) afford us no less than 300 plates of the Greek writing of various ages, sumptuously executed; though the accompanying letter-press descriptions, by F. and A. Champollion Fils, seem in this branch of the subject a little disappointing; nor are the valuable notes appended to his translation of their work by Sir Frederick Madden (London, 2 vols. 1850, 8vo) sufficiently numerous or elaborate to supply the Champollions' defects. Much, however, may also be learnt from the “Herculanensium [pg 022] voluminum quae supersunt” (Naples, 10 tom. 1793-1850, fol.); from Mr. Babington's three volumes of papyrus fragments of Hyperides, respectively published in 1850, 1853 and 1858; and especially from the Prolegomena to Tischendorf's editions of the Codices Ephraemi (1843), Friderico-Augustanus (1846), Claromontanus (1852), Sinaiticus (1862), Vaticanus (1867), and those other like publications (e.g. Monumenta sacra inedita 1846-1870, and Anecdota sacra et profana 1855) which have rendered his name perhaps the very highest among scholars in this department of sacred literature. What I have been able to add from my own observation, has been gathered from the study of Biblical manuscripts now in England. To these sources of information may now be added Professor Wattenbach's “Anleitung zur griechischen Palaeographie” second edition, Leipsic, 1877, Gardthausen's “Griechische Palaeographie,” Leipsic, 1879; Dr. C. R. Gregory's “Prolegomena” to the eighth edition of Tischendorf, and especially the publication of “The Palaeographical Society Greek Testament,” Parts I and II, Leipsic, 1884, 1891, “Facsimiles of Manuscripts and Inscriptions” edited by E. A. Bond and E. M. Thompson, Parts I-XII, London, 1873-82, and a Manual on “Greek and Latin Palaeography” from the hands of Mr. E. Maunde Thompson, of which the proof-sheets have been most kindly placed by the accomplished author at the disposal of the editor of this work, and have furnished to this chapter many elements of enrichment. It may be added, that since manuscripts have been photographed, all other facsimiles have been put in the shade: and in this edition references as a rule will be given only to photographed copies.
2. The materials on which writing has been impressed at different periods and stages of civilization are the following:—Leaves, bark, especially of the lime (liber), linen, clay and pottery, wall-spaces, metals, lead, bronze, wood, waxen and other tablets, papyrus, skins, parchment and vellum, and from an early date amongst the Chinese, and in the West after the capture of Samarcand by the Arabs in a.d. 704, paper manufactured from fibrous substances[17]. The most ancient manuscripts of the New Testament now existing are composed of vellum or parchment (membrana), the term vellum being [pg 023] strictly applied to the delicate skins of very young calves, and parchment to the integuments of sheep and goats, though the terms are as a rule employed convertibly. The word parchment seems to be a corruption of charta pergamena, a name first given to skins prepared by some improved process for Eumenes, king of Pergamum, about b.c. 150. In judging of the date of a manuscript on skins, attention must be paid to the quality of the material, the oldest being almost invariably written on the thinnest and whitest vellum that could be procured; while manuscripts of later ages, being usually composed of parchment, are thick, discoloured, and coarsely grained. Thus the Codex Sinaiticus of the fourth century is made of the finest skins of antelopes, the leaves being so large, that a single animal would furnish only two (Tischendorf, Cod. Frid.-August. Prolegomena, §. 1). Its contemporary, the far-famed Codex Vaticanus, challenges universal admiration for the beauty of its vellum: every visitor at the British Museum can observe the excellence of that of the Codex Alexandrinus of the fifth century: that of the Codex Claromontanus of the sixth century is even more remarkable: the material of those purple-dyed fragments of the Gospels which Tischendorf denominates N, also of the sixth century, is so subtle and delicate, that some persons have mistaken the leaves preserved in England (Brit. Mus. Cotton, Titus C xv) for Egyptian papyrus. Paper made of cotton[18] (charta bombycina, called also charta Damascena from its place of manufacture) may have been fabricated in the ninth[19] or tenth century, and linen paper (charta proper) as early as 1242 a.d.; but they were seldom used for Biblical manuscripts sooner than the thirteenth, and had not entirely displaced parchment at the era of the invention of printing, about a.d. 1450. Lost portions of parchment or vellum manuscripts are often supplied in paper by some later hand; [pg 024] but the Codex Leicestrensis of the fourteenth century is composed of a mixture of inferior vellum and worse paper, regularly arranged in the proportion of two parchment to three paper leaves, recurring alternately throughout the whole volume. Like it, in the mixture of parchment and paper, are codd. 233 and Brit. Mus. Harl. 3,161—the latter however not being a New Testament MS.
