The Library [26]
he has weeded out certain items. He will then be able to make a clear comparative estimate of the importance and value of his collection, and by studying one species at a time, to become thoroughly conversant with what it can teach him. When he has, so to speak, burnt his fingers once or twice, he will find himself able to distinguish at sight what no amount of teaching by word of mouth or by writing could ever possibly impart to any advantage.
One thing I should like if possible to impress very strongly upon the reader. That is the fact that a MS. which is not absolutely perfect, if it is in a genuine state, is of much more value than one which has been made perfect by the skill of a modern restorer. The more skilful he is, that is to say the better he can forge the style of the original, the more worthless he renders the volume.
Printing seems to have superseded the art of the illuminator more promptly and completely in England than on the Continent. The dames galantes of Brantome's memoirs took pleasure in illuminated Books of Hours, suited to the nature of their devotions. As late as the time of Louis XIV., Bussy Rabutin had a volume of the same kind, illuminated with portraits of "saints," of his own canonisation. The most famous of these modern examples of costly MSS. was "La Guirlande de Julie," a collection of madrigals by various courtly hands, presented to the illustrious Julie, daughter of the Marquise de Rambouillet, most distinguished of the Precieuses, and wife of the Duc de Montausier, the supposed original of Moliere's Alceste. The MS. was copied on vellum by Nicholas Jarry, the great calligraph of his time. The flowers on the margin were painted by Robert. Not long ago a French amateur was so lucky as to discover the MS. book of prayers of Julie's noble mother, the Marquise de Rambouillet. The Marquise wrote these prayers for her own devotions, and Jarry, the illuminator, declared that he found them most edifying, and delightful to study. The manuscript is written on vellum by the famous Jarry, contains a portrait of the fair Julie herself, and is bound in morocco by Le Gascon. The happy collector who possesses the volume now, heard vaguely that a manuscript of some interest was being exposed for sale at a trifling price in the shop of a country bookseller. The description of the book, casual as it was, made mention of the monogram on the cover. This was enough for the amateur. He rushed to a railway station, travelled some three hundred miles, reached the country town, hastened to the bookseller's shop, and found that the book had been withdrawn by its owner. Happily the possessor, unconscious of his bliss, was at home. The amateur sought him out, paid the small sum demanded, and returned to Paris in triumph. Thus, even in the region of manuscript-collecting, there are extraordinary prizes for the intelligent collector.
TO KNOW IF A MANUSCRIPT IS PERFECT
If the manuscript is of English or French writing of the twelfth, thirteenth, fourteenth, or fifteenth centuries, it is probably either--(1) a Bible, (2) a Psalter, (3) a book of Hours, or (4), but rarely, a Missal. It is not worth while to give the collation of a gradual, or a hymnal, or a processional, or a breviary, or any of the fifty different kinds of service-books which are occasionally met with, but which are never twice the same.
To collate one of them, the reader must go carefully through the book, seeing that the catch-words, if there are any, answer to the head lines; and if there are "signatures," that is, if the foot of the leaves of a sheet of parchment has any mark for enabling the binder to "gather" them correctly, going through them, and seeing that each signed leaf has its corresponding "blank."
1. To collate a Bible, it will be necessary first to go through the catch-words, if any, and signatures, as above; then to notice the contents. The first page should contain the Epistle of St. Jerome to the reader. It will be observed that there is nothing of the nature of a title-page, but I have often
One thing I should like if possible to impress very strongly upon the reader. That is the fact that a MS. which is not absolutely perfect, if it is in a genuine state, is of much more value than one which has been made perfect by the skill of a modern restorer. The more skilful he is, that is to say the better he can forge the style of the original, the more worthless he renders the volume.
Printing seems to have superseded the art of the illuminator more promptly and completely in England than on the Continent. The dames galantes of Brantome's memoirs took pleasure in illuminated Books of Hours, suited to the nature of their devotions. As late as the time of Louis XIV., Bussy Rabutin had a volume of the same kind, illuminated with portraits of "saints," of his own canonisation. The most famous of these modern examples of costly MSS. was "La Guirlande de Julie," a collection of madrigals by various courtly hands, presented to the illustrious Julie, daughter of the Marquise de Rambouillet, most distinguished of the Precieuses, and wife of the Duc de Montausier, the supposed original of Moliere's Alceste. The MS. was copied on vellum by Nicholas Jarry, the great calligraph of his time. The flowers on the margin were painted by Robert. Not long ago a French amateur was so lucky as to discover the MS. book of prayers of Julie's noble mother, the Marquise de Rambouillet. The Marquise wrote these prayers for her own devotions, and Jarry, the illuminator, declared that he found them most edifying, and delightful to study. The manuscript is written on vellum by the famous Jarry, contains a portrait of the fair Julie herself, and is bound in morocco by Le Gascon. The happy collector who possesses the volume now, heard vaguely that a manuscript of some interest was being exposed for sale at a trifling price in the shop of a country bookseller. The description of the book, casual as it was, made mention of the monogram on the cover. This was enough for the amateur. He rushed to a railway station, travelled some three hundred miles, reached the country town, hastened to the bookseller's shop, and found that the book had been withdrawn by its owner. Happily the possessor, unconscious of his bliss, was at home. The amateur sought him out, paid the small sum demanded, and returned to Paris in triumph. Thus, even in the region of manuscript-collecting, there are extraordinary prizes for the intelligent collector.
TO KNOW IF A MANUSCRIPT IS PERFECT
If the manuscript is of English or French writing of the twelfth, thirteenth, fourteenth, or fifteenth centuries, it is probably either--(1) a Bible, (2) a Psalter, (3) a book of Hours, or (4), but rarely, a Missal. It is not worth while to give the collation of a gradual, or a hymnal, or a processional, or a breviary, or any of the fifty different kinds of service-books which are occasionally met with, but which are never twice the same.
To collate one of them, the reader must go carefully through the book, seeing that the catch-words, if there are any, answer to the head lines; and if there are "signatures," that is, if the foot of the leaves of a sheet of parchment has any mark for enabling the binder to "gather" them correctly, going through them, and seeing that each signed leaf has its corresponding "blank."
1. To collate a Bible, it will be necessary first to go through the catch-words, if any, and signatures, as above; then to notice the contents. The first page should contain the Epistle of St. Jerome to the reader. It will be observed that there is nothing of the nature of a title-page, but I have often