The Roman conception of a library was realised by Pope Sixtus V., in 1587[113], when the present Vatican Library was commenced from the design of the architect Fontana. I am not aware that there is any contemporary record to prove that either the Pope or his advisers contemplated this direct imitation; but it is evident, from the most cursory inspection of the large room ([fig. 16]), that the main features of a Roman library are before us[114]; and perhaps, having regard to the tendency of the Renaissance, especially in Italy, it would be unreasonable to expect a different design in such a place, and at such a period.
This noble hall—probably the most splendid apartment ever assigned to library-purposes—spans the Cortile del Belvedere from east to west, and is entered at each end from the galleries connecting the Belvedere with the Vatican palace. It is 184 feet long, and 57 feet wide, divided into two by six piers, on which rest simple quadripartite vaults. The north and south walls are each pierced with seven large windows. No books are visible. They are contained in plain wooden presses 7 feet high and 2 feet deep, set round the piers, and against the walls between the windows. The arrangement of these presses will be understood from the general view ([fig. 16]), and from the view of a single press open ([fig. 17]).
In the decoration, with which every portion of the walls and vaults is covered, Roman methods are reproduced, but with a difference. The great writers of antiquity are conspicuous by their absence; but the development of the human race is commemorated by the presence of those to whom the invention of letters is traditionally ascribed; the walls are covered with frescoes representing the foundation of the great libraries which instructed the world, and the assemblies of the Councils which established the Church; the vaults record the benefits conferred on Rome by Sixtus V., in a series of historical views, one above each window; and over these again are stately figures, each embodying some sacred abstraction—"Thrones, dominations, princedoms, virtues, powers"—with angels swinging censers, and graceful nymphs, and laughing satyrs—a strange combination of paganism and Christianity—amid wreaths of flowers, and arabesques twining round the groups and over every vacant space, partly framing, partly hiding, the heraldic devices which commemorate Sixtus and his family:—a web of lovely forms and brilliant colours, combined in an intricate and yet orderly confusion.
It may be questioned whether such a room as this was ever intended for study. The marble floor, the gorgeous decoration, the absence of all appliances for work in the shape of desks, tables, chairs, suggest a place for show rather than for use. The great libraries of the Augustan age, on the other hand, seem, so far as we can judge, to have been used as meeting-places and reading-rooms for learned and unlearned alike. In general arrangement and appearance, however, the Vatican Library must closely resemble its imperial predecessors.
Fig. 17. A single press in the Vatican Library, open. From a photograph.
FOOTNOTES:
[1] Discoveries in the Ruins of Nineveh and Babylon, 2 vols., 8vo. Lond. 1853. Vol. II., p. 343.
[2] Ezra, vi. I.