3. Although parchment was in occasional, if not familiar, use at the period when the New Testament was written (τὰ βιβλία, μάλιστα τὰς μεμβράνας 2 Tim. iv. 13), yet the more perishable papyrus of Egypt was chiefly employed for ordinary purposes. This vegetable production had been used for literary purposes from the earliest times. “Papyrus rolls are represented on the sculptured walls of Egyptian temples.” The oldest roll now extant is the papyrus Prisse at Paris, which dates from 2500 b.c., or even earlier, unless those which have been lately discovered by Mr. Flinders Petrie reach as far, or even farther, back[20]. The ordinary name applied in Greek to this material was χάρτης (2 John 12), though Herodotus terms it βύβλος (ii. 100, v. 58), and in Latin charta (2 Esdr. xv. 2; Tobit vii. 14—Old Latin Version). Papyrus was in those days esteemed more highly than skins: for Herodotus expressly states that the Ionians had been compelled to have recourse to goats and sheep for lack of byblus or papyrus; and Eumenes was driven to prepare parchment because the Alexandrians were too jealous to supply him with the material which he coveted[21]. Indeed, papyrus was used far beyond the borders of Egypt, and was plentiful in Rome under the Empire, being in fact the common material among the Romans during that period: and as many of the manuscripts of the New Testament must have been written upon so perishable a substance in the earliest centuries since the Christian era, this probably is one of the reasons why we possess no considerable copies from before the second quarter of the fourth century. Only a few fragments of the New Testament on papyrus remain. We find a minute, if not a very clear description of the mode of preparing the papyrus for the scribe in the works of the elder Pliny (Hist. Nat. xiii. 11, 12). The plant grew in Egypt, also [pg 025] in Syria, and on the Niger and the Euphrates. Mainly under Christian influence it was supplanted by parchment and vellum, which had superior claims to durability, and its manufacture ceased altogether on the conquest of Egypt by the Mohammedans (a.d. 638).
4. Parchment is said to have been introduced at Rome not long after its employment by Attalus. Nevertheless, if it had been in constant and ordinary use under the first Emperors, we can hardly suppose that specimens of secular writing would have failed to come down to us. Its increased growth and prevalence about synchronize with the rise of Constantinopolitan influence. It may readily be imagined that vellum (especially that fine sort by praiseworthy custom required for copies of Holy Scripture) could never have been otherwise than scarce and dear. Hence arose, at a very early period of the Christian era, the practice and almost the necessity of erasing ancient writing from skins, in order to make room for works in which the living generation felt more interest, especially when clean vellum failed the scribe towards the end of his task. This process of destruction, however, was seldom so fully carried out, but that the strokes of the elder hand might still be traced, more or less completely, under the more modern writing. Such manuscripts are called codices rescripti or palimpsests (παλίμψηστα[22]), and several of the most precious monuments of sacred learning are of this description. The Codex Ephraemi at Paris contains large fragments both of the Old and New Testament under the later Greek works of St. Ephraem the Syrian: and the Codex Nitriensis, more recently disinterred from a monastery in the Egyptian desert and brought to the British Museum, comprises a portion of St. Luke's Gospel, nearly obliterated, and covered over by a Syriac treatise of Severus of Antioch against Grammaticus, comparatively of no value whatever. It will be easily believed that the collating or transcribing of palimpsests has cost much toil and patience to those whose loving zeal has led them to the attempt: and after all the true readings will be sometimes (not often) rather uncertain, [pg 026] even though chemical mixtures (of which “the most harmless is probably hydrosulphuret of ammonia”) have recently been applied with much success to restore the faded lines and letters of these venerable records.
5. We need say but little of a practice which St. Jerome[23] and others speak of as prevalent towards the end of the fourth century, that of dyeing the vellum purple, and of stamping rather than writing the letters in silver and gold. The Cotton fragment of the Gospels, mentioned above (p. [23]), is one of the few remaining copies of this kind, as are the newly discovered Codex Rossanensis and the Codex Beratinus, and it is not unlikely that the great Dublin palimpsest of St. Matthew owes its present wretched discoloration to some such dye. But, as Davidson sensibly observes, “the value of a manuscript does not depend on such things” (Biblical Criticism, vol. ii. p. 264). We care for them only as they serve to indicate the reverence paid to the Scriptures by men of old. The style, however, of the pictures, illustrations, arabesques and initial ornaments that prevail in later copies from the eighth century downwards, whose colours and gilding are sometimes as fresh and bright as if laid on but yesterday[24], will not only interest the student by tending to throw light on mediaeval art and habits and modes of thought, but will often fix the date of the books which contain them with a precision otherwise quite beyond our reach.
