The greater part of these works were intrusted to monks and their clerks, who were exhorted, by the rules of their order, to learn writing, and to persevere in the work of copying manuscripts, as being one most acceptable to God; those who could not write being recommended to learn to bind books. Alcuin entreats all to employ themselves in copying books, saying, "It is a most meritorious work, more useful to the health than working in the fields, which profits only a man's body, whilst the labour of a copyist profits his soul."[[45]]

Home production could, however, by no means suffice to multiply books, and especially religious books, with sufficient rapidity to satisfy the eager demand for them. Long journeys appear to have been taken to foreign countries, by learned ecclesiastics, for scarcely any other purpose than the collection of manuscripts; while quantities were imported into England from abroad. Thus Bede tells us, that Wilfrid, bishop of Wearmouth and Jarrow, and Acca, Wilfrid's successor, collected many books abroad for their libraries, at the end of the seventh century. Thus Theodore of Tarsus brought back an extensive library of Grecian and Roman authors, on his return to Canterbury, in 668, from a mission to Rome; and thus, as we are told by Mr. Maitland,[[46]] when "Aldhelm, who became Bishop of Schireburn in the year 705, went to Canterbury, to be consecrated by his old friend and companion Berthwold (pariter literis studuerant, pariterque viam religionis triverant), the archbishop kept him there many days, taking counsel with him about the affairs of his diocese. Hearing of the arrival of the ships at Dover during this time, he went there to inspect their unloading, and to see if they had brought anything in his way (si quid forte commodum ecclesiastico usui attidissent nautæ qui e Gallico sinu in Angliam, provecti librorum copiam apportassent). Among many other books, he saw one containing the whole of the Old and New Testaments, which he at length bought: and William of Malmesbury, who wrote his life in the twelfth century, tells us it was still preserved at that place."

How deeply must all lovers of illumination regret the infinite destruction of books that has prevailed in all ages! Of all this "librorum copiam," how few survive. Even in the days of Alfred the Great, the Danes had destroyed the majority of them; for, as that great royal Bibliomaniac exclaims, in his preface to the "Pastoral of Gregory,"—"I saw, before all were spoiled and burnt, how the churches throughout Britain were filled with treasures and books."

I now leave our own country for a while, and return to the general continent of Europe; having, I trust, satisfactorily established the individuality of those three great styles of illumination, from the fusion of which the Romanesque, and ultimately the Mediæval, system sprang,—viz., the Roman, or pictorial; the Greek, or golden; and the Hiberno-Saxon, or intricate. The commencement of that fusion has been traced in the later Anglo-Saxon work, and it now remains to observe the circumstances under which a similar, and even more marked, amalgamation took place on the continent, under the auspices of Charlemagne, the greatest patron of the art who ever lived.

Much has been assumed by early Palæographers, and even some recent ones, with respect to the influence exercised by the Lombard MSS. executed between the establishment of the Lombard kingdom in the year 568, and its absorption A.D. 774, in the empire of Charlemagne, on the class of illumination introduced under his auspices; but the specimens which have descended to these days exhibit such an entire decrepitude of style, as to justify the belief that, with the exception of a peculiar broken-backed letter, known as "Lombard brisé," the Lombards themselves contributed little or nothing to the results which attended the efforts made by that great sovereign to raise the art of book-decoration in his day to its highest pitch. It was mainly by the aid, and through the direct instrumentality, of the learned Anglo-Saxon, Alcuin, that Charlemagne carried out his laudable design. This industrious ecclesiastic, who was born in the year 735, received his education under Egbert and Elbert, successive archbishops of the see of York,—having been appointed at an early age "custodian" to the library collected by the former. On the death of Elbert, he was sent to Rome to receive the pallium of investiture for the new archbishop Enbalde. On his journey home, in 780, he passed through Parma, where Charlemagne happened to be at the time. The consequence of their meeting in that city was, that Alcuin received and accepted an invitation to take up his residence at the court of the Frankish sovereign. During four-and-twenty years, until his death, indeed, in 804, he retained the affection and respect of his royal patron, and occupied himself in incessant labour for the advancement of learning, and the multiplication of pure texts of the Holy Scriptures and other good books. Several of Alcuin's letters to Charlemagne are still extant, in which the supremacy of the English schools and libraries is distinctly recognized, as well as the direct influence exercised by them on Frankish literature, and, as in those days literature and illumination were inseparable, on illumination also. Thus, in one place he begs his master to give him "those exquisite books of erudition which I had in my own country by the good and devout industry of my master Egbert, the archbishop." Again, referring to the same "treasures of wisdom," he proposes,—"If it shall please your wisdom, I will send some of our boys, who may copy from thence whatever is necessary, and carry back into France the flowers of Britain; that the garden may not be shut up in York, but the fruits of it may be placed in the paradise of Tours."

One of the evidences of the eagerness with which this task of multiplying the sources of learning was carried on, is to be found in the attempts made to abridge and expedite labour. Thus, as M. Chassant[[47]] observes in his useful little manual of abbreviations[[48]] used during the Middle Ages, the texts of all documents of importance were comparatively free from contractions from the period when Justinian the Great banished them, by an imperial edict, from all legal instruments, until the accession of Charlemagne, "during whose reign, either to save time or vellum, the scribes revived the ancient Roman practice of using initials, and frequently arbitrary signs, to represent whole words of frequent recurrence."

It is, however, in the quality, rather than the quantity, of Carlovingian MSS. that the reader is most likely to be interested; and I therefore hasten to note two or three of the most imposing specimens. The earliest of the grand class is believed to be the Evangelistiarium, long preserved in the Abbey of St. Servin, at Toulouse, and ultimately presented to Napoleon I., on the baptism of the King of Rome, in the name of the city. From contemporary entries, it appears to have been completed, after eight years' labour, in the year 781, by the scribe Godescalc. Of whatever nation "Godescalc" may have been, the volume[[49]] exhibits far too many composite features to justify the belief that any one individual, or even many individuals of one nation, could have executed the whole. The paintings are probably by an Italian hand, being executed freely with the brush, in opaque colours, in the antique manner. Many of the golden borders are quite Greek in style, while the initial letters, and others of the borders, are thoroughly Hiberno-Saxon. A nearly similar dissection would apply to most of the manuscripts executed for Charlemagne's descendants, to the third generation. The volume contains 127 leaves, every leaf, not entirely filled with illumination, being stained purple, with a white margin, and covered with a text, written in golden initials, in two columns, separated by very graceful and delicately-executed borders. Our plates, Technical Manual, Nos. [1] and [2], taken from the great Charlemagne Bible of the British Museum, give a good idea of the nature of the ornament usually employed in similar MSS. to fill up such borders and to form and decorate initial letters. They will serve to show also the common type of the Alphabets in use.

From Charlemagne's "Scriptorium," which was no doubt the head-quarters of the best artists of all nations in his time, proceeded many other volumes of scarcely less interest and magnificence. Among these, the most noteworthy are, the Gospels of St. Medard de Soissons,[[50]] so called because believed to have been presented by Charlemagne to that Abbey;[[51]] the Vienna Psalter, written for Pope Hadrian; the Gospels preserved in the library of the Arsenal at Paris, and formerly belonging to the Abbaye of St. Martin des Champs;[[52]] the Gospels found upon the knees of the Emperor on opening his tomb at Aix-la-Chapelle; the Harleian MS. No. 3788, known as the "Codex Aureus";[[53]] and last, not least, the Bible, known as that of San Calisto, preserved in the Benedictine monastery of that saint at Rome, and formerly in the monastery of San Paolo fuori le Mura. The frontispiece to this volume, which is no less than one foot four inches high, by one foot one inch wide, represents a sitting emperor holding a globe, on which are inscribed various letters, arranged in the peculiar form adopted by Charlemagne in his signs manual.

Historical Manual.Plate No III.
XTH Century.