The Romance of Book-Collecting

by J. Herbert Slater

Now here comes the crux of the argument. Only the smaller houses were dissolved at this time, and unless human nature were totally different in the days of Henry VIII. from what it is now, unless the Abbots of Furness, Bolton, Fountains, and other large and extremely rich monasteries, looked on unmoved while their humbler brethren were stripped to the skin and flung destitute into the lanes and ditches to die, then it is morally certain that they would take steps to protect themselves, as far as lay in their power, from the fury of the storm which they must have known would shortly burst over their heads. Unless they were wholly infatuated, they would cautiously and gradually remove their choicest possessions, their basins, images, censers, crucifixes and chalices, and above all their precious volumes, with which the very history and fortunes of the abbey were associated, and bury them deep down, perhaps fifteen or twenty feet, under the walls.

The ruin brought at this time upon all that was priceless by reason of its antiquity and associations is incalculable, and the only ray of consolation let in upon these dark days' doings is that the Abbots of the larger monasteries, taking warning from what they saw going on all around, may have buried their choicest possessions, where, perhaps, they will be found some of these days, when the plough shall furrow up the dust of Furness or Denever.

Many of the inventories taken by the King's agents are extant. One of them, that of Fountains, taken just before the Dissolution, will suffice to show what is meant. The value of all the plate, gold and silver, amounted to £708 5s. 9-3/4d.—a comparatively small sum, seeing that the cattle, sheep and swine belonging to the abbey were of much greater value. Not a single book of any kind is scheduled, and yet the library of Fountains was at one time the most extensive and important in Yorkshire. As the Knights Templars buried their gold under the high altar in the church of the New Temple, yet standing within sound of the roar of Fleet Street, in order to protect it against the rapacity of Edward I., so it is suggested that the Abbots of Fountains and other surviving houses buried their treasures in the most sacred place they could think of, thereby handing them over, as it were, to God and the right, rather than abandon them to the tender mercies of man.

Now, this is merely an argument based upon probability; it cannot, from the very nature of the case, be supported by a scrap of evidence, and yet it carries with it such a ring of truth in my ears that, were I the happy owner of one of those fast-crumbling piles which still rear their rugged fronts to the sky, I would, by all the enamels of Limoges, by the ivory, gold and silver, and rubies which make up this glamour of bindings unseen, put the argument to the test without hesitation and regardless of cost.

Monastic bindings of English workmanship are not, as we may well understand, distinguished as a rule for extreme beauty. The gorgeous covers that protected illuminated manuscripts, themselves extremely valuable, were in vogue at a very early period, long before the invention of printing, and the vast majority were probably either hidden away as suggested, or destroyed. In any case, however, they must have been rare even a thousand years ago—as rare, indeed, as the exceptionally fine missals and breviaries they protected, some of which would take a monk his lifetime to produce. We find that by the fourteenth century monastic bindings were usually serviceable and plain, and that it was only occasionally that rich materials were employed, as, for example, when a King's library was added to, or some important monastery gave a special order by way of continuing the traditions of the house, and showing that time had not in any way curtailed its glories. The most interesting ancient bindings that yet survive to us consist of a specimen of the work of the monk Dagæus, which dates from about 520 A.D., and a manuscript known as the 'Textus Sanctus Cuthberti,' bound in velvet with a broad silver border, and inlaid with gems, by the first English binder, one Bilfred, a monk of Durham, who was living at the beginning of the eighth century. This is the holy volume that was swallowed up by the sea, and, according to the old legend, restored out of respect for the memory of the saint, or perhaps that of the monk or both.

We have, therefore, two styles of monastic bindings—one resplendent in gold, ivory, and precious stones, and the other of a more sober character for ordinary and daily use. The latter were of wood covered with embossed leather, or with plain shark skin, or even seal. They were ponderous, massive folios of great weight and durability, protected in vulnerable parts with brass or iron bosses and corner-plates. We find them produced as a matter of course to about the time of the Renaissance, when they gradually gave place to smaller books bound in velvet or silk, and embroidered by abbesses and nuns, and so the custom prevailed until the days of the first printers, when calf and morocco were introduced from the East by the Venetians, and pigskin or thick parchment became fashionable. Prior to this time oaken boards formed the groundwork of every binding, and to this day the word 'boards' is in general use, although the reason for its existence obtains no longer.

The Italians were the first to awaken to a sense of the propriety of things, and the modern collector to whom bindings appeal with an irresistible force instinctively turns to the first Italian era to supply him with some of the rarest and choicest examples of the art. The commoner monastic bindings have no beauty in his eyes, and those of a superior order and more costly finish are practically interred within the walls of great public institutions, from which they will, in the nature of things, never emerge. For some reason or other the finest binding loses its glamour, if not its interest, when exhibited in a glass case. We must have these things for our own before we can appreciate them to the full. What more melancholy mortal than a public curator trying to work himself up into a state of enthusiasm as he describes the objects committed to his care? They are mere pots and pans and 'things,' but yet how different if he had them all at home!

But to return to our bindings. Let it be observed that with the invention of printing, and the consequent production of books in a more portable form, the modern style of binding was gradually introduced. These were the days of deep-toned leathers, ornamented in gold and variegated colours, and executed for wealthy and powerful Italian families, who employed skilful artists to draw the designs, often consisting of geometrical interfacings or foliage, such as Maioli and Grolier rejoiced in.

This style of ornamenting leather came from the East, as did the Saracenic rope ornament, which was perhaps the first design to take the fancy of Italian workmen. The general appearance of this rope design reminds one of the frontispiece to a certain 'Biography of Jack Ketch,' which someone brought out a few years ago. The half-length portrait of the hero is within a graceful border of ropes intertwined, there are ropes tumbling from the clouds, and he holds a rope in his hand, as if ready to begin. Behind, so far as my memory serves me, there is the frowning portal of Newgate, festooned with fetters. A panel of Saracenic rope-design set on end reminds one of this frontispiece, and we listen instinctively for the tolling of the prison bell.

The celebrated printer Aldus Manutius seems to have been the first to rebel against such sinister designs as these, and, moreover, he was the friend of Jean Grolier and Thommaso Maioli, princes among book-lovers, and artists by nature. Aldus often bound the books he printed in smooth, rich morocco, tooled in gold to various patterns of elaborate design, and to him we doubtless owe much of the improvement in binding which became so marked at the beginning of the sixteenth century. His were, indeed, publishers' bindings produced by rule of thumb, but they are not on that account less worthy of interest, for the name of Aldus is one to conjure with in all things bookish.