6. The ink found upon ancient manuscripts is of various colours[25]. Black ink, the ordinary writing fluid of centuries (μέλαν, atramentum, &c.) differs in tint at various periods and in different countries. In early MSS. it is either pure black or slightly brown; in the Middle Ages it varies a good deal according to age and locality. In Italy and Southern Europe it is generally blacker than in the North, in France and Flanders [pg 027] it is generally darker than in England; a Spanish MS. of the fourteenth or fifteenth century may usually be recognized by the peculiar blackness of the ink. Deterioration is observable in the course of time. The ink of the fifteenth century particularly is often of a faded grey colour. Inks of green, yellow, and other colours, are also found, but generally only for ornamental purposes. Red, either in the form of a pigment or fluid ink, is of very ancient and common use, being seen even in early Egyptian papyri. Gold was also used as a writing fluid at a very early period. Purple-stained vellum MSS. were usually written upon in gold or silver letters, and ordinary white vellum MSS. were also written in gold, particularly in the ninth and tenth centuries, in the reigns of the Carlovingian kings. Gold writing as a practice died out in the thirteenth century: and writing in silver appears to have ceased contemporaneously with the disuse of stained vellum. The ancients used the liquid of cuttle-fish. Pliny mentions soot and gum as the ingredients of writing-ink. Other later authors add gall-apples: metallic infusions at an early period, and vitriol in the Middle Ages were also employed.
7. While papyrus remained in common use, the chief instrument employed was a reed (κάλαμος 3 John ver. 13, canna), such as are common in the East at present: a few existing manuscripts (e.g. the Codd. Leicestrensis and Lambeth 1350) appear to have been thus written. Yet the firmness and regularity of the strokes, which often remain impressed on the vellum or paper after the ink has utterly gone, seem to prove that in the great majority of cases the stilus made of iron, bronze, or other metal, or ivory or bone, sharp at one end to scratch the letters, and furnished with a knob or flat head at the other for purposes of erasure, had not gone wholly out of use. We must add to our list of Writing materials a bodkin or needle (acus), by means of which and a ruler the blank leaf was carefully divided, generally on the outer side of the skin, into columns and lines, whose regularity much enhances the beauty of our best copies. The vestiges of such points and marks may yet be seen deeply indented on the surface of nearly all manuscripts, those on one side of each leaf being usually sufficiently visible to guide the scribe when he came to write on the reverse. The quill pen [pg 028] probably came into use with vellum, for which it is obviously suited. The first notices of it occur in a story respecting Theodoric the Ostrogoth, and in a passage of Isidore's “Origines”[26] (vi. 13).
8. Little need be said respecting the form of manuscripts, which in this particular (codices) much resemble printed books. A few are in large folio; the greater part in small folio or quarto, the prevailing shape being a quarto (quaternio or quire) whose height but little exceeds its breadth; some are in octavo, a not inconsiderable number smaller still: and quires of three sheets or six leaves, and five sheets or ten leaves (Cod. Vaticanus), are to be met with. In some copies the sheets have marks in the lower margin of their first or last pages, like the signatures of a modern volume, the folio at intervals of two, the quarto at intervals of four leaves, as in the Codex Bezae of the Gospels and Acts (D), and the Codex Augiensis of St. Paul's Epistles (F). Not to speak at present of those manuscripts which have a Latin translation in a column parallel to the Greek, as the Codex Bezae, the Codex Laudianus of the Acts, and the Codices Claromontanus and Augiensis of St. Paul, many copies of every age have two Greek columns on each page; of these the Codex Alexandrinus is the oldest: the Codex Vaticanus has three columns on a page, the Codex Sinaiticus four. The unique arrangement[27] of these last two has been urged as an argument [pg 029] for their higher antiquity, as if they were designed to imitate rolled books, whose several skins or leaves were fastened together lengthwise, so that their contents always appeared in parallel columns; they were kept in scrolls which were unrolled at one end for reading, and when read rolled up at the other. This fashion prevails in the papyrus fragments yet remaining, and in the most venerated copies of the Old Testament preserved in Jewish synagogues.
9. We now approach a more important question, the style of writing adopted in manuscripts, and the shapes of the several letters. These varied widely in different ages, and form the simplest and surest criteria for approximating to the date of the documents themselves. Greek characters are properly divided into “majuscules” and “minuscules,” or by a subdivision of the former, into Capitals, which are generally of a square kind, fitted for inscriptions on stones like Ε; Uncials, or large letters[28], and a modification of Capitals, with a free introduction of curves, and better suited for writing, like Ε; and Cursives, or small letters, adapted for the running hand. Uncial manuscripts were written in what have frequently been regarded as capital letters, formed separately, having no connexion with each other, and (in the earlier specimens) without any space between the words, the marks of punctuation being few: the cursive or running hand comprising letters more easily and rapidly made, those in the same word being usually joined together, with a complete system of punctuation not widely removed from that of printed books. Speaking generally, and limiting our statement to Greek manuscripts of the New Testament, Uncial letters or the Literary or Book-hand prevailed from the fourth to the tenth, or (in the case of liturgical books) as late as the eleventh century; Cursive letters were employed as early as the ninth or tenth century, and continued in use until the invention of [pg 030] printing superseded the humble labours of the scribe. But cursive writing existed before the Christian era: and it seems impossible to suppose that so very convenient a form of penmanship could have fallen into abeyance in ordinary life, although few documents have come down to us to demonstrate the truth of this supposition.