These lines undoubtedly imply that there was on the walls a long series of portraits of the Fathers of the Church, including that of Agapetus himself, who had won his right to a place among them by building a sumptuous home for their works[109].

The design of Agapetus, interrupted by death, was carried forward by his friend Cassiodorus, at a place in South Italy called Vivarium, near his own native town Squillace. Shortly after his final retirement from court, a.d. 538, Cassiodorus established there a brotherhood, which, for a time at least, must have been a formidable rival to that of S. Benedict. A library held a prominent place in his conception of what was needed for their common life. He says little about its size or composition, but much rhetoric is expended on the contrivances by which its usefulness and attractiveness were to be increased. A staff of bookbinders was to clothe the manuscripts in decorous attire; self-supplying lamps were to light nocturnal workers; sundials by day, and water-clocks by night, enabled them to regulate their hours. Here also was a scriptorium, and it appears probable that between the exertions of Cassiodorus and his friend Eugippius, South Italy was well supplied with manuscripts[110].

These attempts to snatch from oblivion libraries which, though probably according to our ideas insignificant, were centres of culture in the darkest of dark ages, will be illustrated by the fuller information that has come down to us respecting the library of Isidore, Bishop of Seville 600-636. The "verses composed by himself for his own presses," to quote the oldest manuscript containing them[111], have been preserved, with the names of the writers under whose portraits they were inscribed.

There were fourteen presses, arranged as follows:

I.Origen.VIII.Prudentius.
II.Hilary.IX.Avitus, Juvencus, Sedulius.
III.Ambrose.X.Eusebius, Orosius.
IV.Augustine.XI.Gregory.
V.Jerome.XII.Leander.
VI.Chrysostom.XIII.Theodosius, Paulus, Gaius.
VII.Cyprian.XIV.Cosmas, Damian, Hippocrates, Galen.

These writers are probably those whom Isidore specially admired, or had some particular reason for commemorating. The first seven are obvious types of theologians, and the presses over which they presided were doubtless filled not merely with their own works, but with bibles, commentaries, and works on Divinity in general. Eusebius and Orosius are types of ecclesiastical historians; Theodosius, Paulus, and Gaius, of jurists; Cosmas, Damian, etc. of physicians. But the Christian poets Prudentius to Sedulius could hardly have needed two presses to contain their works; nor Gregory the Great the whole of one. Lastly, Leander, Isidore's elder brother, could only owe his place in the series to fraternal affection. I conjecture that these portraits were simply commemorative; and that the presses beneath them contained the books on subjects not suggested by the rest of the portraits, as for example, secular literature, in which Isidore was a proficient.

The sets of verses[112] begin with three elegiac couplets headed Titulus Bibliothece, probably placed over the door of entrance.

Sunt hic plura sacra, sunt hic mundalia plura:
Ex his si qua placent carmina, tolle, lege.
Prata vides, plena spinis, et copia florum;
Si non vis spinas sumere, sume rosas.
Hic geminæ radiant veneranda volumina legis;
Condita sunt pariter hic nova cum veteri.

Here sacred books with worldly books combine;
If poets please you, read them; they are thine.
My meads are full of thorns, but flowers are there;
If thorns displease, let roses be your share.
Here both the Laws in tomes revered behold;
Here what is new is stored, and what is old.

The authors selected are disposed of either in a single couplet, or in several couplets, according to the writer's taste. I will quote the lines on S. Augustine: