From Cave Paintings to the Internet A Chronological and Thematic Database on the History of Information and Media Collecting Books, Manuscripts, Art Timeline

Written in Hieratic, the 110 page Papyrus Ebers is the most extensive surviving record of ancient Egyptian medicine.  "It contains many incantations meant to turn away disease-causing demons and there is also evidence of a long tradition of empirical practice and observation.

"The papyrus contains a treatise on the heart. It notes that the heart is the center of the blood supply, with vessels attached for every member of the body. The Egyptians seem to have known little about the kidneys and made the heart the meeting point of a number of vessels which carried all the fluids of the body — blood, tears, urine and sperm.

"Mental disorders are detailed in a chapter of the papyrus called the Book of Hearts. Disorders such as depression and dementia are covered. The descriptions of these disorders suggest that Egyptians conceived of mental and physical diseases in much the same way.

"The papyrus contains chapters on contraception, diagnosis of pregnancy and other gynaecological matters, intestinal disease and parasites, eye and skin problems, dentistry and the surgical treatment of abscesses and tumors, bone-setting and burns."

Edwin Smith, who also owned the Edwin Smith Papyrus, bought the Ebers Papyrus in 1862. It was said to have been found between the legs of a mummy in the Assassif district of the Theban necropolis. It remained in Smith's collection until at least 1869 when it was offered for sale in the catalog of an antiquities dealer, described as "a large medical papyrus in the possession of Edwin Smith, an American farmer of Luxor." It was purchased in 1872 by the German Egyptologist and novelist Georg Ebers, and is preserved in the University of Leipzig Library.

Nebuchadnezzar II completed the restoration of the Etemenanki ziggurat which was originally built around the time of Hammurabi (1792-1750 BCE). The Tower of Babel Stele, of which two of the original three parts are preserved in the Schøyen Collection (MS 2063), presents an image of the Etemenaki ziggurat contemporary with Nebachadnezzar's restoration, along with a simple building plan.

"The missing part of the stele's back, was in a religious institution in U.S.A., the present whereabouts unknown. The stele was found in a special hiding chamber, broken into 3 parts in antiquity, at Robert Koldewey's excavations of the site of the Tower of Babel in 1917. Its importance was immediately recognised. A photograph was taken with 3 archaeologists standing next to the stele. With the imminent danger of war breaking out in the area, they decided to rescue it, and each archaeologist carried one part out of the war zone. One part was taken to Germany, one part to Jordan and then London, the third part to U.S.A." (http://www.schoyencollection.com/babylonianhist.htm, accessed 02-19-2010).

The library of Aristotle may be the first private library concerning which there is considerable discussion among early commentators. It is impossible to know how much of the discussion has basis in fact. Harris provides the following summary:

“Upon his [Aristotle’s] death, this library was inherited by Aristotle’s teaching successor, Theophrastus of Lesbos. . . .  Theophrastus in turn enlarged the library and later bequeathed it to his nephew Neleus [of Scepsis]. Neleus was not a successful teacher, and in his later years withdrew from the school, taking his library with him to Scepsis in Asia Minor. His descendants, apparently unlettered but aware of the value of the books, saved them by burying them, according to the geographer Strabo, to keep them out of the hands of the Attalid kings of Pergamum who were building up their famous library.

“Finally, about 100 B.C., the mildewed and worm-eaten remnants of Aristotle’s library were sold to Appellicon of Teos, a minor Athenian military leader and book collector. Apellicon tried to restore the damaged volumes but only succeeded in damaging them further when he made incorrect ‘corrections’ for missing fragments of pages and otherwise edited the works. After his death, Athens was captured by the Roman general Sulla, who carried the library off to Rome, where it eventually became a part of Tyrannion’s library. Another account relates that Ptolemy II (285-246 B.C.) acquired Aristotle’s library directly from Neleus and brought it to Egypt to become a part of the great Alexandrian library. It is possible that both stories are partially correct, and it is quite probable that copies at least of Aristotle’s library reached Alexandria eventually” (Harris, History of Libraries in the Western World 4th ed. [1999] 40-41).

For further information see Blum, Kallimachos: The Alexandrian Library and the Origins of Bibliography, tr. by H. Wellisch (1991) 2.6."The Library of Aristotle," 53-64.

"By the end of the Roman Republic the institutions and processes that govern and guard the transmission of the written word were already in existence, and under Augustus and his successors they were refined and consolidated. The book trade became more important, and we soon hear of the names of established booksellers: Horace speaks of the Sosii, later Quintilian and Martial tell of the Tryphon, Atrectus, and others. By the time of the Younger Seneca book collecting was derided as a form of extravagant ostentation. Augustus founded two public libraries, one in 28 B.C. in the Temple of Apollo on the Palatine, the other, not long afterwards, in the Porticus Octaviae. Thereafter libraries were a common form of both private and imperial munificence, in Rome and the provinces. Pliny founded a library in his native Comum and provided money for its upkeep; the best-preserved (and restored) ancient library is that built at Ephesus in memory of Titus Julius Celsus, proconsul of Asia A.D. 106-7; one of the most famous was the Bibliotheca Ulpia founded by Trajan, which long survived the disasters of fire and strife and was still standing in the fifth century" (Reynolds & Wilson, Scribes and Scholars, 3rd. ed. [1991] 24-25).

A Roman cameo glass vase, the Portland Vase, created between 30 BCE and 25 CE, and known since the Renaissance, served as an inspiration to many glass and porcelain makers from about the beginning of the 18th century onwards. It is about 25 centimetres high and 56 in circumference, made of violet-blue glass, and surrounded with a single continuous white glass cameo depicting seven figures of humans and gods. "On the bottom was a cameo glass disc, also in blue and white, showing a head, presumed to be of Paris or Priam on the basis of the Phrygian cap it wears. This roundel clearly does not belong to the vase, and has been displayed separately since 1845. It may have been added to mend a break in antiquity or after, or the result of a conversion from an original amphora form (paralleled by a similar blue-glass cameo vessel from Pompeii) - it was definitely attached to the bottom from at least 1826."

"The meaning of the images on the vase is unclear and controversial. Interpretations of the portrayals have included that of a marine setting (due to the presence of a ketos or sea-snake), and of a marriage theme/context (i.e. as a wedding gift). Many scholars (even Charles Towneley) have concluded that the figures do not fit into a single iconographic set."

"Cameo-glass vessels were probably all made within about two generations as experiments when the blowing technique (discovered in about 50 BC) was still in its infancy. Recent research has shown that the Portland vase, like the majority of cameo-glass vessels, was made by the dip-overlay method, whereby an elongated bubble of glass was partially dipped into a crucible (fire-resistant container) of white glass, before the two were blown together. After cooling the white layer was cut away to form the design."

"The work towards making a 19th century copy proved to be incredibly painstaking, and based on this it is believed that the Portland Vase must have taken its original artisan no less than two years to produce. The cutting was probably performed by a skilled gem-cutter. It is believed that the cutter may have been Dioskourides, as gems cut by him of a similar period and signed by him."

Traditionally the vase was believed to have been discovered by Fabrizio Lazzaro in the sepulchre of the Emperor Alexander Severus, at Monte del Grano near Rome, and excavated some time around 1582.

The first documented reference to the vase is a 1601 letter from the French scholar Nicolas Claude Fabri de Peiresc to the painter Peter Paul Rubens, where it is recorded as in the collection of Cardinal Francesco Maria Del Monte in Italy. It then passed to the Barberini family collection (which also included sculptures such as the Barberini Faun and Barberini Apollo) where it remained for some two hundred years, being one of the treasures of Maffeo Berberini, later Pope Urban VIII.

In 1778 Sir William Hamilton, British ambassador in Naples, purchased it from James Byres. "Byres, a Scottish art dealer, had acquired it after it was sold by Donna Cornelia Barberini-Colonna, Princess of Palestrina. She had inherited the vase from the Barberini family. Hamilton brought it to England on his next leave, after the death of his first wife, Catherine. In 1784, with the assistance of his niece, Mary, he arranged a private sale to Margaret Cavendish-Harley, widow of William Bentinck, 2nd Duke of Portland and so dowager Duchess of Portland. She passed it to her son William Cavendish-Bentinck, 3rd Duke of Portland in 1786.

"The 3rd Duke loaned the original vase to Josiah Wedgwood (see below) and then to the British Museum for safe-keeping, at which point it was dubbed the "Portland Vase". It was deposited there permanently by the fourth Duke in 1810, after a friend of his broke its base. The original Roman vase has remained in the British Museum ever since 1810, apart from three years (1929-32) when William Cavendish-Bentinck, 6th Duke of Portland put it up for sale at Christie's. It failed to reach its reserve. It was purchased by the Museum from William Cavendish-Bentinck, 7th Duke of Portland in 1945 with the aid of a bequest from James Rose Vallentin. . . .

"The 3rd Duke lent the vase to Josiah Wedgwood, who had already had it described to him as 'the finest production of Art that has been brought to England and seems to be the very apex of perfection to which you are endeavouring' by the sculptor John Flaxman. Wedgwood devoted four years of painstaking trials at duplicating the vase - not in glass but in jasperware. He had problems with his copies ranging from cracking and blistering (clearly visible on the example at the Victoria and Albert Museum) to the reliefs 'lifting' during the firing, and in 1786 he feared that he could never apply the Jasper relief thinly enough to match the glass original's subtlety and delicacy. He finally managed to perfect it in 1790, with the issue of the "first-edition" of copies (with some of this edition, including the V&A one, copying the cameo's delicacy by a combination of undercutting and shading the reliefs in grey), and it marks his last major achievement.

"Wedgwood put the first edition on private show between April and May 1790, with that exhibition proving so popular that visitor numbers had to be restricted by only printing 1900 tickets, before going on show in his public London showrooms. (One ticket to the private exhibition, illustrated by Samuel Alkin and printed with 'Admission to see Mr Wedgwood's copy of The Portland Vase, Greek Street, Soho, between 12 o'clock and 5', was bound into the Wedgwood catalogue on view in the Victoria and Albert Museum's British Galleries.) As well as the V&A copy (said to have come from the collection of Wedgwood's grandson, the naturalist Charles Darwin), others are held at the Fitzwilliam Museum (this is the copy sent by Wedgwood to Erasmus Darwin which his descendants loaned to the Museum in 1963 and later sold to them) and the Department of Prehistory and Europe at the British Museum.

"The Vase also inspired a 19th century competition to duplicate its cameo-work in glass, with Benjamin Richardson offering a £1000 prize to anyone who could achieve that feat. Taking three years, glass maker Philip Pargeter made a copy and John Northwood engraved it, to win the prize. This copy is in the Corning Museum of Glass in Corning, New York.

Vandalism and Reconstruction

"On February 7, 1845, the vase was shattered by William Lloyd, who drunkenly threw a nearby sculpture on top of the case smashing both it and the vase. The vase was pieced together with fair success, though the restorer was unable to replace all of the pieces and thirty-seven small fragments were lost. It appears they had been put into a box and forgotten. In 1948, the keeper Bernard Ashmole received thirty-seven fragments in a box from Mr. Croker of Putney, who did not know what they were. In 1845 Mr. Doubleday, the first restorer, did not know where these fragments went. A colleague had taken these to Mr. Gabb, a box maker, who was asked to make a box with thirty seven compartments, one for each fragment. The colleague died, the box was never collected, Gabb died and his executrix Miss Revees asked Croker to ask the museum if they could identify them. The Duke's descendants finally sold the vase to the museum in 1945.

"By 1948, the restoration appeared aged and it was decided to restore the vase again, but the restorer was only successful in replacing three fragments. The adhesive from this weakened, by 1986 the joints rattled when the vase was gently tapped. The third and current reconstruction took place in 1987, when a new generation of conservators assessed the vase's condition during its appearance as the focal piece of an international exhibition of Roman glass and, at the conclusion of the exhibition, it was decided to go ahead with reconstruction and stabilisation. The treatment had scholarly attention and press coverage. The vase was photographed and drawn to record the position of fragments before dismantling; the BBC filmed the conservation process. All previous adhesives had failed, so to find one that would last, conservation scientists at the museum tested many adhesives for long term stability. Finally, an epoxy resin with excellent ageing properties was chosen. Reassembly of the vase was made more difficult as the edges of some fragments were found to have been filed down during the restorations. Nevertheless, all of the fragments were replaced except for a few small splinters. Areas that were still missing were gap-filled with a blue or white resin.

"The newly conserved Portland Vase was returned to display. Little sign of the original damage is visible and except for light cleaning, the vase should not require major conservation work for many years." (Wikipedia article on Portland Vase, accessed 11-10-2009)

The Codex Augusteus of Virgil, or the Vergilius Augusteus, is "a rare example of Square Capitals, which were generally reserved for display purposes or for use in monumental epigraphic inscriptions (scriptura monumentalis), used for a complete text in a prestigious manuscript. The angular letter-forms, with their frequent changes of angle and their serifs, were difficult to achieve with the reed pen (calamus) hence the preference for more rounded book scripts" (Brown, A Guide to Western Historical Scripts from Antiquity to 1600 [1990] no. 1 and plate 1).

Only seven leaves of the manuscript survive, of which four are in the Vatican Library (Vat. Lat. 3256), and the remaining three in the Staatsbibliothek zu Berlin (Lat. fol. 416.)

By the 15th century the manuscript was in St. Denis, Paris. Later it was in the library of jurist, humanist and bibliophile, Claude Dupuy. The Vatican library obtained their portion of the fragment from humanist, historian and archaeologist Fulvio Orsini in 1574-75.

Dating from the fourth or fifth century, the Codex Bembinus (Vatican Library Vat. lat. 3226) is the oldest surviving manuscript containing all or portions of the six comedies or Fabulae of Terence. It is written in Rustic Capitals. 

"The marginal gloss is in a Cursive Half-Uncial, the handwriting of the educated person of late Antiquity which, as in this example, would often be used for annotation of formal works. It consists of a rapid form of Half-Uncial, as the name suggests" (Brown, A Guide to Western Historical Scripts from Antiquity to 1600 [1990] no. 7, plate 7).

In the middle of the 15th century the manuscript belonged to Gianantonio de' Pandoni (Porcellio) when in 1457 it was acquired by humanist Bernardo Bembo. It later passed into the collection of humanist, collector and archaeologist Fulvio Orsini, and entered the Vatican Library in 1600.

Reynolds & Wilson, Scribes and Scholars 3rd. ed., (1991) 36.

The Chronography of 354, also known as the Calendar of 354, is an illuminated manuscript produced for a wealthy Roman Christian named Valentius. It is the earliest dated codex with full page illustrations; however none of the original survived. It is thought that the original may have existed in the Carolingian period, when a number of copies were made, with or without illustrations. These were copied during the Renaissance.

♦ The Calender of 354 is signed by Furius Dionysius Filocalus, with the word "titulavit," as creator of the titles which "display great calligraphic mastery. Whether or not he also executed the drawings is unknown" (Alexander, Medieval Illuminators and their Methods of Work [1992] 4), but Furius Dionysius Filocalus is the first known name associated with the production of a specific book.

"The most complete and faithful copies of the illustrations are the pen drawings in a 17th century manuscript from the Barberini collection (Vatican Library, cod. Barberini lat. 2154.) This was carefully copied, under the supervision of the great antiquary Nicholas-Claude Fabri de Peiresc, from a Carolingian copy, a Codex Luxemburgensis, which was itself lost in the 17th century. These drawings, although they are twice removed from the originals, show the variety of sources that the earliest illuminators used as models for manuscript illustration, including metalwork, frescoes, and floor mosaics. The Roman originals were probably fully painted miniatures.

"Various partial copies or adaptations survive from the Carolingian renaissance and Renaissance periods. Botticelli adapted a figure of the city of Treberis (Trier) who grasps a bound barbarian by the hair for his small panel, traditionally called Pallas and the Centaur.

"The Vatican Barberini manuscript, made in 1620 for Peiresc, who had the Carolingian Codex Luxemburgensis on long-term loan, is clearly the most faithful. After Peiresc's death in 1637 the manuscript disappeared. However some folios had already been lost from the Codex Luxemburgensis before Peiresc received it, and other copies have some of these. The suggestion of Carl Nordenfalk that the Codex Luxemburgensis copied by Peiresc was actually the Roman original has not been accepted. Peiresc himself thought the manuscript was seven or eight hundred years old when he had it, and, though Mabillon had not yet published his De re diplomatica (1681), the first systematic work of paleography, most scholars, following Schapiro, believe Peiresc would have been able to make a correct judgement on its age" (Wikipedia article on the Chronography of 354, accessed 11-25-2008).

An illuminated manuscript on vellum of the first half of the Acts of the Apostles (G. 67) written in Coptic of the Middle Egyptian dialect, and presumably the first half of a two-voume set, is preserved in the Pierpont Morgan Library.

"There is a miniature in the final quire of a crux ansata flanked by two peacocks and bearing three smaller birds. It is the earliest-known Coptic miniature. The place of discovery of this Coptic Acts has never been revealed, but it appeared in the antiquarian book trade in 1961 together with a Coptic Gospel of Matthew that must have belonged to the same find. This latter is now in the possession of William Scheide. Its script is very similar to that of the Glazier Acts, its dialect is the same, and the leaf size of both manuscripts is very nearly identical. Their small format suggests that they were made for private use. The Glazier Acts was originally dated as early as the fourth century, but recently a more generalized dating in the fifth century has been argued.

"The binding of the Scheide Matthew is now quite damaged, with loss of the entire spine or backstrip, but was identifical in type to that of the Glazier Acts. Apart from its boards, all that now remains are carbonized portions of the hinging strips. At least two other Coptic codices, also dated to the fifth century, still retain bindings of this type. One of them is in the Morgan Library, M. 910: a complete Coptic Acts, in the Sahidic dialect. Though severely damaged and partly distingetrated, from what remains the system of wooden boards, backstrip, hinge strips (four), and wrapping strips can be clearly reconstructed. The other example, a Sahidic Mark and Luke, is in the Palau-Ribes collection of the University of Barcelona.

"The fine state of preservation of the Glazier Acts binding, and especially of the goatskin backstrip is so fresh as to have cast some suspicion on its authenticity. However, considering the even more ancient Nag Hammadi find, it should not be assumed a priori that the binding is too good to be true, and that leather could not survive and remain flexible for so long. There have been various losses; the backstrip once extended at both ends, so that it could be folded over the top and bottom edges of the leaves for additional protection. The top extension is now frayed, and that at the bottom has been torn away. Two of the three wrapping strips survive, one only partially; and two of the bone securing pegs terminating the strips. Neither strip is now attached to the board. There are only remains of what were originally two plaited leather place marks, once laced into the upper board, one into the lower. In addition to fillets, the backstrip was stamped with a small tool of concentric circles, a common Coptic decorative pattern repeated on the bone pegs. This is the earliest evidence for tooling on a leather bookbinding.

"Three Egyptian bindings dated to the sixth century have survived in bindings which appear to exhibit later, fancier evolutions of this style; two are in the Chester Beatty Library, Dublin, and one in the Freer Gallery, Washington. The techniques of these bindings have not been entirely deciphered, but in all three examples, the number of hinging holes on the boards was greatly increased, to three dozen or more. In none of the three are there any signs of linkage between sewing and covers--with with the Glazier Acts and others of its group, only glue held the covers to the codex. The backstrips of the two Chester Beatty bndings were stamped with pictorial tools. The wooden covers of the Freer Gospels (a Greek text, but of Egyptian origin) are painted with portraits of the evangelists, two on each cover. It is generally thought that these painted figures were added later, perhaps in the seventh century, and were not part of the orignial conception of the binding. The evangelists are depicted holding codices, a traditional iconography, and it is curious to note that these are quite clearly represented as possessing jewelled covers. . . . "(Needham, Twelve Centuries of Bookbinding: 400-1600 [1979] 9-10).

The Cotton Genesis, a luxury manuscript with many illuminations, is one of the oldest illustrated biblical codices to survive. However, most of the manuscript was destroyed in the Cotton library fire in 1731, leaving only eighteen charred, shrunken scraps of vellum. It is thought that the manuscript originally extended to more than 440 pages with approximately 340 miniature paintings that were framed and inserted into the text column.

"The miniatures were executed in late antique style comparable to Catacomb frescoes. Herbert Kessler and Kurt Weitzmann argue that the manuscript was produced in Alexandria, as it exhibits stylistic similarities to other Alexandrian works such as the Charioteer Papyrus.

"The Cotton Genesis appears to have been used in the 1220s to design 110 mosaic scenes in the atrium of St Mark's Basilica in Venice, after it was brought to Venice following the sack of Constantinople in 1204. The manuscript arrived in England, and was acquired by Sir Robert Cotton in the 17th century." (quoted from the Wikipedia article on Cotton Genesis, accessed 11-26-2008).

Fifty-eight miniatures cut out of a 5th century illuminated manuscript on vellum of the Iliad of Homer are known as the Ilias Ambrosiana (Ilia picta). The manuscript is thought to have been produced in Constantinople during the late 5th or early 6th century, specifically between 493 and 508. "This time frame was developed by Ranuccio Bandinelli and is based on the abundance of green in the pictures, which happened to be the color of the faction in power at the time." (Wikipedia article on Ambrosian Iliad, accessed 11-30-2008).

The images from the Ambrosian Iliad are the only surviving portions of an illustrated copy of Homer from antiquity. Along with the Vergilius Vaticanus and the Vergilius Romanus, this incomplete manuscript of the Iliad is one of only three illustrated manuscripts of classical literature that survived from antiquity. The Iliad images

"show a considerable diversity of compositional schemes, from single combat to complex battle scenes. This indicates that, by that time, Iliad illustration had passed through various stages of development and thus had a long history behind it. It seems mere chance that neither an illustrated Odyssey nor any of the other Greek epic poems has survived" (Weitzmann,  Late Antique and Early Christian Book Illumination [1977] 13).

Before it was preserved in the Bibliotheca Ambrosiana, Milan, the Ilias Ambrosiana fragment was in the library of humanist, botanist, and collector, Gian Vincenzo Pinelli, whose library of hundreds of manuscripts and roughly 8500 printed works was probably the greatest in 16th century Italy.

Nuovo, "The Creation and Dispersal of the Library of Gian Vincenzo Pinelli", Mandelbrote et al (eds) Books on the Move: Tracking Copies Through Collections and the Book Trade (2007) 39-68.

The oldest surviving copy of Pedanus Dioscorides's treatise on medical botany and pharmacology, De Materia Medica, is an illuminated Byzantine manuscript produced about 512 CE. The manuscript also contains the earliest illustrated treatise on ornithology. It is one of the earliest surviving relatively complete codices of a scientific text, one of the earliest relatively complete illustrated codices on any scientific subject, and arguably the most beautiful of the earliest surviving scientific codices. It also contains what are probably the earliest surviving portraits of scientists or physicians in a manuscript.

The manuscript was produced for the Byzantine princess Anicia Juliana, the daughter of Flavius Anicius Olybrius, who had been emperor of the western empire in 472 CE.  "The frontispiece of the manuscript features her depiction, the first donor portrait in the history of manuscript illumination, flanked by the personifications of Magnanimity and Prudence, with an allegory of the "Gratitude of the Arts" prostrate in front of her. The encircling inscription proclaims Juliana as a great patron of art" (Wikipedia article on Anicia Juliana, accessed 11-22-2008).

For this and other commissions Juliana  may be considered the first non-reigning patron of the arts in recorded history.

"Splendid though the figures in the Codex Vindobonensis are, they reveal a naturalism so alien to contemporary Byzantine art that it is obvious that they were not drawn from nature but derived from originals of a much earlier date—as early, at least, as the second century AD. They vary, however, very much in quality and are clearly not all by the same hand, possibly not even all after the work of a single artist. In the text accompaying eleven of them there is association with the writings of Krateuas. All these figures are admirable, and clearly by the same hand; it must therefore seem certain that they, at all events, are derived from drawings by Krateuas himself" (Blunt & Raphael, The Illustrated Herbal [1979] 17).

The story of the manuscript's survival is relatively well documented:

"Presented in appreciation for her patronage in the construction of a district church in Constantinople, the parchment codex comprises 491 folios (or almost a thousand pages) and almost four hundred color illustrations, each occupying a full page facing a description of the plant's pharmacological properties. . . .

"In the Anicia codex, the chapter entries of De Materia Medica have been rearranged, the plants alphabetized and their descriptions augmented with observations from Galen and Crateuas (Krateuas), whose own herbal probably had been illustrated. Five supplemental texts also were appended, including paraphrases of the Theriaca and Alexipharmaca of Nicander and the Ornithiaca of Dionysius of Philadelphia (first century AD), which describes more than forty Mediterranean birds, including one sea bird shown with its wings both folded and open" (http://penelope.uchicago.edu/~grout/encyclopaedia_romana/aconite/materiamedica.html, accessed 11-22-2008)

From the time of its creation "Nearly nine centuries were to pass before we have further knowledge of the whereabouts of the codex. Then we learn that in 1406 it was being rebound by a certain John Chortasmenos for Nathanael, a monk and physician in the Prodromos Monastery in Constantinople, where seveteen years later it was seen by a Sicilian traveler named Aurispa. After the Muslim conquest of the city in 1453 the codex fell into the hands of the Turks, and Turkish and Arabic names were then added to the Greek. A century later it was in the possession of a Jew named Hamon, body physician to Suleiman the Magnificent, and it was presumably either by Hamon or by his son, who inherited it, that Hebrew names were also added" (Blunt & Raphael, op. cit., 15).

"Ogier Ghiselin de Busbecq, ambassador of Holy Roman Emperor Ferdinand I to the Ottoman court of Süleyman, attempted to purchase the Anicia codex in 1562 but could not afford the asking price. As he relates at the end of his Turkish Letters (IV, p.243),

"One treasure I left behind in Constantinople, a manuscript of Dioscorides, extremely ancient and written in majuscules, with drawings of the plants and containing also, if I am not mistaken, some fragments of Crateuas and a small treatise on birds. It belongs to a Jew, the son of Hamon, who, while he was still alive, was physician to Soleiman. I should like to have bought it, but the price frightened me; for a hundred ducats was named, a sum which would suit the Emperor's purse better than mine. I shall not cease to urge the Emperor to ransom so noble an author from such slavery. The manuscript, owing to its age, is in a bad state, being externally so worm-eaten that scarcely any one, if he saw if lying in the road, would bother to pick it up.

"In 1569 Emperor Maximilian II did acquire the Anicia codex for the imperial library in Vienna, now the Austrian National Library (Österreichische Nationalbibliothek), where it is designated Codex Vindobonensis Med. Gr. 1. (from Vindobona, the Latin name for Vienna) or, more simply, the Vienna Dioscorides." (http://penelope.uchicago.edu/~grout/encyclopaedia_romana/aconite/materiamedica.html, accessed 11-22-2008)

The Codex Climaci Rescriptus, a 7-8th century Greek uncial manuscript of the New Testament as well as a 6th century Christian Palestinian Aramaic uncial manuscript of the Old and New Testament, represents in its Christian Palestinian Aramaic version of the New Testament, "the closest surviving witness to the words of Jesus Christ. It preserves the Gospels in the nearest dialect of Aramaic to that which he spoke himself, and unlike all other translations, those here were composed with a living Aramaic tradition based in the Holy Land." 

The palimpsest-manuscript in Christian Palestinian Aramaic was probably written in Judea, the mountainous southern region of Israel, in the sixth century. It was turned upside down and palimpsested in Syriac in the ninth century. It is thought that it passed to St. Catherine's Monastery in Sinai, which was built by the Emperor Justinian I between 527 and 565.

The manuscript was

"acquired by the pioneering Biblical scholars and twins, Agnes Smith Lewis (1843-1926) and Margaret Dunlop Gibson (1843-1920) in three stages between 1895 and 1906 (all in the vicinity of Cairo, the manuscript having presumably been 'liberated' from its monastic home in order to supply leaves for the antiquity trade there). They were staunch Scottish Presbyterians with a consuming interest in the early versions of the Bible, and profound belief in female education, in an age when it practically did not exist. They used their own fortune to become celebrated scholars in the fields of Greek, Latin, Hebrew and Syriac, and thrilled by Tischendorf's discoveries at Sinai, they set off to St. Catherine's on a 'manuscript-hunting' expedition in 1892. They won over the difficult patriarch, partly through their insistence that nothing was to be abstracted from the library there, but only photographs taken, and on that expedition they returned with pictures of the Syriac manuscript which would make them famous, the fourth century Syriac Sinaiticus (their lives and its discovery are the subject of a recent book, J. Soskic, Sisters of Sinai, 2009, which was adapted for BBC Radio 4 this April). Having returned home to Cambridge they were tipped off by a mysterious informant that spectacular manuscripts were to be had through various dealers in Cairo. This was quite different from the questionable removal of manuscripts from ancient libraries, and the twins regarded it as a rescue mission, returning to Egypt and acquiring a single leaf of the present codex . . . in 1895. They acquired a further 89 leaves from the present manuscript in October 1905, and in April of the following year, while passing through Port Tewfik, Agnes Lewis bought two palimpsest - manuscripts on a whim. Upon returning home she discovered that one contained another 48 leaves of the present manuscript, and that the two portions were separated by only a single leaf - that which the twins had acquired first in 1895. They published the entire text in 1909. Only one other leaf of this scattered manuscript has emerged in the last century. . . . On the death of the twins the manuscript was left to Westminster College, Cambridge."

♦ Westminster College consigned the Codex Climaci Rescriptus to auction at Sotheby's London for sale on July 7, 2009 with an estimate of £400,000- £600,000. The quotations in this note were taken from Christopher de Hamel's much longer illustrated description of the manuscript as lot 14 in the catalogue of Sotheby's sale L09740, Western Manuscripts and Miniatures. According to Sotheby's website, the manuscript failed to sell in the auction. In June 2010 it was publicized that the Green family, owners of the Hobby Lobby chain of craft stores, bought the manuscript for their planned Bible museum expected to be located in Dallas, Texas.

British Library, Harley 1775, a mixture of the Vulgate and Old Latin translation of the Gospels, is called "source Z" in critical studies of the Latin New Testament. The manuscript was owned by Jules Cardinal Mazarin. In the early 18th century it was in the French Royal Library, from which it was stolen along with several other manuscripts in 1707 by the renegade priest and adventurer, Jean Aymon. It was purchased in Holland by Robert Harley, 1st Earl of Oxford, and was sold in 1753 by the widow of Edward Harley, 2nd Earl of Oxford and their daughter, to Parliament as part of the Harleian collection which was one the founding collections of the British Museum, the library portion of which eventually became the British Library.

The manuscript is written in Uncial (Littera Uncialis).

"The term 'Uncial' has been thought (perhaps mistakenly) to have been coined in reference to letters an inch high and has been ascribed,probably aporcryphally, to St. Jerome, whose reference to the script and its 'luxury' status are, in fact, somewhat disparaging. Any such remark need not to have referred to the script which we now know as Uncial. There is no word division, the text being written in  the scriptura continua of Antiquity and set out, or punctuated, per cola et commata (i.e. the length of lines primarily indicating where pauses occur and serving to clarify the sense" (Brown, A Guide to Western Historical Scripts from Antiquity to 1600 [1990] no. 5 and plate 5).

The Ashburnham Pentateuch (sometimes called the Tours Pentateuch), a late 6th or early 7th century illuminated manuscript of the Pentateuch, has been described by some scholars as Spanish, but may have come from North Africa, Syria or Italy. Though it originally contained all five books of the Pentateuch, it now lacks the whole of Deuteronomy as well as sections of the other five books.

"It has 142 folios and 19 miniatures, and measures 372mm by 321mm. It is thought to have originally included as many as 68 full page miniatures. A full page table containing the Latin names of the books and Latin transliterations of the Hebrew names serves as a front piece to Genesis. The table is enclosed within a curtained arch. Some of the full page miniatures, such as that containing the miniature of Noah's Ark (folio 9r), contain a single scene. Other of the full page miniatures, such as that telling the story of Cain and Abel, contain many scenes which are placed in a register, with each scene having a different color background" (Wikipedia article on the Ashburnham Pentateuch, accessed 11-26-2008).

♦ The manuscript was at Tours before it was stolen in 1842 by mathematician, historian of science, palaeographer, and book thief, Guglielmo Libri, and sold by Libri in 1847 along with many other stolen manuscripts, to Bertram Ashburnham, 4th Earl of Ashburnham. In 1888 after a long dispute with the French government and the curator of manuscripts at the Bibliothèque nationale, Léopold Delisle, the fifth Earl of Ashburnham sold the manuscript to the Bibliothèque nationale de France, where it is preserved today.

The St. Augustine Gospels, an illuminated Gospel Book written in a sixth-century Italian uncial hand, has traditionally been considered one of the volumes brought by St. Augustine from Rome to Canterbury, England in 597. The manuscript, from the library of Archbishop of Canterbury Matthew Parker, is preserved in the Parker Library at Corpus Christi College, Cambridge. It is characterized by the Parker Library website as the "oldest illustrated Latin gospel book now in existence." Assuming that it travelled to England with Augustine in 597, the manuscript has been in England longer than any other book. It contains corrections to the text in an insular hand of the late 7th or early 8th century, which would confirm the presence of the manuscript in England.

"It was certainly at St. Augustine's Abbey in Canterbury in the 11th century, when documents concerning the Abbey were copied into it. The manuscript was given to Corpus Christi College, Cambridge by Matthew Parker, Archbishop of Canterbury. It is still produced for the enthronements of new Archbishops of Canterbury."

"The manuscript once contained evangelist portraits for all four Evangelists. However. only the portrait for Luke is still extant (Folio 129v). A full page miniature on folio 125r prior to Luke contains twelve narrative scenes from the Passion" (Wikipedia article on the St. Augustine Gospels, accessed 11-25-2008)

Saint Columbanus founds the Abbazia di San Colombano at Bobbio, in the province of Piacenza and the Emilia-Romagna region of Italy.

Bobbio became famous as a center of resistance to Arianism. The abbey library, founded by Columbanus with manuscripts that he brought from Ireland and treatises which he personally wrote, became one of the greatest libraries of the Middle Ages. Bernhard Bischoff points out:

"many books in its libary are older than the monastery and this demonstrates that Bobbio received many books second-hand. I refer especially to the copies of Cyprian, the biblical codex k of African origin, the Medici Virgil, the very ancient grammatical manuscripts, and especially, to the classical texts which lie buried in palimpsests" (Manuscripts and Libraries in the Age of Charlemagne [2007] 9).

"The learned Saint Dungal (d. after 827) bequeathed to the abbey his valuable library, consisting of some seventy volumes, among which was the famous 'Antiphonary of Bangor'."

"Gerbert of Aurillac (afterwards Pope Sylvester II), became abbot of Bobbio in 982; and with the aid of the numerous ancient treatises which he found there he composed his celebrated work on geometry. It appears that at a time when Greek was almost unknown in western Europe, the Irish monks of Bobbio read Aristotle and Demosthenes in the original tongue."

"A tenth-century catalogue, published by Muratori, shows that at that period every branch of knowledge, divine and human, was represented in this library. Many of the books have been lost, the rest have long since been dispersed and are still reckoned among the chief treasures of the later collections which possess them.

♦ "In 1616 Cardinal Federico Borromeo took for the Ambrosian Library of Milan eighty-six volumes, including the famous "Bobbio Missal", written about 911, the Antiphonary of Bangor, and the palimpsests of Ulfilas' Gothic version of the Bible. Twenty-six volumes were given, in 1618, to Pope Paul V for the Vatican Library. Many others were sent to Turin, where, besides those in the Royal Archives, there were seventy-one in the University Library until the disastrous fire of 26 January 1904" (Wikipedia article on Bobbio Abbey, accessed 12-03-2008).

♦ Umberto Eco based the location of his 1980-83 novel The Name of the Rose, with its labyrinthine library, on the abbey at Bobbio.

A Coptic bookbinding removed from an illuminated manuscript on parchment of the Four Gospels (MS M. 569) attributed to the Monastery of Holy Mary Mother of God, Perkethoout near Hamuli, the Fayum, Egypt, and preserved in the Pierpont Morgan Library, is considered "the finest surviving Coptic bookbinding." It is tooled goatskin over papyrus boards; decorated with onlaid panels of red leather tracery sewn to a gilded leather ground, with plain edges. 

"In 1910 the library of the ancient Coptic monastery of St. Michael of the Desert was discovered in southern Faym, near the village of Hamuli. Nearly sixty parchment volumes were found in a stone cistern, many still in their original bindings; they compose the largest surviving group of inact Coptic codices coming from a single source. The following year, Pierpont Morgan purchased the Hamuli manuscripts from a Paris art dealer, almost en bloc. At least five of the codices had already strayed, and are now in the Coptic and Egyptian Museums in Cairo, and a number of fragments, broken up from whole codices after the find, were more widely dispersed. That the remainder was kept together was due especially to the efforts of Professors Emile Chassinat and Henry Hyvernat.

"Before the discovery of the Hamuli codices there was no record of the monastery of Archangel Michael, but it was well known that the Fayum had been a thriving center of Coptic religious life, and that dozens of monasteries had been situated there. The Hamuli codices are all service books, intended for public reading, and their format is large. Only six are less than thirteen inches tall (33 cm.), and only one less than twelve inches (30cm.). They include various parts of the Bible, a Lectionary, an Antiphonary, and many volumes of Synaxeries, collections of readings--hagiographic, homiletic, and more generaly devotional--belonging to particular feast days. The number of distinct texts, exclusive of the Bible, numbers well over one hundred, many otherwise unknwon. Twenty of the codices have dated colophons, from 823 to 914, containing valuable information concerning the organization and personnel of St. Michael's, and its relations with neighboring monasteries. The relatively narrow chronological span of the codices suggests that the monastery disbanded or was destroyed sometime in the tenth century.

"It should be explained that through this period Egypt was part of the Islamic world, having fallen abruptly out of the Byzantine sphere in 641. This transfer of imperium had few if any immediate deleterious effects on Egyptian Christianity, which was already thoroughly aliented from Byzantium. Its submergence into a minority role in Egypt (but always and still an important one) came about gradually, as did the disappearance of the Coptic language. The general policy of medieval Islam toward Christian and Jewish subjects was tolerant, though they were required to pay a special infidels' tax. There were a number of sporadic instances of persecution in Egypt, the most extensive being that initiated by the Fatimid caliph al-Hakim (996-1020), which is known to have resulted in the destruction of many churches and monasteries. It may have been at this time that St. Michael of the Desert went under" (Needham, Twelve Centuries of Bookbindings 400-1600 [1979] no. 2, 12).

The Vespasian Psalter, an illuminated Psalter produced in southern England, perhaps in St. Augustine's Abbey or Christ Church, Canterbury or Minster-in-Thanet, contains an interlinear gloss in Old English which is the oldest extant English translation of any portion of the Bible. 

"The psalter contains the Book of Psalms together with letters of St. Jerome, hymns and canticles. It was written in Latin on vellum, using a southern English Uncial script with Rustic Capital rubrics. There were additions made by a scribe named Eadui Basan in an English Carolingian minuscule. The English gloss was written in a Southumbrian pointed minuscule."

"There are several major initials which are historiated, zoomorphic, or decorated. Major initials are found at the beginning of Psalms 1, 51 and 101. (This tripartite division of the Psalter is typical of Insular Psalters). In addition, the psalms beginning each of the liturgical divisions of the Psalter are given major initials. The beginning letters of the other Psalms have smaller "minor" initials which are decorated or zoomorphic and are done in what is called the "antenna" style. There is a miniature of King David with his court musicians on folio 30 verso. It is probable that this miniature was originally the opening miniature of the psalter. Sir Robert Cotton pasted a cutting from the Breviary of Margaret of York on folio 160 verso. He also inserted a miniature from a 13th Century liturgical psalter as folio 1.

"The Psalter belongs to a group of manuscripts from Southern England known as the Tiberius group. The manuscript was produced during the second quarter of the 8th century. The script of the Old English gloss is typical of the script produced in Canterbury scriptoria from about 820 to 850. Eadui Basan, who made additions to the manuscript, was a monk at Christ Church, Canterbury during the early 11th Century. Thomas of Elmham recorded a Psalter at Canterbury which may have been the Vespasian Psalter. The manuscript was at Canterbury in 1553. It was subsequently owned by Sir William Cecil and Matthew Parker, Archbishop of Canterbury. By 1599 it was the possession of Sir Robert Cotton, who signed it on folio 12 recto. It became national property, along with the rest of the Cotton library in 1702 and was incorporated into the British Museum when it was founded in 1753. The volume was the first in the Vespasian shelf section in the part of the library indexed by the names from a set of busts of the Roman Emperors on top of the shelves. Its current binding, with metal clasps, was provided by Cotton" (Wikipedia article on Vespasian Psalter, accessed 11-26-2008).

A Benedictine monk at the Northumbrian monastery of Saint Peter at Monkwearmouth, England, and of its companion monastery, Saint Paul's, in modern Jarrow, the Venerable Bede completes Historia ecclesiastica gentis Anglorum (The Ecclesiastical History of the English People). This work is the founding document of English History. 

"His works show that he had at his command all the learning of his time. It was thought that the library at Wearmouth-Jarrow was between 300-500 books, making it one of the largest and most extensive in England. It is clear that Biscop made strenuous efforts to collect books during his extensive travels."

"Bede's writings are classed as scientific, historical and theological, reflecting the range of his writings from music and metrics to exegetical Scripture commentaries. He was proficient in patristic literature, and quotes Pliny the Elder, Virgil, Lucretius, Ovid, Horace and other classical writers, but with some disapproval. He knew some Greek, but no Hebrew. His Latin is generally clear and without affectation, and he was a skilful story-teller. . ." (Wikipedia article on Bede, accessed 11-22-2008).

According to a subscription on folio 239 verso, the Codex Beneventanus,  an lluminated Gospel Book, was written by a monk named Lupus for one Ato, who was probably Ato, abbot from 736-760 of the monastery of St. Vincent on the Volturno, near Benevento, Italy.

"The codex contains the Vulgate version of the four Gospels, the canon tables of Eusebius of Caesarea, the letter of St. Jerome to Pope Damasus (Novum opus), the prologue of St. Jerome to the Gospels (Plures fuisse), and prologues and chapter lists for each of the Gospels. The text is written on vellum in two columns in Uncial script with no division between words. The running titles are in small uncials while the incipits and explicits are in capitals. The incipits and explicits are written in alternating lines of red and black ink. The subscription of Lupus is written in uncials, and also has alternating lines of red and black ink. The text contains additional punctuation and annotations in a 10th century Beneventuan hand."

"By the 13th century it [the manuscript] was associated with St. Peter's convent in Benevento. In the first half of the 18th century it was owned by Dr. Richard Mead, and was used by Dr. Richard Bentley in his collation of New Testament texts. Dr. Mead may have acquired the manuscript in the 1690s when he traveled to Italy, however, the manuscript did not appear in the catalog of the sale of his library in 1754-55. The manuscript was later owned by Anthony Askew (d. 1754). It was purchased by John Jackson in 1785 at the sale of Askew's manuscripts. The British Library purchased it in 1794 at the sale of Jackson's manuscripts" (Wikipedia article on Codex Beneventanus, accessed 06-15-2009).

The gilt silver, enamel, and jeweled lower cover on the Lindau Gospels, MS M1 in the Pierpont Morgan Library, was executed in Austria, possibly in Salzburg, during the second half of the 8th century.

"In 1899, Pierpont Morgan purchased the Lindau Gospels from the heirs of the 4th Earl of Ashburnham; it was the first major mediaeval manuscript to enter his collections. He acquired, in this single volume, three outstanding examples of Carolingian book art: an important ninth-century illuminated manuscript from the scriptorium of St. Gall, and two of the finest surviving Carolingian metalwork bookcovers. The two covers, however, may be separated by as much as a century, and it is certain that the older of the covers did not originally belong to this codex, however early it was assimilated to it. The covers and codex can be traced back as an entity no further than 1594, the date stamped on the red morocco spine of the volume. It has not been determined whether the jewelled covers were added to the codex then, or whether repairs were made at that date to an existing bound volume, already with jewelled covers. Nor has it been established where the volume was in 1594; the first explicit record placing it in the Benedictine nunnery of Lindau, from which it takes its name, comes in 1691. Lindau is on a small island in Lake Constance, just offshore near the northeast corner. St. Gall, where the Gospels was written, is southwest of Lindau, across the lake and inland, at a direct distance of about twenty miles."

"It has long been recognized that the lower cover of the Lindau Gospels is considerably earlier than the date of the manuscript, and could not have been designed for it. This cover is one of the great treasures of early Carolingian metalwork. It has elicited a considerable literature, characterized by widely varying opinions concerning its localization and date. Such a diversity of opinion is understandable, for although the cover was clearly designed as a unit, a variety of techniques and motifs make up its individual components. The basic layout consists of an enamelled cross (both champlevé and cloisonné) within an enamelled flrame, over four background silver-gilt panels of complex engraved animal interlace patterns. The cross-in-frame motif is similar to that of Queen Theodelinda's bookcovers, mentioned above, though an interval of as much as 200 years separate the two peices of work; and, on both, the arms of the cross broaden where they join the frame (cross pattée). The four cloisonné representations of the bust of Christ on the Lindau cover, one on each arm about the center of the cross, may be related to the late seventh-century gold Cross of Duke Gisulf, each arm of which contains two repoussé portrait heads, presumably Christ's.

"Many scholars have been struck by the resemblance of the animal interlaces on the quadrants to Hiberno-Saxon decorative schemes, and several have noted a general resemblance in layout to several of the carpet-pages oin the Lindisfarne Gospels of ca. 700, on which a cross pattern is brought out against an animal-interlace background. An even more specific stylistic connection has been established for the animal interlaces in the two gilt silver engraved medallions laid into the vertical arms of the cross: these follow precisely the 'gripping-beast' pattern of Viking animal ornament. Their earliest appearance in Viking art is on objects from the Oseberg ship-find, which have been dated to between 800 and 850. It has sometimes been asserted that the Viking gripping-beast style was derived from Carolingian prototypes, but this cannot be documented--unless indeed the Lindau Gospels lower cover is considered as a precdent Carolingian example" (Needham, Twelve Centuries of Bookbindings 400-1600 [1979] 25-26).

When I accessed the website of German rare book and manuscript dealer Dr. Jörn Gunther on 06-16-2009 I found the following manuscript offered for sale under the heading, "The Oldest Western European Codex in Private Hands."

The history of the writing of this manuscript as understood through its palaeography described below, the texts which it contains, and the details of its provenance reflect significant aspects of Carolingian manuscript production, and the history of collecting medieval manuscripts. Here is Dr. Gunther's description:

"Canones conciliorum. Manuscript on vellum, written by an insular scribe. Northern Italy, c.775.

"223 x 175 mm. 94 leaves. Internally complete, lacking one gathering at the beginning and some leaves at the end. The quires are signed with Roman numbers from II-XIII.– Written space fol.1-64v:165 x 130 mm, on fol. 65-94v: 175 x 135 mm, ruled in blind for one column of 24-25 and 19-20 lines. fol. 1-60v written in half uncials and precarolingian minuscules, fol. 61-94v in precarolingian minuscules in olive grey, light brown and dark brown ink. Many capitals in uncial with simple decoration with penwork ornament, including one initial in a form of a fish.– In fine condition for a volume of such antiquity. Right upper corner on fol.70 torn away with some loss of text.– 19th-century brown morocco by the Parisian bookbinder Marcelin Lortic.

"PROVENANCE:

"1. The codex was written by an insular scribe from Ireland or Northumbria, working in Northern Italy.

2. Monastery of Reichenau in Germany (at an early date).

3. Bound in Paris by Marcellin Lortic who opened his shop in the Rue St Honoré in 1840.

4. Ms. 17.849 of the collection of Sir Thomas Phillipps (1792-1872); his oldest western manuscript and one of Phillipps's greatest treasures.

5. William Robinson Ltd., cat. 81: Precious Manuscripts, Historic Documents and Rare Books, London 1950, no. 92.

6. Dr. Martin Bodmer, Geneva, Switzerland (1899-1971).

7. Peter and Irene Ludwig, Aachen, ms.XIV 1 (1978-1983).

8. The J. Paul Getty Museum, Malibu (1983-1988).

9. Now: Private collection, Europe.

"TEXT:

"fol.1-58: Canones Conciliorum– fol.58-77v: Symmachiana, so-called ‘Symmachian forgeries’– fol.77v-94v: Decretals of Siricius, Boniface I, Innocent I, Zosimus, and Celestine I; end of text missing. Following the death of Pope Gelasius I († 496) Dionysius Exiguus (c.470- c.555), a skythian monk in Rome, was commissioned by the papal court to compile the ‘Collectio Dionysiana’ which united the canons of the councils and papal decretals. This anthology was the first compilation of this kind carried out in the Western Church and forms the foundation of Western Latin canon law. The compilation of Dionysius exists in three editions of which the codex at issue represents the so-called ‘Dionysiana II’. Manuscripts of the ‘Dionysiana II’ are rare uncombined with other texts, while only one codex preserved as a complete book is of an earlier date: ms.fol.v.II.3 in St Petersburg (Rossijskaja Nacionalnaja Biblioteka), a Burgundian codex dating from the 7th century (CLA 11 no.1061). Apart from this manuscript only a fragment in the Biblioteca Amploniana in Erfurt (Ampl.2°74) can be dated earlier having been written during the second half of the 6th century, presumably in Italy.

"After the Canones Conciliorum there follows as an insert, which cannot be found in this form in comparable collections, the so-called ‘Symmachian forgeries’, dating from thetime of Pope Symmachus (498-514; see Landau 1998). He was elected pope after the death of Anastasius II by a certain faction; a second faction declared the archpriest Laurence as pontiff. As a result of the turmoil which followed the elections, the ‘Symmachian forgeries were written, which strove to demonstrate by means of fictitious papal case files that the pope would not be subject to a human court of justice, but solely to the judgment of God.

"The third component of the book comprises decretals compiled under the pontificate of Pope Hormisdas (514-523) and contains the complete corpus of the old canon law, which consisted of the decrees of the Middle Eastern, Greek, African and Roman councils as well as those of the popes. The compilation is known as the Sanblasianus edition, because it was edited on the basis of a manuscript which first belonged to St. Blasien in the Black Forest and then to St. Paul in Lavanttal (Stiftsbibliothek, cod.7/1). Only seven manuscripts of this edition are preserved, three of which are older than the present codex (Paris, BN, lat. 3836, dating from the second half of the 8th century; Cologne, Dombibliothek, ms.213 dating from the first third of the 8th century and the Sanblasianus, which also dates from the mid-8th century). The oldest manuscript within the group (Cologne, Dombibliothek, ms.213) was written in Northumbria and brought to Cologne in the 8th century.

"The Canones conciliorum gained such an importance in subsequent decades that the text was duplicated again and again in the Frankish empire and from this later period over 100 manuscripts are preserved in the Frankish area alone. The codex was written by three different scribes. The main scribe (fol.2-60v) wrote the Canones conciliorum as well as the opening of the ‘Symmachian forgeries’. Palaeographic analysis reveals that this scribe came to the continent from an insular scriptorium and finally settled in northern Italy. It is not ascertainable, however, in which northern Italian scriptorium the manuscript was written. The palaeographic indications cannot be used to date the manuscript to a specific year, but it is very likely that it was executed in the years around 775, making the present manuscript contemporary with the famous copy of the Canones compilation, the so-called Dionysio-Hadriana,which was presented to the Frankish ruler Charlemagne (768-814) by Pope Hadrian I (772-795) in Rome in 774. After the presentation, the wording of the statute book was made compulsory for the Frankish empire, and numerous transcripts of the codex, originally kept in Aachen and now lost, were produced."

Note: I reformatted the description somewhat for this database, and left out the bibliographical references cited at the end of Dr. Gunther's description. The web page, which may be accessed at the link under Dr. Gunther's name at the beginning of this database entry, also reproduces three images of the manuscript. The hyperlinks are my additions.

The Roman fabulist Phaedrus (c. 15 BCE- 50CE), a freedman of Caesar Augustus, was first writer to translate entire books of fables into Latin, retelling in iambic meter the Greek prose fables of Aesop.

The earliest and most important surviving manuscript of Phaedrus is [Fabularum Aesopiarum libri quinque], also called the Codex Pithoeanus, MS M.906 in the Morgan Library and Museum. This manuscript, probably written at Reims, may have been in the library of the Abbey of Fleury. It was later in the library of Pierre Daniel (1530-1603), from which it passed to François Pithou, who gave it to his brother, the lawyer and scholar Pierre Pithou, in 1595.  At the front of the volume, which was bound c. 1600, is a transcription of the five books of Phaedrus's text by Pierre Pithou, which he prepared for the first edition of the text which he published in Troyes, 1596. The manuscript then descended through Pithou's family, belonging to Claude le Peletier (bookplate of the Le Peletier de Rosanbo [also spelled Rosambo] family), and then the Marquis de Rosanbo at Dusmenil near Mantes, from whom the Morgan Library purchased it in 1961.

Reynolds, Texts and Tranmission. A Survey of the Latin Classics (1983) 300-302.

The d'Orville Euclid is the earliest "complete" manuscript of Euclid's Elements, and,  according to the Bodleian Library exhibition catalogue, The Survival of Greek Literature, it is the oldest manuscript of a classical Greek author to bear a date.

MS. d’Orville 301, which has been preserved in the Bodleian Library, Oxford, since 1804, was written on parchment in Constantinople by Stephanus clericus, and bought by Arethas of Patrae, later Bishop of Caesarea in Cappadocia, for 14 nomismata (gold coins).

"The hand of Stephanus is pure minuscule; Arethas added the scholia and some additional mater in small uncials."

From the death of Arethas (c. 939) the ownership of the manuscript is unknown until the seventeenth century, when it was acquired by the Dutch classicist J. P. D’Orville, most of whose collection was eventually purchased by the Bodleian Library.

Hunt, R.W., The Survival of Ancient Literature, Oxford: Bodleian Library, 1975,  no. 55,

You can page through digital images of the entire manuscript at http://librarieswithoutwalls.org/bookviewer/?src=%3Fsrc%3D001eucmsd27.jpg&jump=006&zmnu=1&src=006eucmsd27.jpg&zoom=1&old_x=0&old_y=0&zdir=in&zbut=&pan=&flip=prev&jact=&width=900∏=orf&capt=&fwin=1 (accessed 07-12-2009).

King Alfred the Great orders monks to compile the Anglo-Saxon Chronicle, a collection of annals narrating the history of the Anglo-Saxons and their settlement in Britain.

Much of the information in these documents consists of rumors of events that happened elsewhere and may be unreliable. However for some periods and places, the chronicle is the only substantial surviving source of information. "After the original chronicle was compiled, copies were kept at various monasteries and were updated independently. Sometimes with items important to the locals, such as the fertility of the harvest or the paucity of bees, would be eagerly recorded, whereas distant political events could be overlooked. A combination of the individual annals allows us to develop an overall picture, a document that was the first continuous history written by Europeans in their own language."

There are nine surviving manuscripts of the Chronicle, of which eight are written entirely in Anglo-Saxon, while the ninth is in Anglo-Saxon with a translation of each annal into Latin. The oldest (Corpus Christi MS 173) is known as the Winchester Chronicle or the Parker Chronicle, after Matthew Parker who once owned it. This manuscript, preserved in the Parker Library at Corpus Christi College, Cambridge, dates from the actual time of compilation—the last decade of the ninth century.

The earliest surviving illustrated surgical codex was made for the Byzantine physician Niketas about 900 CE. It contains 30 full-page images illustrating the commentary of Apollonios of Kition on the Hippocratic treatise On Dislocations (Peri Arthron) and 63 smaller images scattered through the pages of the treatise on bandaging of Soranos of Ephesos. The Apollonian paintings represent various manipulations and apparatus employed in reducing dislocations; each of the images is framed in in the Byzantine style in an archway of ornate design.

According to Karl Sudhoff, Beiträge zur Geschichte der Chirurgie im Mittelalter (1914) 4-7 the origins of these drawings go back to Alexandria or Cyprus where Apollonius wrote his commentary between 81 and 58 BCE, under the patronage of the king Ptolemaius (Ptolemy of Cyprus).

"They were undoubtedly transmitted directly from antiquity, and, therefore, represent the genuine Hippocratic traditions of surgical practice as transmitted through later Greek channels to Byzantium" (Garrison, Introduction to the History of Medicine 2d ed [1917] 108).

In 1495 Greek scholar Janus Laskaris purchased the Niketas Codex in Crete for Lorenzo de' Medici. It was later acquired by Cardinal Nicolas Rudolfi, and is preserved in the Laurentian Library, Florence (Codex Lxxiv, 7).

MS M 652 in the Pierpont Morgan Library, written in Greek miniscule and illuminated in Constantinople during the mid-10th century, contains an alphabetical five-book version of Dioscorides, De Materia Medica, including 769 illustrations and several headpieces and tailpieces, on 385 leaves.

Its contents, according to the Morgan Library's online description, are:

"fols. 1v-199v: Dioscorides, De Materia Medica, Book I. Roots and Herbs -- fols. 200r-220v: Dioscorides, De Materia Medica, Book II. Animals, Parts of Animals and Products from Living Creatures -- fols. 221r-242v: Dioscorides, De Materia Medica, Book III. Oils and Ointments. -- fols. 243r-269v: Dioscorides, De Materia Medica, Book IV. Trees -- fols. 270v-305v: Dioscorides, De Materia Medica, Book V. Wines and Minerals etc. -- fols. 306r-319v: Dioscorides, attr., On the Power of Strong Drugs to Help or Harm -- fols. 319v-327v: Dioscorides, attr., On Poisons and their Effect -- fols. 328r-330v: Dioscorides, attr., On the Cure of Efficacious Poisons -- fols. 331r-333v: A Mithridatic Antidote -- fols. 334r-338r: Anonymous Poem on the Powers of Herbs -- fols. 338r-361r, 377r-384v: Eutecnius, Paraphrase of the Theriaca of Nicander -- fols. 361v-375r: Eutecnius, Paraphrase of the Alexipharmaca of Nicander -- fols. 375r-376v: Paraphrase of the Haliutica of Oppianos (incomplete)."

The manuscript was bound in Byzantium in the 14th or 15th century in dark brown leather blind tooled in a lozenge pattern over heavy boards. It was in Constantinople in the 15th century, where it was owned by an Arabic-speaking person, who added inscriptions in Arabic and genitalia to some animals. In the 16th century it remained in Constantinople where was owned by Manuel Eugenicos, 1578 and listed in his library catalogue. By the nineteenth century the manuscript was in Italy where it was owned by Domenico Sestini, ca. 1820. Later it was in the collection of Marchese C. Rinuccini, Florence, 1820-1849 (MS Cod. 69). From the middle of the nineteenth century it appears to have been in England with the booksellers John Thomas Payne and Henry Foss, London, 1849-1857. In the Payne sale (London, Sotheby’s, Apr. 30, 1857) it was sold to Charles Phillipps for Sir Thomas Phillipps (Phillipps Collection, no. 21975).  In 1920 J. P. Morgan Jr. purchased the manuscript from Phillipps’s estate.

The Golden Gospels of Henry VIII was written and decorated by "at least sixteen different scribes" in the Benedictine Abbey of St. Maximin at Trier during the abbacy of Archbishop Egbert. It was written in gold on sheets of vellum colored various shades of purple, from mauve to slate blue, with dye made from berries. The coat of arms of England was added on the verso of the first leaf in the 16th century, probably to denote royal ownership.

The manuscript may have been produced for the coronation of Otto III in 983. It appears as no. 957 in the 1542 inventory of Henry VIII’s Upper Library at Winchester Palace.  According to one tradition, the manuscript was presented to Henry by Pope Leo X in 1521, when he conferred upon him the title of "Defender of the Faith."

In 1747 the manuscript was in the Bibliotheca Palmeriana, the library of Ralph Palmer of Little Chelsea, grandfather of the first Earl Verney (erased inscription reads Bibliotheca Palmeriana 1747). It was bought in 1800 for the Duke of Hamilton; Duke of Hamilton Collection, inv. no. 167; (Hamilton Palace Library, Hamilton, Lanarkshire, Scotland).  It was sold privately in 1883 with the Hamilton Collection to the Royal Museum of Berlin (The Hamilton Palace Libraries, Catalogue of the Hamilton Collection of Manuscripts, 1882, no. 25) and resold with a portion of the Hamilton Collection returned from Berlin (London, Sotheby’s, May 23, 1889, lot 1) to Quaritch); sold (May 26, 1890) by Quaritch (catalogue 99, Sept. 1889, p. 37-39, no. 359, (Hand-list, 1890, no. 1) to Theodore Irwin of Oswego; purchased by J. Pierpont Morgan (1837-1913) with the Irwin Collection in 1900. The manuscript is preserved in the Morgan Library and Museum (MS M 0023).

The Hunterian Psalter, a striking example of Romanesque book art, was produced in England in the latter part of the twelfth century.

"It is uncertain where or when, exactly, the manuscript was produced, or for whom. It has been suggested that it was produced for Roger de Mowbray (d. 1188), a prominent 12th century crusader and religious benefactor known to have founded a number of Augustinian and Cistercian monasteries and nunneries. The book also contains three commemorations to Augustine of Hippo, which has led some scholars to conclude that the manuscript might have been created for a house of Augustinian Canons, or by someone with a connection to the Augustinian order.

"The fact that there is no mention of the 29 December feast of Thomas Becket on the page for December is thought to indicate that the book was produced before Becket's canonization in 1173. For most of its history, it was thought to have been the product of a scriptorium in the north of England, owing to its inclusion of a number of northern saints such as Oswald of Northumbria and John of Beverley (who very seldom occur outside northern manuscripts), although modern scholarly consensus puts its likely origin in the southwest of England.

"There is no definite consensus about the number of artists who worked on the book. It has been suggested that a single master oversaw the work of several assistants, and it has also been put forth that it is the work of an artist working alone, copying and adapting templates from other illuminated manuscripts. It is thought to have been the work of skilled tradesmen, not monks" (Wikipedia article on Hunterian Psalter, accessed 03-27-2010).

Today the manuscript is considered the finest book in the library of 10,000 printed books and 650 manuscripts formed by the physician and connoisseur collector of, William Hunter, who bequeathed all his collections to the University of Glasgow. It is preserved in the University of Glasgow Library (Sp Coll MS Hunter U.3.2) (229).  In addition to manuscripts and books Hunter made important collections of coins, paintings, minerals, shells, anatomical and natural history specimens.

Hunter acquired this volume at the auction sale conducted by Guillaume François de Bure of the library of Louis-Jean Gaignat in Paris on April 10, 1769, along with several other books. His French agent, Jean B. Dessain, bought it at the auction on Hunter's behalf for fifty livres and one sou. It was described in the sale catalogue as a "codex pervetustus" (a very old codex), and the price was considerably lower than many of the printed books in the sale, reflecting the tastes and market prices of the time. (The Gaignat library included such treasures as the Gutenberg Bible printed on vellum in the British Library.)

Young & Aitken, A Catalogue of the Manuscripts in the Library of the Hunterian Museum in the University of Glasgow (1908) no. 229.

"The site of Clifford's Tower, the keep of York's medieval castle, still bears witness to the most horrifying event in the history of English Jewry. On the night of 16 March 1190, the feast of Shabbat ha-Gadol, the small Jewish community of York was gathered together for protection inside the tower. Rather than perish at the hands of the violent mob that awaited them outside, many of the Jews took their own lives; others died in the flames they had lit, and those who finally surrendered were massacred and murdered. "Understandably, this appalling event has become the most notorious example of antisemitism in medieval England. Yet, it was by no means an isolated incident, but rather the culmination of a tide of violent feeling which swept the country in the early part of 1190" (Clifford's Tower and the Jews of Medieval York [English Heritage, 1995], quoted by http://ddickerson.igc.org/cliffords-tower.html, accessed 02-11-2009).

The Valmadonna English Pentateuch, the supreme treasure of the Valmadonna Trust Library, was written during the first half of 1489. It is the only extant Hebrew book that can be dated to before the expulsion of the Jews by Edward I (Longshanks) in 1290.  "The survival of this manuscript is remarkably fortuitous, as it was completed by its scribe on the eve of a tumultuous period in the history of English Jewry. At the coronation of Richard I in September 1189, a riot began which resulted in an attack on the Jewish community of London and the murder of many of its members. Similar assaults were launched on Jews throughout England during the following year, culminating in a massacre at York in spring 1190. A contemporary chronicler, Ephraim of Bonn, reported that 'The mob which killed the Jews of York then looted the houses of the slain, took away gold and silver and the beautiful books they wrote, more precious than gold . . . and brought them to Cologne and to other places, where they sold them to the Jews.' Ironically, then, the Valmadonna English Pentateuch may have been saved for posterity largely as a result of its having been plundered" (Sotheby's brochure on the Valadonna Trust Library, accessed 02-13-2009).

See also an article in The New York Times online published on February 11, 2009 concerning the offering en bloc of the Valmadonna Trust Library of about 13,000 volumes collected over his lifetime by Jack V. Lunzer: http://www.nytimes.com/2009/02/12/books/12hebr.html.

"Not before the fifteenth century were there large collections of Greek manuscripts assembled in the West, and only from the sixteenth century on were they used by a substantial number of Western scholars and other interested parties. The greater portion of the Greek inventory of the Dominican Library in Basel, the Laurentiana in Florence, the Marciana in Venice, the Vaticana in Rome, the Hapsburg Hofbibliothek in Vienna, and the Bibliothèque du Roi in Paris was first brought together through the combined efforts of Greek emigrants, Latin Humanists, and bibliophile princes. Yet ancient Greek book collections were not inaccessible to the Latin Middle Ages. Greek monasteries, none of which could have been completely without books, flourished in Rome from the seventh to the eleventh century. Grottaferrata has preserved parts of its ancient hoard of Greek books even up to the present day.

"There were populous Latin districts in Constantinople during the high Middle Ages, and in this period a great number of Italian scholars lived in the Christian metropolis on the Bosporus and made use of the rare-book libraries of the city. Moses of Bergamo was one of these scholarly Italians in twelfth-century Constantinople; he is the first Westerner known to have collected Greek manuscripts in great volume. If his own testimony is true, then the hunt for Greek manuscripts began two centuries before Guarino of Verona and Giovanni Aurispa.

"The Greek libraries of southern Italy were even closer to the Latins than those in Constantinople. Casole in Apulia, Carbone in the Basilicata, Stilo in Calabria, and Messina in Sicily had the most notable monastic libraries of the Italo-Greeks; the Cathedral Library of Rossano is still in possession of its cimelia, the famous sixth-century Greek purple evangelary ('Codex purpureus Rossanensis'), which was not 'rediscovered' there by scholars until 1879 and which recalls the significance of southern Italy for the transmission of Greek texts.

"Not before the manuscript research of recent years has the astonishing volume and the high quality (manuscripts of the classics!) of Italo-Greek book production and transmission come to light. Manuscript by manuscript, a 'translatio studii' from Byzantium to the West appears, whose line of textual transmission threads its way directly from the Macedonian Renaissance in tenth-century Constantinople, to the court library of the Norman and Hohenstaufen rulers of southern Italy, to the papal library of 1300; the Italian Renaissance picked up this thread as its starting point.

"This hoard of Greek books first appears in 1295 at the end of a catalogue of the papal library:

'Item Dyonisius super celesticam [!] Ierarchicam [!] in greco. Item Simplicius super phisicam Aristotilis . . .'

"With the exception of Dionysius the Areopagite (characteristically placed at the beginning of the list) and one other work, the twenty-three volumes all contain works of natural science and philosophy—a remarkable collection for the papacy (ed. A. Pelzer, Addenda et emendanda ad Francisci Ehrle Historiae Bibliothecae Romanorum Pontificum ... tomum 1 [Rome 1947], pp. 23 f).

"A catalogue of the papal library from 1311 lists the same stock of Greek books:

'tem libri, qui sequuntur scripti in greco: primo scripsimus comentum Procli Permenidem Platonis 'And' et est in papiro . . . .'

"There have been several changes. In all there are now thirty-three Greek codices; ed. F. Ehrle, Historia Bibliothecae Romanorum Pontificum tum Bonifatianae tum Avenionensis (Rome 1890), I, 95-99. In nineteen of these books one finds this remarkable 'And', for which Ehrle provides the hardly convincing resolution antiquus.

"We learn from an inventory of 1327 that the thirty-three Greek codices were kept in two crates; ed. Pelzer, Addenda et emendanda, p. 34. In 1339 they (all of them?) are found in a single crate together with Hebrew books (ibid., p.64); in 1369 there are still seven Greek books in the papal library (cf. Ehrle, Historia Bibliothecae, pp. 376 [no. 1183], 398 [no. 1512], 429 [no. 2007]. The popes obviously managed to carelessly lose their small but fine Greek collection during their Avignon adventures.

"The enigma of the notation And in the catalogue of 1311 has been solved by August Pelzer in a striking way (Addenda et emendanda, pp. 92 f.): it is to be resolved Andegavensis = Anjou! -that is, these books came to the papal library 'from Anjou.' When did the house of Anjou have cause and opportunity to present the papacy with a collection of Greek books? Pelzer answers: after the battle near Benevento (1266), when Charles of Anjou, whom the papacy had summoned to southern Italy, had disposed of the hated Hohenstaufen King Manfred. Thus the core of the Greek collection of the Norman-Staufer court library came into the possession of the papacy in 1266 in a similar way to that by which the Heidelberg Bibliotheca Palatina did in 1623.

"Codicological research has confirmed Pelzer's brilliant conclusions. Nine of the thirty-three Greek books of the 1311 catalogue have now again been identified, and the findings demonstrate clearly that this could not have been a casual acquisition by the popes or by Anjou, nor was it plunder from the conquest of Constantinople in 1204.; rather the collection came from the court in Constantinople to the court in Palermo around the middle of the twelfth century:

'Ces volumes sont de magnifiques produits des ateliers constantinopolitains au moment de la renaissance scientifique et philosophique des IXe et Xe siècles" ('These volumes are the magnificent products of the ateliers in Constantinople at the moment of the scientific and philosophical renaissance of the ninth and tenth centuries;' (P. Canart, "Le livre grec,' p. 149).

"Almost half of all known scientific 'classical manuscripts' of the Byzantine Renaissance of the ninth/tenth century have been preserved via the Norman-Staufer court library (G. Derenzini, 'All origine della traduzione di opere scientifiche classiche: vicende di testi et di codici tra Bisanzio e Palermo,' Physis 18 [1976], 87-103). Thus the history of the Greek court library in the West extends back into the twelfth century, and the Greek collections in Renaissance court libraries in the West were then not altogether without precedents.

"In the outstanding monastic and cathedral libraries of the Middle Ages, there were, however, at most only scattered Greek manuscripts. The Abbey of St. Martin in Tours possessed, at least in fragments, a Greek papyrus codex from Egypt, which contained a homily of Ephraem Syrus on 'Fair Joseph.' An illuminated Greek copy of the XPICΤΙΑΝΙΚΗ ΤΟΠΟΓΡΑΦΙΑ of Cosmas Indicopleustes has been traced to the collection of the early medieval Cathedral Library in York. Reichenau had a precious Greek Psalter from the eighth to the sixteenth century. The Abbey of St. Denis tended the splendid uncial manuscript of the works of Dionysius the Areopagite which Louis the Pious had obtained from Constantinople; various other Greek manuscripts were added in the high and late Middle Ages. In the monastery of St. Simeon, established in the Porta Nigra in Trier, there was a Greek lectionary of the tenth/eleventh century. In the midst of the Investiture Controversy, the wealthy and ostentatious canons of St. Gereon in Cologne procured a magnificent Greek Psalter, which was written and illuminated around 1077 in a scriptorium closely connected with the Greek emperor. The first illumination, by a Greek artist, shows Ο ΑΓΙΟC ΜΑΡΤΥC ΤΟΥ ΧΡΙCΤΟΥ ΓΕΡΕΩΝ.

"Μany other large libraries of the Middle Ages also had their Greek showpieces to exhibit. Occasionally, the Latin West also produced manuscripts entirely in Greek. In the ninth century, as Montfaucon has noted, Sedulius Scottus was capable of writing a Greek Psalter with odes.

"From the Ottonian period on, Greco-Italian southern Italy offered the opportunity to obtain scribes who were acquainted with the Greek alphabet. A lectionary written in 1021 by an Italo-Greek Εν χόρα Φραγκίας κάστρο δε Κoλoνίας (= Cologne?) later made its way to St. Denis. In England even Western scribes ventured to produce various Greek minuscule manuscripts. According to Μ.R. James, the Greek Psalter of Cambridge, Emmanuel College III. 3. 22 is of English origin.

"In the thirteenth century, Bishop Robert Grosseteste commissioned a large-scale Corpus Dionysiacum in Greek minuscules. Grosseteste, his students, and his assistants brought together, by means of purchasing and copying, a significant collection of Greek manuscripts in England, so that it is true, at least for this country, that interest in Greek books had already arisen in the late Middle Ages; to be sure, it was a narrow circle until Humanism created a broader audience for the purely Greek book.

"The typical medieval form of the Greek codex was the bilingual manuscript. It was an inheritance from late antiquity and the Middle Ages in part made good use of it. The Mediterranean cultural symbiosis of the late Roman Empire had brought forth many such bilinguals-Latino-Greek and Greco-Latin. The most famous examples of late antique Latino-Greek editions are the remnants of the bilingual Vergil codices, recovered from the Egyptian sand; thus far, no less than nine such bilinguals of the champion of the imperial Roman cause have been brought to light. During Justinian's time, it was certainly still possible to write codices in both imperial languages in Constantinople; the Florentine digest codex ('Codex Pisanus,' soon after 533) bears impressive witness to this fact. It seems, however, that the Byzantine Empire of the medieval period proper no longer fostered bilingual editions of Roman authors, and—if southern Italy is excluded—produced no Latino-Greek manuscripts at all. 

"A Greco-Latin Homer, the counterpart of a Latino-Greek Vergil, apparently did not exist in late antiquity. The West was interested in Christian bilinguals, in Greco-Latin editions of portions of the Bible; a Greco-Latin anthology of canon law may have also existed during late antiquity, at least in one copy.

"The Latin Middle Ages carried on the tradition of assorted scriptural bilinguals: the Psalter, Gospels, Pauline epistles, and Acts of the Apostles (in fact those four books of the Bible whose comparative study Ambrogio Traversari recommended for self-instruction in Greek!). It would have been easy for the bilingual tradition of the Acts of the Apostles to have disappeared, as other bilingual scriptural texts must have: the tradition has only two witnesses-the 'Codex Bezae' in Cambridge and the 'Codex Laudianus' in Oxford.

"The Carolingian period transmitted only the Psalter, Gospels, and Pauline epistles, to some extent in the new interlinear bilingual form, which was especially cultivated by the Irish.

"In the Ottonian period, the bilingual tradition of the Pauline epistles dies out. The fragmentary 'Codex Waldeccensis' (saec. X ex. ) completes the circle of this bilingual tradition of the Middle Ages, in which the beginning and end are joined; for this bilingual manuscript, the last of the Pauline epistles known from the Middle Ages, is an exact copy of the earliest manuscript—the 'Codex Claromontanus.'

"The production of bilingual texts of the Gospels is extraordinarily rare in the high and late Middle Ages. Yet a bilingual edition of the Apocalypse curiously surfaces at that period. The Greco-Latin Psalter reached the age of Humanism, however, in an unbroken tradition. This Greco-Latin text outlasted all else because it was the text with which the Latin Middle Ages was doubtless most intimately familiar and was thus better suited than any other text to introduce the Latins to a basic study of Greek. This tradition of the Greco-Latin Psalter manuscripts, which span the entire Middle Ages, from the Cod. Verona I (saec. VI- VII) to the Cod. Plut. XVII 13 of the Biblioteca Laurenziana (which was "erst wenige Jahre alt, als in Florenz das große Unionskonzil begann" ["only a few years old as the great Union Council began in Florence"]), and to the great trilingual (Hebreo-Greco-Latin) Psalter produced for Duke Federigo of Urbino in Florence in 1473,  presents scarcely touched material for the further investigation of Greek studies in the Latin Middle Ages.

"The Greek text is presented in various manners in these Psalters: in Greek script (generally majuscule) or in Roman transcription; the Greek and Latin texts on facing pages, in parallel columns, or arranged interlinearly. The base text (left page, left column, or principal line in interlinear versions) is generally Greek. The Psalters in which the Greek text is presented only in Roman transcription must have originally served primarily liturgical purposes: Greek liturgica were always written in the Roman alphabet in the West, since they were to be read or sung aloud and were not intended to be studied. On the other hand, manuscripts with the Greek text written in Greek script were textbooks or even showpieces. The possibilities for combination are numerous and the distinctions between them fluid: even such an obvious example of a textbook as the St. Gall psalterium quadrupartitum presented the Greek text only in Roman transcription. In general, each of the numerous bilingual Psalters of the Middle Ages requires its own particular historico-philological interpretation.

"The other Greco-Latin books of the Middle Ages may be regarded as offshoots from the main trunk of bilingual biblical texts: in the sixth century, bilinguals of the first four ecumenical councils by Dionysius Exiguus; in the eleventh century, Gregory's Dialogi; in the thirteenth century, the liturgical and polemical bilinguals of Abbot Nicholas-Nectarius of Otranto. The Dominican mission in the 'Orient' continued this latter tradition and produced its controversial theological tracts in bilingual editions ('Bartholomaeus, Contra Graecos; Buonaccorsi, Thesaurus veritatis fidei). Leontius Pilatus' translations of Homer and Euripides for the early Florentine Humanists were designed as interlinear bilinguals.

"Finally, one must not forget the striking bilingualism of the imperial correspondence from Constantinople, of which a number of splendid examples from the twelfth to the fifteenth centuries have been preserved in Italian archives. When the corpus of manuscripts has finally been fully catalogued, the history of the Greco-Latin bilinguals will open one of the most informative perspectives on the ever-shifting interest in Greek texts that has perished through the ages" (Walter Berschin, "Valuation and Knowledge of Greek," Greek Letters and the Latin Middle Ages. From Jerome to Nicholas of Cusa. Transl. by Jerold C. Frakes [1992]).

Theologian Gerard d' Abbeville, a Parisian master and neighbor of Robert de Sorbon, bequeathed nearly 300 volumes of manuscripts to the Library of the Sorbonne. This gift became the core of the Sorbonne Library, and of the roughly 300 volumes, 118 remain preserved in the Bibliothèque nationale de France today.

d'Abbeville's bequest incorporated the library of Richard de Fournival, author of the library catalogue entitled Biblionomia. Leopold Delisle characterized this catalogue as "one of the most curious monuments of the bibliographic art of the Middle Ages. The only manuscript which has survived of this small work is 'très-incorrect', and cannot be dated before the beginning of the 15th century. Having belonged to the Collège des Cho-Sorbonne, it is today part of the library of the Université de France at the Sorbonne. . . ." (translation mine, from the work cited below, 518-19).

According to Delisle, Fournival used a garden metaphor to describe his library, in which the various branches of knowledge each have their plot, but beyond the metaphor Fournival described a specific classification scheme, coordinating desk or shelf letters or numbers with different kinds of letters and colors of letters. The first division of the library was devoted to philosophy, which Fournival further broke down into nine categories on eleven shelves, arranged partly according to volume size:

1. Grammar

2. Dialectic

3. Rhetoric

4. Geometry and Arithmetic

5. Music and Astronomy

6. Physics and Metaphysics

7. Metaphysics and Morals

8. Melanges of Philosophy

9. Poetry

The second division of Fournival's Biblionomia was devoted to what Delisle calls "sciences lucratives"--medicine, civil law and canon law.

The third division of the library was theology, i.e. texts and commentaries on the Holy Scriptures and writings of the fathers of the church.

Fournival's Biblionomia is "Perhaps the earliest specific and organized system of book arrangement in a library" (M. Davies, "Medieval Libraries,"  Stam (ed.) International Dictionary of Library Histories I [2001] 107).

Delisle points out that even though Fournival described the exact content of books in 162 volumes it is difficult to say for sure whether these volumes were ever assembled outside of Fournival's imagination. However, whether it was a real library or an imaginary library Deslisle felt that the Biblionomia was "rich in valuable information for literary history" and he reprinted the Latin text of Biblionomia in Le cabinet des manuscrits de la Bibliothèque Impériale II (1874) 518-535.

According to the Wikipedia article on Fournival, 35 manuscripts from his library remain preserved in various libraries, which would indicate that Fournival owned at least a portion of the works that he described in Biblionomia.

Ullman, The Library of the Sorbonne in the Fourteenth Century. The Septicentennial Celebration of the Founding of the Sorbonne College in the University of Paris. [1953] 38-39.

Accepted as the author’s autograph, these three volumes, which are somewhat incomplete, comprise the thirty-third, forty-second, and forty-third volumes of the Comprehensive Book on the Art of Medicine by Ibn al-Nafis who died in Cairo in 1288. It is thought that Ibn-Nafis may completed this work in as many as 300 manuscript volumes that he may have published only 80 volumes in manuscript, which would have circulated in scribal copies. Of the very extensive writings that Ibn-Nafis is understood to have written, these volumes at Stanford's Lane Medical Library are the only autograph manuscripts by Ibn-al-Nafis which have been preserved, and one of a very small number of surviving autograph manuscripts by any famous medieval physician or scientist.

The first volume of these manuscripts contains a study of plants, minerals, and animals from the medical point of view. These are arranged alphabetically Vol. 2 continues the study and covers the letters tā, thā, and jīm. It consists of two sections: Vol. 3 is a study of the use of the hand and surgical instruments for medical purposes.

Al-Nafis, an Egyptian physician of the 13^th century, was credited with various innovations, most notably the discovery of the lesser circulation, three centuries before Servetus (1553) and Columbo (1559).

Provenance: Aliyah, a Jewish physician of Damascus, Darwish Abbas (seal bearing date corresponding to CE 1743/4) Ernest Seidel (1852-1922), acquired in Lane Library’s purchase of the Seidel library in 1921.

"By the beginning of the fourteenth century the text of Vegetius, in addition to being used as a manual for military fortification by Edward I of England (1272-1307), was extracted for the preachers' manual compiled by Thomas of Ireland (before 1 July 1306), moralized by medieval preachers, and translated into French by Jean de Vignay.

"This last is a reflection of the increasing importance, at the end of the thirteenth century and in the course of the fourteenth, of an audience of lay readers (or at least of lay book-owners). Growing urbanization, increased literacy, and an overall improvement in the economy—the general lot of western Europe since the twelfth century—ultimately produced a class of country nobility and urban courtiers who patronized bookshops, artists, and translators such as de Vignay. Through the work of such book producers, the deeds of Alexander and the Caesars became as much a part of the noble household as the sermon from the pulpit" (Rouse, The Transmission of the Texts," Jenkyns [ed] The Legacy of Rome: A New Appraisal [1992] 49).

The Metz Pontifical, an illuminated manuscript produced for Renaut de Bar, Bishop of Metz (1303-1316), and preserved at the Fitzwilliam Museum, Cambridge, has the added virtue, from the standpoint of historical research, of being unfinished. Its manner of production is shown in an interesting flash animation on the Fitzwilliam website at this link. The manuscript was donated to the Fitzwilliam Museum by Henry Yates Thompson through the auspices of the museum's director, Sydney Cockerell.

Fifty-two of Yates Thompson's illuminated manuscripts are preserved in the British Library, which has an extensive article about Thompson and his fabulous collection at this link.

"The recognition that they were not Romans, that the Roman past was essentially other, differentiated Renaissance writers from their medieval counterparts. Lovato Lovati's colleague Albertino Mussato (1262-1329) could compose a tragedy in Senecan metre for an ancient purpose, to rouse the citizens of Padua to civic action. Petrarch (1304-74) could compose letters to Cicero in Ciceronian style, though Boccaccio (1313-76) still mingled quotations from ancient and medieval authors without recognizing that they were inherently different. The recognition that Rome was a culture basically distinct from their own was largely the work of humanists and they, as Martines has shown, were trained first and foremost in law. A legal training involved competence in the arts of discourse—in the writing of letters. One letter from Florentine chancellor Coluccio Salutati (1331-1406) was said by a contemporary to be worth 5,000 soldiers. The models of style to which they turned were ancient letters: Seneca's, the Younger Pliny's, Symachus', and (after Petrarch had rediscovered them) Cicero's to Atticus and to others of his friends. Teachers of discourse like Guarino of Verona (1374-1460) were the umanisti or humanists in whose hands lay the revival of Antiquity. The Roman past was recognized as something removed in time, definably different, and of interest as an ideal, which one might escape into as did Petrarch or which one might use as a goad to challenge the indolent present; thereupon it became something to be sought. The hunt was on for manuscripts of Roman authors collecting dust in ecclesiastical libraries. Humanists served as diplomats, and their search for an discoveries of the texts of Roman authors took place in stolen moments in the course of their diplomatic missions to European courts ecclesiastical and secular. Hence Petrarch assembled his text of Livy in Avignon, where his patron Landolfo Colonna attended the papal court; hence Poggio (1380-1459) tired of the business of the Council of Constance (1414-17), explored the book cupboards of St-Gall. Nicholas of Cues  [Nicholas of Cusa] (1401-64) very naturally visited the libraries of Egmont and St. Maximin in Trier, along with scores of others equally interesting, in his capacity as papal legate to Germany. Not unlike their forerunners Lupos of Ferrieres, Wibald of Corvey, Philip of Bayeux, Richard de Fournival, diplomats of the fourteenth and fifteenth centuries searched the libraries of abbeys and cathedrals for ancient authors. While libraries were the sources for texts, the agencies by which texts were disseminated were especially two: (1) the international meeting places, such as the seats of ecclesiastical authority, the papal court at Avignon (1309-77), the great Councils of Constance (1414-18) and Basel (1431-49) and Rome itself—crossroads where diplomats from the South met those from the North; and (2) the humanist-diplomats themselves through their networks of like-minded friends and correspondents. Even without external evidence one can see, for example that Petrarch was single-handedly responsble for the introduction to fourteen-century Italian humanists of a whole series of ancient texts; these are texts for which the parent of an entire branch of the manuscript tradition obviously once belonged to him, since the derivative manuscripts belonged in large part to his friends and their friends" (Rouse, "The Transmission of the Texts," Jenkyns [ed] The Legacy of Rome: A New Appraisal [1992] 50-51).

Richard Aungerville, commonly known as Richard de Bury, treasurer and chancellor of England under Edward III, writes Philobiblon, perhaps the earliest treatise on the value of preserving neglected or decaying manuscripts, on building a library, and on book collecting.

Philobiblon was published in print for the first time in Cologne, 1473.

The De Virga world map, drawn by Albertinus de Virga, contained a mention in small letters:

"A. 141.. Albertin diuirga me fecit in vinexia"

"Made by Albertinius de Virga in Venice in 141.."

(the last number of the date is erased by a fold in the map)

The map was "discovered" in a second-hand bookshop in 1911 in Srebrenica, Bosnia by Albert Figdor, a map collector, and it was analysed by Franz Von Weiser of the Austrian State University in Vienna. Authenticated photographs were taken at the time, which are preserved in the British Library. Regrettably the original map was stolen during an auction in 1932, and has never been recovered.  It may have been a source for the Venetian Fra Mauro map (circa 1450), with which it is generally consistent.

"The map is oriented to the North, with a wind rose centered in Central Asia, possibly the observatory of astronomer, mathematician and sultan, Ulugh Begh, in the Mongol city of Samarkand in Uzbekistan, or the western shore of the Caspian sea. The wind rose divides the map in eight sectors.

"The map is colored: the seas are left white, although the Red Sea is colored in red. Continental land is colored in yellow, and several colors are used for islands. The mountains are in brown, the lakes are in blue, and rivers are in brown.

"The extension shows a calendar with depictions of the signs of the zodiac and a table to calculate lunar positions"  (Wikipedia article on De Virga world map, accessed 01-12-2009).

Artists Herman, Paul, and Johan Limbourg, working for their patron, Jean, Duc de Berry create the paintings for the Très Riches Heures du Duc de Berry. It is a very richly decorated book of hours containing prayers to be said by the lay faithful at each of the canonical hours of the day.

This book, with its spectacular miniature paintings, has been called the most important illuminated manuscript of the 15th century, and "le roi des manuscrits enluminés." It remained unfinished at the death of the Duc de Berry in 1416; the artists died the same year, leading to the suggestion that the deaths of artists and patron were caused by plague.

"The Très Riches Heures consists of 416 pages, including 131 with large miniatures and many more with border decorations or historiated initials, that are among the high points of International Gothic painting in spite of their small size. There are 300 decorated capital letters. The book was worked on, over a period of nearly a century, in three stages, led by the Limbourg brothers, Barthélemy van Eyck, and Jean Colombe. . . .

"The writing, illuminated capitals, border decorations, and gilding was most likely executed by other specialists who remain mostly unknown. The Limbourg brothers left the book unfinished and unbound at their, and the Duke's, death in 1416. The work passed to the Duke's cousin, the royal art lover and amateur painter René d'Anjou, who had an unidentified artist, the so-called Master of the Shadows, who was probably Barthélemy van Eyck, work on the book in the 1440s. Forty years later Charles I, Duc de Savoie commissioned Jean Colombe to finish the paintings between 1485 and 1489.The paintings of Colombe are easy to distinguish, as are those of the Master of the Shadows (Barthélemy d'Eyck)" (Wikipedia article on the Tres Riches Heures du Duc de Berry, accessed 11-22-2008).

The manuscript is preserved in the Musée Condé, Chantilly, France.

John of Valois, the Magnificent, "Jean, Duc de Berry", Duke of Berry and Auvergne and Count of Poitiers and Montpensier, has been called the greatest patron of illuminated manuscripts of his age. His library was probably the most artistically significant of all private libraries collected during the late Middle Ages. The third son of King John II of France and Bonne of Luxemburg; his brothers were Charles V, King of France, Louis I of Anjou, King of Naples and Philip the Bold, Duke of Burgundy.

Jean maintained numerous estates, including vast collections of art works of many kinds. He also died heavily in debt. Even though his library was much smaller in number than other collections it is far better preserved and accounted for since, for example, items with precious metal may have been melted down, and gemstones dispersed.

Numerous inventories of Jean's library were preserved, the earliest from 1402. Ironically perhaps, because of the many debts that Jean left at his death, aspects of his estate had to be liquidated, and the inventory of his books in the Chateau de Mehun prepared for Jean Bourne, "contrôleur de sa maison," was preserved, including appraised values of the 162 manuscripts, the greatest of which were recognized to be of immense monetary value at the time. This inventory, preserved at the Bibliothèque de Saint-Geneviève, was published completely for the first time by as La librairie de Jean, duc de Berry, au château de Mehun-sur-Yèvre, 1416, publiée en entier pour la première fois des notes by Hiver de Beauvoir (1860). 

The most comprehensive study of Jean, Duc de Berry's library, which collated all extant inventories and listed a total of 297 manuscripts with their references in the manuscript inventories, was by Léopold Delisle. In this comprehensive study Delisle included an index by author and subject, and provided an inventory of extant manuscripts from the Duc de Berry library in French and foreign libraries. This was Recherches sur la librairie de Charles V. Partie II. Inventaire des livres ayant appartenu aux rois Charles V et Charles VI et à Jean, Duc de Berry (1907). The study of the library of Jean, Duc de Berry, appears on pp. 217-331.

When Delisle published nearly all of the Berry manuscripts were in institutional collections, primarily in France. Manuscripts remaining in private hands included some the most important: "Second morceau des Heures dites de Turin", and "Heures de Pucelle" in the collection of Madam la baronne Adolphe de Rothschild, now at the Cloisters of the Metropolitan Museum of Art, "Les Belles Heures du duc de Berry" in the collection of M. le baron Edmond de Rothschild, and now also at the Cloisters of the Metropolitan Museum of Art. The library of Sir Thomas Phillipps contained "Débat sur le roman de la Rose," and Henry Yates Thompson owned "Tomes I et II du Miroir historial, en français", "La Bible historiale donnée par le duc de Berry à Jean Harpedenne", and "Le second volume de la Cité de Dieu en français."

Longnon & Cazelles, The Tres Riches Heures of Jean, Duc of Berry (1969) reproduces the manuscript in facsimile with an introduction that includes information concerning the history of the ownership of the manuscript before it was deposited in the Musée Conde by Henri d'Orleans, Duc d'Aumale in 1897.

♦ You may watch a nearly 30 minute documentary film about the Limbourg Brothers at this link, (accessed 03-21-2010).

Book collector and scholar, and occasional bookseller Giovanni Aurispa, having spent four years in Constantinople collecting manuscripts, arrives in Venice with the largest and finest collection of Greek texts to reach the west prior to those brought by Cardinal Basilios Bessarion.

"In reply to a letter from Ambrogio Traversari, he [Aurispa] says that he brought back 238 manuscripts. These contained all of Plato, all of Plotinus, all of Proclus, much of Iamblichus, many of the Greek poets, including Pindar, and a great deal of Greek history, including volumes of Procopius and Xenophon which had been given to him by the emperor. Also the poems of Callimachus and Oppian, and the Orphic verses; the historical works of Dio Cassius, Diodorus Siculus, and Arrian. Most of the works were hitherto unknown in the west.

"Further items included the oldest manuscript of Athenaeus; a 10th century codex containing 7 plays by Sophocles, 6 by Aeschylus -- the only manuscript in the world of these—, plus the Argonautica of Apollonius; the Iliad, Demosthenes, and many more. A Herodotus was also among the collection; also the Geography of Strabo. The texts are all listed in the letter to Traversari" (Wikipedia article Giovanni Aurispa, accessed 11-26-2008).

The most important copy of the Notitia Dignitatum was made for Pietro Donato, bishop of Padua, in January 1436, while Donato was presiding over the Council of Basel. According to a note in Donato's hand, reproduced in the Bodleian exhibition catalogue, the exemplar from which the manuscript was copied was a "vetustissmus codex" from the library of Speyer. Only a fragment of this 10th century manuscript from Speyer survives today at Maihingen. The miniature paintings in the manuscript were by Peronet Lamy, an illuminator who worked for Amadeus VIII of Savoy, later elected Pope by the Council as Felix V. The manuscript is preserved at the Bodleian Library, and according to their exhibition catalogue, the same scribe and illuminator prepared another copy of the collection that is preserved in the Bibliothèque Nationale.

"The Notitia Dignitatum is a unique document of the Roman imperial chanceries. One of the very few surviving documents of Roman government, it details the administrative organisation of the eastern and western empires, listing several thousand offices from the imperial court down to the provincial level. It is usually considered to be up to date for the Western empire in the 420s, and for the Eastern empire in 400s. However, no absolute date can be given, and there are omissions and problems"(Wikipedia article on Notitia Dignitatum, accessed 11-29-2008).

Hunt, R.W., The Survival of Ancient Literature, Oxford: Bodleian Library, 1975, no. 146.

Foundation of the library at the Dominican Convent of San Marco in Florence by Cosimo de' Medici, designed by Michelozzo.

This has often been considered the first "public library" in Renaissance Europe.

"The ideal of a public library was one treasured by humanists and their patrons. Yet the term public library meant something very different to Renaissance scholars than it does today. It did not designate a library open to all comers. First and oldest of the available meanings of the term public library was that of a common library. Many libraries and colleges of the late medieval period had public libraries in this sense, usually meaning a collection for the collective use of the institutional community. Second was the notion of a library that served the public utility or was used for the public benefit, largely in a political sense; an archive, for example, or a library meant to support the jurisdictional and diplomatic activities of the ecclesiastical or secular political body it served. Third, a library might be in a public building or within the public space of a house or palace.

"Perhaps the best early expression of the modern concept of the public library is to be found in the establishment of the San Marco library, the first public library at Florence. The foundation of the library was Niccoli's collection. Niccoli's intentions were for his library to be brought 'to the common good, to the public service, to a place open to all, so that all eager for education might be able to harvest from it as from a fertile field the rich fruit of learning.' Eventually, the executors of Niccoli's estate permitted Cosimo de' Medici to place the books in the library of the Dominican convent of San Marco, which Cosimo was then on the verge of constructing. The library opened in 1444 and was the first public library in Florence, containing 400 volumes laid out across 64 benches. The San Marco library embodied three different Renaissance concepts of a public library: It was the common library of the Dominican convent in which it was housed, a collection made available to a circle of humanist investigators, and an institution supported by the public patronage of an eminent ruler" (P. Nelles, "Renaissance Libraries", Stam, (ed.) International Dictionary of Library History [2001] 151).

Pope Nicholas V establishes the Vatican Library by combining some 350 Greek, Latin and Hebrew codices inherited from his predecessors with his own collection and extensive acquisitions. These include manuscripts from the Imperial library of Constantinople, rescued or plundered before the library was burned in 1204 when Constantinople was sacked during the Fourth Crusade.

The Vatican Library was an exceptionally large library for the time, and the richest in the Western world, not just in the financial sense, but in the educational and cultural value of the information preserved.

The Vatican Library prepared the first catalogue of its holdings in 1475.

The Göttingen Model Book, preserved at Niedersächische Staats- und Universitäts Bibliothek Göttingen,

 "is a painting book for the drawing of leaves, initials and patterned backgrounds in different color combinations; even the composition of the colors is described in detail. The book decorations described in this manuscript can be found in the earliest period of printing in several Gutenberg Bibles, including the Göttingen copy of the B42" (http://www.gutenbergdigital.de/gudi/eframes/texte/framere/mubu_1.htm, accessed 08-12-2009).

The manuscript arrived in Göttingen in 1770 with the bequest of the library of Johann Friedrich Armand von Uffenbach.

♦ You can view a digital facsimile at this link: http://www.gutenbergdigital.de/gudi/eframes/index.htm. accessed 01-17-2010).

Pope Calixtus III promulgates the Bulla Turcorum, announcing the conquest of Constantinople by the Ottoman Turks, and seeking funding for another crusade against the Turks, who were advancing into the Balkans.

"A copy of the Bull reached Mainz and was printed by Johann Gutenberg; only the present copy in the Scheide Library survives. A German translation was also printed by Gutenberg. It too survives in only one copy, in the Staatsbibliothek Preussischer Kulturbesitz, Berlin. Although no surviving example of early European printing is signed by Johann Gutenberg, early evidences and reports converge to show that he was the inventor of European typography. In particular, the “DK” (Donatus and Kalendar) type appears to be his first printing type. It was used in part to print the 31-line Cyprus Indulgence, of which the earliest datable copy, executed in Erfurt on 22 October 1454, is in the Scheide Library: this is the first fixed date at which we know that printing was being carried out in Mainz. Several other DK-type fragments, such as the Sibyllenbuch partial leaf at the Gutenberg Museum, Mainz, show a much less finished state of the font, and are plausibly earlier than 1454. In the late 1450s, the DK type was apparently sold to Bamberg, where it was used to print the 36-line Bible (not after 1461), and other books, some of which are signed by Albrecht Pfister. . . .

"Acquired by John H. Scheide from Maggs Bros., London, May 1939. The single gathering of 12 paper leaves was disbound from some unidentified volume; it appears that Maggs acquired the work from some European bookseller without knowing of its earlier survival context. On the first three pages of the two final blank leaves is a densely written tractate concerning crusades and crusading indulgences; it is signed at the end as from the Charterhouse of Erfurt. Unpublished research by Dr. Hope Mayo strongly suggests that the tractate was composed by the Erfurt Carthusian Johannes Indaginis, a prolific writer and determined ecclesiastical reformer. Presumably, therefore, this copy of the Calixtus Bull belonged to the Erfurt Charterhouse. Curiously, the unique Berlin copy of the German printing of the Bull likewise belonged to that convent" (http://diglib.princeton.edu/xquery?_xq=getCollection&_xsl=collection&_pid=whsS2.4-calixtus, accessed 07-10-2009).

ISTC no.ic00060000.

The Biblia Latina, printed by Johannes Mentelin by 1460 (ISTC No. b00528000), is the second edition of the Bible and first book printed in Strasbourg. Twenty-eight copies survive, all on paper. There is a copy in the Scheide Library at Princeton. "Until Scheide's purchase in 2001, no copy had been sold for more than 75 years."

A 36-line Bible printed at Bamberg in 1461 or earlier in the so-called DK types, is thought to be the third printed edition of the Bible. ISTC No. ib00527000.

There is a copy in the Scheide Library at Princeton. "Only 14 copies survive, all on paper. Scheide's copy once belonged to the Benedictines of Würzburg, whose convent was dissolved in 1803, and to Earl Spencer. When Scheide bought it at an auction in November 1991, no copy had been on the market for 200 years."

The so-called "Printer of Augustinus De fide" (Goiswin Gops or Johann Schilling?) issues the first printed edition of Richard de Bury's Philobiblon, a work on the love of books and book collecting, written in 1343.

ISTC no. ir00191000.

The anonymous Arte dell’Abbaco . . . on the operation of the abacus, printed in Treviso, Italy, probably by Gerardus de Lisa, de Flandria, is the first dated book on arithmetic. It is possible that some undated pamphlets on Algorithmus may predate this work.

"Frank J. Swetz translated the complete work using Smith's notes in 1987 in his Capitalism & Arithmetic: The New Math of the 15th Century. Swetz used a copy of the Treviso housed in the Manuscript Library at Columbia University. The volume found its way to this collection via a curious route. Maffeo Pinelli (1785), an Italian bibliophile, is the first known owner. After his death his library was purchased by a London book dealer and sold at auction on February 6, 1790. The book was obtained for three shillings by Mr. [Michael] Wodhull. About 100 years later the Arithmetic appeared in the library of Brayton Ives, a New York lawyer. When Ives sold the collection of books at auction, George [Arthur] Plimpton, a New York publisher, acquired the Treviso and made it an acquisition to his extensive collection of early scientific [i.e. mathematics] texts. Plimpton donated his library to Columbia University in 1936. Original copies of the Treviso Arithmetic are extremely rare" (Wikipedia article Treviso Arithmetic, accessed 01-10-2009).

ISTC no. ia01141000.

According to Vasari,  when he was twelve or thirteen Michelangelo painted a version of The Torment of St. Anthony based on an engraving by Martin Schongauer. This was one of only four known easel paintings by Michelangelo. For centuries art historians debated the existence of such a painting.

In 2008 a painting of The Torment of St. Anthony from a private collection was sold at Sotheby's London, with an attribution from the workshop of Ghirlandaio, to whom Michelangelo was apprenticed. Adam Williams, a New York dealer, bought the painting, believing that it was by Michelangelo. Williams took it to the Metropolitan Museum of Art for cleaning and study. In 2009 Williams sold it to the Kimball Art Museum, Fort Worth, Texas.

" 'I had never seen it before,” Mr. Christiansen said. “I looked at it and said this is self-evidently Michelangelo. There’s a section of the rocks with cross-hatching. Nobody else did this kind of emphatic cross-hatching.”

"Michael Gallagher, conservator of paintings at the Metropolitan, cleaned and studied the painting.

" 'It was incredibly dirty,' he said. 'But once the centuries of varnish were removed, its true quality was evident.'

"Claire M. Barry, the Kimbell’s chief curator, heard about the work and came to the Met to see it. She then contacted Mr. Lee, who also inspected it and persuaded his board to buy it. Although no one will disclose the price, experts in the field say they believe the figure was more than $6 million.

"For centuries, art historians have known that Michelangelo copied an engraving of St. Anthony by the 15th-century German master Martin Schongauer for a painting. Michelangelo’s biographer and former student, Ascanio Condivi, said the young Michelangelo told him that while he was working on the painting, he had visited a local market to learn how to depict fish scales, a feature not found in the engraving.

"A painting of St. Anthony is also mentioned in Giorgio Vasari’s chronicle of Michelangelo’s life, although Vasari at first ascribed the original engraving to Dürer. But after Michelangelo complained, Vasari changed his account, naming Schongauer.

"Measuring 18 ½ inches by 13 1/4 inches, 'The Torment of St. Anthony' is at least one-third larger than the engraving. It is also not an exact copy; Michelangelo took liberties. In addition to adding the fish scales, he depicted St. Anthony holding his head more erect and with an expression more detached than sad.

"He also added a landscape to the bottom of the composition, and created monsters that are more dramatic than those in the engraving.

"Mr. Christiansen said studying 'The Torment of St. Anthony' with infrared reflectography had exposed layers of pentimenti, or under drawing, revealing what he called the master’s hand at work. And once the centuries of varnish were removed, the colors suddenly came alive. There is eggplant, lavender, apple green and even a brilliant salmon, which was used to depict the scales of the spiny demons. The palette, Mr. Christiansen said, is a prelude to the colors chosen for the Sistine Chapel’s vault" (Vogel, "By the Hand of a Very Young Master?," NY Times, May 12, 2009).

The Macclesfield Alphabet Book, a medieval alphabetic pattern book in the library of the Earls of Macclesfield since about 1750, is the most complete set of pattern designs for manuscript decoration that survived from medieval Britain. It contains 14 different types of decorative alphabets.

"These include an alphabet of decorative initials with faces; foliate alphabets; a zoomorphic alphabet of initials, and alphabets in Gothic script. In addition there are large coloured anthropomorphic initials modelled after fifteenth-century woodcuts or engravings, as well as two sets of different types of borders, some of which are fully illuminated in colours and gold.

"This manuscript is thought to have been used as a pattern book for an artist's workshop for the transmission of ideas to assistants, or as a 'sample' book to show to potential customers.

"Only a handful of these books survive and as a result, the discovery of the Macclesfield Alphabet Book, filled with designs for different types of script, letters, initials, and borders is of outstanding significance and will contribute to a greater understanding of how these books were produced and used in the Middle Ages, as well as aid the study of material culture and art history.

"The Macclesfield Alphabet Book sheds light on how such tomes were produced. They did not always rely on the creative expertise of the artist, since alphabets and illustrations similar to some of the Macclesfield examples have been found in earlier books and woodcuts"(http://medievalnews.blogspot.com/2009/07/macclesfield-alphabet-book-bought-by.html, accessed 08-03-2009).

The acquisition of the manuscript was completed by the British Library in July 2009 at a cost of £600,000, against an offer from the J. Paul Getty Museum for the same amount.

Sebastian Brant publishes Das Narrenschiff (The Ship of Fools) in Basel, Switzerland at the press of Johann Bergmann, de Olpe. Some of the woodcuts illustrating this work are by the young Albrecht Dürer.

Brandt's satire became a great bestseller. It included a characterization and woodcut illustration of the "book fool" who enjoyed owning many books but read few of them. That book-collecting had become a topic for satire by this time is a reflection of the proliferation of books since the invention of printing by moveable type.

The popularity of Brandt's satire was in itself a reflection of the proliferation of books. Twenty-six different editions appeared in the 15th century. Brandt authorized six editions in German during his lifetime and there were at least six other unauthorized editions published. The work was translated into Latin by Jacob Locher in 1497 (Stultifera Navis), into French by Paul Riviere in 1497 and by Jehan Droyn in 1498. An English verse translation by Alexander Barclay appeared in London in 1509, and again in 1570; one in prose by Henry Watson in London, 1509; and again 1517. It was also rendered into Dutch and Low German.

ISTC no. ib01080000.

English printer Wynkyn de Worde, successor to William Caxton, prints at Westminister an edition of the encyclopedic work by Bartholomaeus Anglicus,  De proprietatibus rerum, in the English translation of John Trevisa, illustrated with woodcuts, mostly derived from the numerous earlier editions. This work was the first book printed in England on paper made at the first English paper mill, operated by John Tate from around 1495 till his death in 1507.

Remarkably, the original unillustrated manuscript, substantially marked up by the compositors, for a portion of this work, is preserved in the Plimpton Collection at Columbia University Library. Plimpton

"purchased it from Quaritch who had bought it when Lord Middleton's library was sold at auction in 1925. The large and beautiful codex was made for Sir Thomas Chaworth of Wiverton, Notts., about 1440; it apparently soon became the property of the Willoughby family, neighbors and kin of the Chaworths, in whose possession it remained until the sale of Lord Middleton's books in 1925. (Thomas Willoughby was created Baron Middleton 1 January 1711/12). Throughout the nearly 500 years in which the MS. was in private hands it was all but unknown to scholars" (Three Lions cited below, 18).

Wynkyn de Worde's printed text deviates substantially from the manuscript. A second manuscript source, no longer extant, was also a source for the edition. 

♦ Three Lions and the Cross of Lorraine: Bartholomaeus Anglicus, John of Trevisa, John Tate, Wynkyn de Worde and De Proprietatibus Reum. A Leaf Book with Essays by Howell Heaney, Dr. Lotte Hellinga, Dr. Richard Hills. Newton, PA: Bird & Bull Press (1992) details my role in supplying the very incomplete copy of the Wynkyn de Worde printing, containing 138 leaves, which became the basis for the edition, and determined the number of copies printed.

"Worde is generally credited for moving English printing away from its late-Medieval beginnings and toward a modern model of functioning. Caxton had depended on noble patrons to sustain his enterprise; while de Worde enjoyed the support of patrons too (principally Margaret Beaufort, mother of King Henry VII), he shifted his emphasis to the creation of relatively inexpensive books for a commercial audience and the beginnings of a mass market. Where Caxton had used paper imported from the Low Countries, de Worde exploited the product of John Tate, the first English papermaker. De Worde published more than 400 books in over 800 editions (though some are extant only in single copies and many others are extremely rare). His greatest success, in terms of volume, was the Latin grammar of Robert Whittington, which he issued in 155 editions. Religious works dominated his output, in keeping with the tenor of the time; but de Worde also printed volumes ranging from romantic novels to poetry (he published the work of John Skelton and Stephen Hawes), and from children's books to volumes on household practice and animal husbandry. He innovated in the use of illustrations: while only about 20 of Caxton's editions contained woodcuts, 500 of de Worde's editions were illustrated.

"He moved his firm from Caxton's location in Westminster to London; he was the first printer to set up a site on Fleet Street (1500), which for centuries became synonymous with printing. He was also the first man to build a book stall in St. Paul's Churchyard, which soon became a center of the book trade in London.

"De Worde was the first to use italic type (1528) and Hebrew and Arabic characters (1524) in English books; and his 1495 version of Polychronicon by Ranulf Higdon was the first English work to use movable type to print music" (Wikipedia article on Wynkyn de Worde, accessed 01-10-2008).

Dard Hunter, The Literature of Papermaking 1390-1800 (1925) 13. ISTC no. ib00143000.

By the time he left the Abbey at Sponheim Johannes Trithemius expanded its library to 2000 volumes of printed books and manuscripts from the 40 works present in the library when he became Abbot in 1482. This was an exceptionally large library for the time.

Besides a reflection of Tritheimius's skill and tenacity as a book collector, the growth of the library reflects the increased availability of information after the development and spread of printing in Europe.

Universalis cosmographia secundum Ptholomaei traditionem et Americi Vespucii aliorumque lustrationes, or the Waldseemüller Map, a large wall map of the world drawn by German cartographer Martin Waldseemüller, was one of the first maps to chart latitude and longitude precisely, following the example of Ptolemy, and the first map to use the name "America".

Waldseemüller also created globe gores, printed maps designed to be cut out and pasted onto spheres to form globes of the Earth. At the time he drew his wall map, Waldseemüller was working as part of the group of scholars of the Vosgean Gymnasium at Saint-Dié-des-Vosges in Lorraine, which then belonged to the Holy Roman Empire. The maps were accompanied by the book Cosmographiae Introductio produced by the Vosgean Gymnasium.  

"The Waldseemüller map depicts North and South America as two large continents. The main map shows the two continents slightly separated, while the small inset map in the top border shows them joined by an isthmus. The name "America" is placed on South America, this being the first map known to use this name. As explained in Cosmographiae Introductio, the name was bestowed in honor of Amerigo Vespucci.

"In depicting the Americas separate from Asia, the map shows a great ocean between the mountainous western coasts of the Americas and the eastern coast of Asia. The first historical records of Europeans to set eyes on this ocean, the Pacific, are recorded as Vasco Núñez de Balboa in 1513 or, Ponce de León in 1512 or 1513. Those dates are five to six years after Waldseemüller made his map. In addition, the map predicts the width of South America at certain latitudes to within 70 miles.

"Apparently among most map-makers until that time, it was still erroneously believed that the lands discovered by Christopher Columbus, Vespucci, and others formed part of the Indies of Asia. Thus some believe that it is impossible that Waldseemüller could have known about the Pacific, which is depicted on his map. The historian Peter Whitfield has theorised that Waldseemüller incorporated the ocean into his map because Vespucci's accounts of the Americas, with their so-called "savage" peoples, could not be reconciled with contemporary knowledge of India, China, and the islands of Indies. Thus, Waldseemüller reasoned, the newly discovered lands could not be part of Asia, but must be separate from it, a leap of intuition that was later proved uncannily precise.

"Most importantly, Mundus Novus, a book attributed to Vespucci (who had himself explored the extensive eastern coast of South America) was widely published throughout Europe after 1504, including by Waldseemüller's group in 1507. It had first introduced to Europeans the idea that this was a new continent and not Asia. It is theorised that this lead to Waldseemüller's separating America from Asia, depicting the Pacific Ocean, and the use of the first name of Vespucci on his map.

"The wall map consists of twelve sections printed from wood engravings measuring 18 x 24.5 inches (46 x 62 cm). Each section is one of four horizontally and three vertically, when assembled. The map uses a modified Ptolemaic conformal projection with curved meridians to depict the entire surface of the Earth."

"Of the one thousand copies of the wall map printed, only one complete copy is known. It was originally owned by Johannes Schöner (1477–1547), a Nuremberg astronomer, geographer, and cartographer. Its existence was unknown for a long time until its rediscovery in 1901 in the library of Prince Johannes zu Waldburg-Wolfegg in Wolfegg Castle in Württemberg, Germany by the Jesuit historian Joseph Fischer. It remained there until 2001 when the United States Library of Congress purchased it from Waldburg-Wolfegg-Waldsee for ten million dollars. Chancellor Angela Merkel of the Federal Republic of Germany symbolically turned over the Waldseemüller map on April 30, 2007, within the context of a formal ceremony at the Library of Congress, in Washington, DC. In her remarks, the chancellor stressed that the U.S. contributions to the development of Germany in the postwar period tipped the scales in the decision to turn over the Waldseemüller map to the Library of Congress as a sign of transatlantic affinity and as an indication of the numerous German roots to the United States. Since 2007 it has been permanently displayed in the Library of Congress, within a display case filled with argon. Prior to display, the entire map was the subject of a scientific analysis project using hyperspectral imaging with an advanced LED camera and illumination system to address preservation storage and display issues.

"Four copies of the globe gores are known still to exist. The first to be rediscovered was found in 1871 and is now in the James Ford Bell Library of the University of Minnesota. Another copy was found inside a Ptolemy atlas and is in the Bavarian State Library in Munich. A third copy was discovered in 1992 bound into an edition of Aristotle in the Stadtbücherei Offenburg, a public library in Germany. A fourth copy came to light in 2003 when its European owner read a newspaper article about the Waldseemüller map. It was sold at auction to Charles Frodsham & Co. for $1,002,267, a world record price for a single sheet map There has been some suggestion that a sheet of the map is from a second edition produced about 1515. Its preservation seems to be due to the several sheets being bound into a single cover by Schöner" (Wikipedia article on Waldseemüller Map, accessed 11-10-2009).

Ferdinand Columbus, (Italian: Fernando Colombo, Spanish: Fernando Colón; 15 August? 1488 - 1539) the second son of Christopher Columbus, returns from the New World, and collects one of the largest private libraries of the sixteenth century. This library, La Bibliotheca Colombina, includes about 15,000 volumes of which about 7000 survive today, including 1194 books printed before 1501. The library, which also includes a number of volumes from the personal library of Christopher Columbus, is preserved in the Cathedral of the City of Seville in Andalucia. Among the volumes in La Bibliotheca Colombina is the manuscript catalogue of the print collection of Ferdinand Columbus. According to Mark McDonald, editor of this manuscript catalogue listing 3200 sheets (including 390 prints by Albrecht Dürer), no print collection from the fifteenth or sixteenth century has survived, and the manuscript catalogue of Columbus' print collection is the only record of such a print collection that has survived. The catalogue is notable for its organizational scheme. McDonald (editor) The Print Collection of Ferndinand Columbus 1488-1539: A Renaissance Collector in Seville (2004).

Printer and publisher Alessandro Minuziano of Milan issues P. Cornelii Taciti libri quinque noiter inventi atque cum religuis eius operibus editi.

This was an unauthorized reprint of the first complete edition of Tacitus, edited by humanist Filippo Beroaldo, the Younger, first published in Rome in 1515. Beroaldo was appointed secretary to Cardinal Giovanni de' Medici, (Pope Leo X from 1513 to his death). Cardinal de' Medici had the opportunity in 1508 to purchase a manuscript of the "lost" first books of Tactitus's Annals, which Beroaldo edited and eventually had published in 1515. Beroaldo's edition was the first to include Books I-VI of the Annals, and also the first to include the "Annotationes" of the jurist and legal humanist Andrea Alciato (Alciati).

"According to the well-known story, the codex containing the six books by Tacitus (the so-called 'Mediceo primo" [Laurentianus Mediceus 68.1] had been stolen from the monastery of Corvey in Westphalia. In 1508 it was in the hands of Francesco Soderini from whom it was acquired by Cardinal Giovanini de' Medici (the future Leo X). In 1515, after becoming pope, Leo X granted Beroaldo the exclusive rights to the printing of the book. One of the printed books Leo sent to the Abbey of Corvey, together with a plenary indulgence, as a replacement for the 'borrowed' manuscript. Much to the annoyance of Leo X, the Milanese scholar and publisher Alessandro Minuziano ignored the  paper privilegio and reprinted Beroaldo's edition of Tacitus word-for-word. Minuziano wa duly summoned to Rome to answer directly to the Pope. His detailed apology, however, appeared Leo X's anger and, with a papal letter of absolution, Minuziano was permitted to publish the work, provided he came to terms with Filippo Beroaldo" (Witcombe, Copyright in the Renaissance: Prints and the Privilegio in Sixteenth-Century Venice and Rome (2004) 48-49).

Landau and Parshall, The Renaissance Print 1470-1550 (1994) see the story a little bit differently:

"In the meantime in Rome the issue of privileges had suddenly been brought to the attention of Leo X when it was discovered in 1515 that the Milanese publisher Alessandro Minuziano had found a loophole in the privilege granted to Filippo Beroaldo for his Storie. Minuziano did not copy the whole book once it had appeared, but page after page (obtained illegally) while it was being printed. The main reason the Pope was so exceeding angry was that he had paid the vast sum of 500 ducats for the manuscript. . . .(pp. 301-02).

Because the case was resolved in Minuziano's favor while his edition was in production Minuziano added in an appendix the key documents pertaining to the case. These included the original papal privilege, Minuziano's letter explaining the situation and pleading to be allowed to finish his edition, and the papal letter of pardon which permitted Minuziano to publish his by then authorized edition.

In a formal process called Dissolution of the Monasteries, Henry VIII disbands monastic communities in England, Wales and Ireland and confiscates their property.

Henry was given the authority to do this by the Act of Supremacy, passed by Parliament in 1534, which made him Supreme Head of the Church in England, and by the First Suppression Act (1536) and the Second Suppression Act (1539).

"Along with the destruction of the monasteries, some of them many hundreds of years old, the related destruction of the monastic libraries was perhaps the greatest cultural loss caused by the English Reformation. Worcester Priory (now Worcester Cathedral) had 600 books at the time of the dissolution. Only six of them are known to have survived intact to the present day. At the abbey of the Augustinian Friars at York, a library of 646 volumes was destroyed, leaving only three known survivors. Some books were destroyed for their precious bindings, others were sold off by the cartload. The antiquarian John Leland was commissioned by the King to rescue items of particular interest (especially manuscript sources of Old English history), and other collections were made by private individuals; notably Matthew Parker. Nevertheless much was lost, especially manuscript books of English church music, none of which had then been printed.

A great nombre of them whych purchased those supertycyous mansyons, resrved of those lybrarye bokes, some to serve theyr jakes, some to scoure candelstyckes, and some to rubbe their bootes. Some they solde to the grossers and soapsellers.

-John Bale, 1549

(Wikipedia article on Dissolution of the Monasteries, accessed 11-25-2008)

Created about twenty years after the Spanish conquest of Mexico (August 13,1521) with the intent that it be seen by Charles V, the Holy Roman Emperor and King of Spain, the Codex Mendoza is an Aztec codex, containing a history of the Aztec rulers and their conquests, a list of the tribute paid by the conquered, and a description of daily Aztec life, in traditional Aztec pictograms with Spanish explanations and commentary.  The codex is named after Antonio de Mendoza, the first viceroy of New Spain, who may have commissioned it. It is also known as the Codex Mendocino and La coleccion Mendoza. It is one of a group of ten or more Aztec codices that were created in the first few decades of Spanish rule, and which provide some of the best primary sources for Aztec culture.

The codex has an unusually eventful history. " . . .[It] was hurriedly created in Mexico City, to be sent by ship to Spain. However, the fleet was attacked by French privateers, and codex along with the rest of the booty taken to France. There it came into the possession of André Thévet, French king Henry II's cosmographer, who wrote his name in five places on the codex, twice with the date 1553. It was later bought by the Englishman Richard Hakluyt for 20 French crowns. Sometime after 1616 it was passed to Samuel Purchas, then to his son, and then to John Selden. The codex was finally deposited into the Bodleian Library at Oxford University in 1659, 5 years after Selden's death, where it remained in obscurity until 1831, when it was rediscovered by Viscount Kingsborough and brought to the attention of scholars." (Wikipedia article on Codex Mendoza, accessed 11-30-2008).

Melchior Schedel, grandson of the 15th century Nuremberg physician, writer, and book collector, Hartmann Schedel, sells about 370 manuscripts and 600 printed works from Hartmann Schedel’s library to Johann Jakob Fugger.

Fugger sold his library to Duke Albert V of Bavaria in 1571.

Hartmann Schedel is best known as the author of the Nuremberg Chronicle (1493). His library, one of the largest formed by an individual in the 15th century, is mostly preserved in the Bayerische Staasbibliothek in Munich.

Otto-Henry, Elector Palatine, (German: Ottheinrich), Count Palatine of Palatinate-Neuburg from 1505 to 1559 and prince elector of the Palatinate from 1556 to 1559, formally establishes the Bibliotheca Palatina about this time.

At its peak this library included about 5000 printed books and "3524 manuscripts." The library expanded with important manuscripts acquired from the collection of Ulrich Fugger (d. 1584), notably the illustrated Sachsenspiegel.

"Joseph Scaliger considered this Fugger Library superior to that owned by the Pope; the manuscripts alone were valued at 80,000 crowns, which was a very considerable sum for the 16th century" (Wikipedia article on the Bibliotheca Palatina, accessed 11-23-2008).

Albrecht V, Duke of Bavaria acquires the library of the humanist, orientalist, philologist, and theologian, Johann Albrecht Widmannstetter. This is the origin of the Bayerische Staatsbibliothek, München.

"Albert was a patron of the arts and a collector whose personal accumulations are the basis of the Wittelsbach antique collection of Greek and Roman antiquities, the coin collection and the Wittelsbach treasury in the Munich Residenz; some of his Egyptian antiquities remain in the collection of Egyptian art. His personal library has come to the Bavarian State Library in Munich, inheritor of the Wittelsbach court library.

"Like an American millionaire of the Gilded Age, he bought whole collections in Rome and Venice; in Venice, after tiresome drawn-out negotiations with the aged Andrea Loredan, he purchased the Loredan collection virtually in its entirety: 120 bronzes, 2480 medals and coins, 91 marble heads, 43 marble statues, 33 reliefs and 14 various curiosities, for the sum of 7000 ducats; 'they were all exported from Venice secretly at night in large chests'. At the same time, squabbles among the heirs of Gabriele Vendramin thwarted him in his attempt to purchase the single most important collection in Venice and paintings and antiquities, drawings by the masters and ancient coins. To house his antiquities he commissioned the Antiquarium in the Munich Residenz, the largest Renaissance hall north of the Alps.

"He appointed Orlando di Lasso to a court post and patronized many other artists; this led to a huge burden of debts (½ Mio. Fl.)" (Wikipedia article on Albert V, Duke of Bavaria, accessed 01-03-2010).

Archbishop of Canterbury Matthew Parker secures license from Queen Elizabeth to seek out "auncient records or monuments" from the former libraries of the monasteries suppressed by Henry VIII, and from old cathedral priories  converted to the use of the Church of England.

"He thus had first choice of many hundreds of manuscripts of the very highest importance. This was the earliest major antiquarian collection ever asssembled in England, long before those of Thomas Bodley (1545-1613) or Robert Cotton (1571-1631), which became the foundations of the libraries of the Bodleian in Oxford and, eventually, the British Library in London" (de Hamel, The Parker Libary: Treasures from the Collection [2000] 8).

Printer Pedro Ocharte, born Pierre Ocharte in Rouen, France, working in Mexico City, issues Opera medicinalia by the Spanish physician, Francisco Bravo. Ocharte had married the daughter of Juan Pablos, the first printer in the New World, and inherited his equipment. Opera medicinalia includes a woodcut title border and a few botanical woodcuts, including images to distinguish the false sarsaparilla of Mexico from the true Spanish sarsaparilla of Dioscorides. It was the first medical book printed in the Western Hemisphere, and its botanical images were the first illustrations of plants printed in the Western Hemisphere.

Of the original edition only two copies are known, of which the only complete copy is at the Universidad de Puebla, Mexico. In 1862 American bookseller and bibliographer Henry Stevens purchased an incomplete copy at the sale of the library of Guglielmo Libri in London. This he resold to the American collector James Lennox. This copy is preserved in the New York Public Library.

In 1970 London antiquarian booksellers Dawsons of Pall issued a facsimile of the complete Universidad de Puebla copy with a companion volume of commentary by Francisco Guerra. The two volumes were printed on hand-made paper by J. Barcham Green, Ltd. and bound in parchment by Zaehnsdorf in London. The edition was limited to 250 hand-numbered copies.

The catalogue of the private library of the Augsburg physician, Jeremias Martius (c. 1535-1585,) may be the first printed catalogue of any library.

Archbishop of Canterbury Matthew Parker donates his library of about 480 manuscripts and about 1000 printed books to the library of Corpus Christi College, Cambridge.

"He was an avid book collector, salvaging medieval manuscripts dispersed at the dissolution of the monasteries; he was particularly keen to preserve materials relating to Anglo-Saxon England, motivated by his search for evidence of an ancient English-speaking Church independent of Rome. The extraordinary collection of documents that resulted from his efforts is still housed at Corpus Christi College, and consists of items spanning from the sixth-century Gospels of St. Augustine to sixteenth century records relating to the English Reformation.

"The Parker Library's holdings of Old English texts accounts for nearly a quarter of all extant manuscripts in Anglo-Saxon, including the earliest copy of the Anglo-Saxon Chronicle (c. 890), the Old English Bede and King Alfred´s translation of Gregory the Great´s Pastoral Care. The Parker Library also contains key Anglo-Norman and Middle English texts ranging from the Ancrene Wisse and the Brut Chronicle to one of the finest copies of Chaucer´s Troilus and Criseyde. Other subjects represented in the collection are music, medieval travelogues and maps, bestiaries, royal ceremonies, historical chronicles and Bibles. The Parker Library holds a magnificent collection of English illuminated manuscripts, such as the Bury and Dover Bibles (c. 1135 and c. 1150) and the Chronica maiora by Matthew Paris (c. 1230-50)" (Parker Library on the Web [Beta] accessed 11-27-2008).

Sir Robert Cotton begins collecting original manuscripts.

Cotton's library of about 1000 manuscripts has been called the most important collection of manuscripts ever assembled in Britain by a private individual, though Matthew Parker's library might be a close second. Among Cotton's many treasures were the Lindisfarne Gospels, two of the contemporary exemplifications of Magna Carta, and the only surviving manuscript of Beowulf.

"The Cottonian Library was the richest private collection of manuscripts ever amassed; of secular libraries it outranked the Royal library, the collections of the Inns of Court and the College of Arms; Cotton's house near the Palace of Westminster became the meeting-place of the Society of Antiquaries and of all the eminent scholars of England; it was eventually donated to the nation by Cotton's grandson and now resides at the British Library.

"The physical arrangement of Cotton's Library continues to be reflected in citations to manuscripts once in his possession. His library was housed in a room 26 feet (7.9 m) long by six feet wide filled with bookpresses, each with the bust of a figure from classical antiquity on top. Counterclockwise, these are catalogued as Julius (i.e., Julius Caesar), Augustus, Cleopatra, Faustina, Tiberius, Caligula, Claudius, Nero, Galba, Otho, Vitellius, Vespasian, Titus, and Domitian. (Domitian had only one shelf, perhaps because it was over the door.) Manuscripts are now designated by library, bookpress, and number: for example, the manuscript of Beowulf is designated Cotton Vitellius A.xv, and the manuscript of Pearl is Cotton Nero A.x" (Wikipedia article on Sir Robert Cotton, accessed 11-22-2008).

Kūnyú Wànguó Quántú (坤輿萬國全圖: "A Map of the Myriad Countries of the World") is the first European-style World map in Chinese. 5 ft (1.52 m) high and 12 ft (3.66 m) wide, it was printed from six large woodblocks and intended to be mounted on a folding screen. 

The map was drawn by Jesuit priest and polymath Matteo Ricci.

"Drawing of the map followed a first primitive map by Ricci, printed in 1584, named Yudi Shanhai Quantu (舆地山海全图). made in Zhaoqing, in 1584 by the Jesuit priest, Matteo Ricci. Ricci was one of the first Western scholars to live in China, master Chinese script and the Classical Chinese language. Ricci created smaller versions of the map at the request of the governor of Zhaoqing at the time, Wang Pan, who wanted the document to serve as a resource for explorers and scholars.

"Later, Ricci was the first Westerner to enter Peking, bringing atlases of Europe and the West that were unknown to his hosts. The Chinese had maps of the East that were equally unfamiliar to Western scholars. In 1602, at the request of the Wanli Emperor, Ricci collaborated with Mandarin Zhong Wentao, technical translator Li Zhizao. and other Chinese scholars in what is now Beijing to create what was his third and largest world map.

"In this map, European geographic knowledge, new to the Chinese, was combined with Chinese information to create the first map known to combine Chinese and European cartography. Among other things, this map revealed the existence of America to the Chinese. Ford W. Bell said: 'This was a great collaboration between East and West. It really is a very clear example of how trade was a driving force behind the spread of civilization.'

"Several prints of the map were made in 1602. Only seven original copies of the map are known to exist and only two are in good condition. Known copies are in the Vatican Apostolic Library Collection I; Vatican Apostolic Library Collection II; Japan Kyoto University Collection; collection of Japan Miyagi Prefecture Library; Collection of the Library of the Japanese Cabinet; a private collection in Paris, France and one recently sold in London (formerly in a private collection in Japan). No examples of the map are known to exist in China, where Ricci was revered and buried.

"Ferdinand Verbiest would later develop a similar but improved map, the Kunyu Quantu in 1674" (Wikipedia article on Impossible Black Tulip, accessed 01-13-2010).

In December 2009 The James Ford Bell Trust announced that in October 2009 it had acquired for the James Ford Bell Library at the University of Minnesota, Minneapolis, one of the two "good" copies of the Kūnyú Wànguó Quántú  from Bernard J. Shapero, a noted London dealer in rare books and maps in London, for $1 million. This was the second most expensive map purchase in history after the Library of Congress purchase of the Waldseemüller World Map. The James Ford Bell copy previously was in a private collection in Japan.

The first public exhibition of the map was held at the Library of Congress in January 2010.

The Bodleian Library at Oxford opens to the public with a collection of 2000 books assembled by Thomas Bodley to replace the library that had been donated to the Divinity School by Humphrey, Duke of Gloucester (brother of Henry V), but which had been dispersed in the 16th century.

Depending on how the concept of "public library" is defined, the Bodleian is probably the first public library in England, and one of the first "public" libraries in Europe.

Cardinal Federico Borromeo founds the Biblioteca Ambrosiana in Milan.

Depending on how "public library" is defined, the Ambrosiana was possibly the the second public library in Europe, after the Bodleia at Oxford. However, the Ambrosiana was preceded in Italy by the library at the Domincan convent of San Marco (1444) and the Biblioteca Medicea Laurenziana (1571), both of which were characterized as "public" libraries when they were founded.

To build up the library's collections Cardinal Borromeo's agents scoured Western Europe, and even Greece and Syria for books and manuscripts. In 1606 they acquired the complete manuscripts of the Benedictine monastery of Bobbio, founded in 614, and the library of the Paduan Vincenzo Pinelli, whose more than 800 manuscripts filled 70 cases when they were sent to Milan, and included the famous extremely early illuminated miniatures of the Iliad, the Ilias Ambrosiana, noticed in this database.

"During Cardinal Borromeo's sojourns in Rome, 1585–95 and 1597–1601, he envisioned developing this library in Milan as one open to scholars and that would serve as a bulwark of Catholic scholarship against the treatises issuing from Protestant presses. To house the cardinal's 15,000 manuscripts and twice that many printed books, Construction began in 1603 under designs and direction of Lelio Buzzi and Francesco Maria Richini. When its first reading room, the Sala Fredericiana, opened to the public, December 8, 1609, it was, after the Bodleian Library in Oxford, the second public library in Europe. One innovation was that its books were housed in cases ranged along the walls, rather than chained to reading tables, a practice seen still today in the Laurentian Library of Florence. A printing press was attached to the library, and a school for instruction in the classical languages.

"Cardinal Borromeo gave his collection of paintings and drawings to the library too. Shortly after the cardinal's death his library acquired twelve manuscripts of Leonardo da Vinci, including the Codex Atlanticus. . . ." (Wikipedia article on the Biblioteca Ambroisiana).

The "Museo Cartaceo" ("Paper Museum"), a collection of more than 7,000 watercolors, drawings and prints assembled by the Roman patron and collector Cassiano dal Pozzo and his youngest brother Carlo Antonio, represents one of the most significant attempts made before the age of photography to embrace the widest range of human knowledge in visual form. Documenting ancient art and architecture, botany, geology, ornithology and zoology, the collection significant tool for understanding the cultural and intellectual concerns of a period during which the foundations of our own scientific methods were laid down.

"The Paper Museum reflects the taste and intellectual breadth of Cassiano dal Pozzo, one of the most learned and enthusiastic of all seventeenth-century Roman collectors. As secretary to Cardinal Francesco Barberini, patron of artists such as Poussin, and a friend of Galileo, Cassiano crossed the boundaries of artistic, scientific and political disciplines to create his unique visual encyclopaedia. His patronage extended to both the well-known and the lesser-known artists of his day, and his close connections with leading European scientists, scholars and philosophers kept him informed of the latest archaeological and scientific discoveries. His younger brother Carlo Antonio came to share his interests and played a significant role in augmenting and arranging the collection.

"Through his association with Federico Cesi, Prince of Acquasparta (1585–1630), and his membership of the Accademia dei Lincei (the first modern scientific society, founded by Cesi), Cassiano assembled visual evidence of scientifically – and for the first time microscopically – observed natural phenomena, thus establishing a firm basis for scientific classification. Fruit, flora, fungi, fauna, minerals and fossils – all were meticulously recorded, whether commonplace or exotic. He applied the same rigour and systematic methodology to his antiquarian studies: classical and early medieval monuments and artefacts were painstakingly drawn and classified to form a unique survey of ancient architecture, religion, custom, dress and spectacle" (http://warburg.sas.ac.uk/pozzo/prospectus.pdf, accessed 0-03-2010).

The "Paper Museum" was sold by Cassiano’s heirs to the Albani Pope Clement XI , who resold it to his connoisseur nephew Cardinal Alessandro Albani in the early eighteenth century. It remained in the Albani collection until a substantial portion was acquired by George III, also a scientific amateur, in 1762 for his library at Buckingham House. In 1834, the collection was transferred to the Royal Library created by William IV at Windsor Castle, where it forms part of the Royal Collection. Other portions are at the British Library, the British Museum, the botanical gardens at Kew (mycological specimens) , the library of Sir John Soane's Museum. Portions not purchased for George III are preserved at the Institut de France and various other public and private collections. 

Since the 1990s a project has been underway to publish the drawings and prints in the ‘Museo Cartaceo’ in a series of  thirty-six volumes, arranged by subject matter following the method of classification employed by Cassiano himself.  The series is entitled The Paper Museum of Cassiano dal Pozzo ~ A Catalogue Raisonné.

While a medical student Gabriel Naudé publishes one of the earliest works on librarianship: Avis pour dresser une bibliothèque.

Naude's book, written while he served as librarian for Henri de Mesme, Président à Mortier in the Parliament of Paris and councillor to Louis XIII, contained an early mention of the goal of creating a public universal library:

"And therefore I shall ever think it extremely necessary, to collect for this purpose all sorts of books, (under such precautions, yet, as I shall establish) seeing a Library which is erected for the public benefit, ought to be universal; but which it can never be, unlesse it comprehend all the principal authors, that have written upon the great diversity of particular subjects, and chiefly upon all the arts and sciences; [. . .] For certainly there is nothing which renders a Library more recommendable, then when every man findes in it that which he is in search of . . . ."

When Naudé wrote only three "public" libraries existed in Europe: the Bodleian Library opened at Oxford in 1602, the Bibliotheca Ambrosiana founded in Milan by Cardinal Federigo in 1609, and the Bibliotheca Angelica opened for public service in Rome, also in 1609.

Naudé's work was first translated into English by John Evelyn, and published as Instructions Concerning Erecting of a Library in 1651.

Clarke, Gabriel Naudé 1600-1653 (1970).

The library of diarist Samuel Pepys is one of the most significant private libraries preserved intact from seventeenth century England. At Pepys's death in 1703 it included more than 3,000 volumes, including his diary, kept from 1600-1669, all carefully catalogued and indexed. Preserved at Magdalene College, Cambridge, the library, most of which Pepys collected during the last thirteen years of his life, is arranged by size, from No. 1 (the smallest) to No. 3,000 (the largest), and housed in the original twelve seventeenth-century oak bookcases just as Pepys arranged it.  A peculiarity of Pepys's arrangement was that he wanted each book on each shelf to be the same height, and when any book was shorter than the others he had a wooden base made for it, the visible portion of which was rounded and covered in tooled leather to resemble the spine of the book which would sit on it. Pepys's bookcases, also called presses, are among the earliest surviving examples of bookcases in the modern sense. The fine bindings on the books, mostly done for Pepys, are also significant.

Among the most famous items in the Library are the original bound manuscripts of Pepys's diary, and Pepys's copy of the first edition of Newton's Principia (1687), published under Pepys's imprimatur as President of the Royal Society. The library also includes remarkable holdings of incunabula, manuscripts, and printed ballads.

"Most of his [Pepys's] leisure he now spent on his library. He intensified his search for books and prints, setting himself a target of 3000 volumes. Pepys and his library clerk devised a great three-volume catalogue; collated Pepysian copies with those in other collections; adorned volume upon volume with exquisite title pages written calligraphically by assistants; pasted prints into their guard-books; and inserted indexes and lists of contents" (http://www.magd.cam.ac.uk/pepys/latham.html, accessed 12-24-2008).

Pepys made detailed provisions in his will for the preservation of his book collection. When his nephew and heir, John Jackson, died in 1723, it was transferred intact to the Pepys Library, kept in the Pepys Building on the grounds of Magdalene College.

Hobson, Great Libraries (1970) 212-221.

David Teniers the Younger issues the Theatrum Pictorium, a catalogue of 243 Italian paintings belonging to his patron, Hapsburg Archduke Leopold Wilhelm.

Containing the engraved reproductions of 243 paintings, this was the first published illustrated catalogue of an art collection.

Michel de Marolles publishes Catalogue de livres d’estampes et de figures en taille douce.

Marolles's work was the first book on print collecting. Marolles arranged his collection of 123,400 engravings into schools, and in his preliminary and concluding essays he illuminated market conditions and the methods and tastes of fellow collectors. He also documented the relative weighting, in acquisition decisions, of physical condition, rarity, provenance, artist, engraver and the beauty of the image. As a result of this book Louis XIV's finance minister, Jean-Baptiste Colbert, purchased Marolles' print collection, and it became the basis of the Cabinét des Estampes at the Bibliothèque nationale de France.

Samuel Pepys wrote in his diary:

"So took up my wife and home, there I to the office, and thence with Sympson, the joyner home to put together the press he hath brought me for my books this day, which pleases me exceedingly."

and a few days later he wrote:

"and then comes Sympson to set up my other new presses for my books, and so he and I fell into the furnishing of my new closett ... so I think it will be as noble a closett as any man hath."

"The surviving bookcases have paired glazed doors each in 21 small panes, over a low section, also with glazed panes, made to hold large folio volumes. The door of the lower section slide to the side like a sash window, probably Pepys' own invention. The base moldings and cornices are finely and robustly carved with acanthus leaf. Such tall bookcases with doors glazed like paned windows, were a contemporary innovation, but Pepys was alert and curious and well-connected in London, and there is no reason to think his "book-presses" were the very first with glass-paned doors. Pepys began with three or four and kept adding to them until he had twelve" (Wikipedia article on Sympson the joyner, accessed 02-18-2009).

Wormald & Wright, The English Library before 1700 (1958) illustrate as plate 2 a drawing preserved in the Pepysian Library showing how the bookcases were originally arranged in Pepys' house in York Buildings before they were moved to to Magdalene College.

As a result of the burning of his home and the destruction of his library, which included numerous unpublished manuscripts on a wide range of subjects, Danish physician and anatomist, Thomas Bartholin, publishes De bibliothecae incendio, a work of self-consolation. In this work Bartholin recounts examples in history of other library losses through fire, and catalogs and summarizes the vast amount of his intellectual work that was "lost to Vulcan." He also consoles himself with a bibliographical list of his works that had already been published in print, and thus had their content protected from catastrophic loss from fire:

"Books are not so readily exposed to destruction if they have multiplied themselves by the aid of type so that they may be read in more than a thousand copies dispersed throughout the earth, unless this universe which we inhabit be subjected to common ruin or flames spread themselves to all corners of the earth. It is by the benefit of divine art that I am as yet able to collect or seek again from friends or from booksellers my other works which were previously published. If judgment in this matter had been left in the hands of Vulcan, I should be bereft even of this small portion of my books. Unless it is burdensome to the reader, I shall subjoin a catalogue of my personal library constructed from works hitherto published in my name or dedicated to me, which Vulcan consumed with the rest, but with less harm to me since they are available elsewhere." (p. 32).

Bartholin then lists 129 printed works either written and published by him or dedicated to him.  At the end of De bibliothecae incendio Bartholin expresses gratitude that he survived the fire even if his "brain-children" were sacrified, and thanks the king, Christian V, for his support after this tragedy. By this time Bartholin was regarded as the leading physician in Denmark, and because of this tragic accident the king of Denmark freed Bartholin's estate of all taxes and appointed Bartholin his personal physician, with handsome compensation.

♦ Bartholin's work reflects a scholarly perspective very different from our time, and also exhibits what would have to be called credulity, especially with the following reference to Homer written in gold on a dragon's intestine—a story which, according to Bartholin, was repeated by several authorities:

"The library of Constantinople, founded by Theodosius the younger in 473, and a rival to that of Ptolemy [i.e. the Library of Alexandria], in the reign of the Emperor Zeno was consumed by a fire instigated by the leader of the image-breakers, the [later] Emperor Leo the Isaurian. Earlier, in the time of Basilicus Tyrannus, the same library had perished in flames aroused by the plebs in their hatred of Basilicus [Basiliscus], and among the books was the intestine of a dragon twenty feet long on which the Iliad and the Odyssey of Homer had been written in letters of gold. But Claudius Clemens in his Bibliothecae Instructio considers that it had been snatched from the conflagration, because when Leo the Isaurian, struck by a mad fury against the sacred images, burned whatsoever volumes had been restored of the thirty-three thousand of the library, Constantinus, Cedrenus, Zonaras and Glycas testify that the intestine was still there, unless perchance, in a kind of veneration a new one had been fashioned in imitation of the former intestine which had perished in the first fire. According to the Annals of Constantinus Manassus [Manasses], translated by Lewenclavius, in which the fire is well described, I am disposed to consider the one instigated by Leo III, the Isaurian, as the first." (p.7.)

Bartholin, On the Burning of His Library and On Medical Travel, translated by C. D. O'Malley (1961) 7, 32. (Bracketed insertions and hyperlinks are my additions.)

Philologist and bibliographer Johann Hallervord publishes Bibliotheca curiosa in qua plurimi rarissimi atque paucis cogniti scriptores in Königsberg and Frankfurt.

Bibliotheca curiosa was the first bibliography of rare books issued with the book collector in mind. Hallervord (1644-1676) mentioned more than 2800 authors, and included information on anonymous and pseudonymous works. As the son of a bookseller, and probably a scion of the Hallervord family of publishers in Stettin, Hallervord had access to important  public and private libraries in Königsberg and in the Baltic regions, on which he was able to base his research.

Breslauer & Folter, Bibliography: Its History and Development (1984) no. 75.

The sale by auction of the Bigot family library was conducted by booksellers Jean Boudot, Charles Osmont and Gabriel Martin over the remarkably long duration five months. Prior to this auction several auction catalogues for private libraries were printed in Paris but the libraries were sold privately before auctions could occur. The Bigot sale was in five parts comprising 450 manuscripts and over 15,000 printed books. Bookseller, publisher and writer Prosper Marchand organized and catalogued the sale for Martin and Osmont. See Berkvens-Stevelink, Prosper Marchand: la vie et oeuvre (1987) 11-22.

The published auction catalogue was entitled Bibliotheca Bigotiana; seu, Catalogus librorum, quos (dum viverent) summâ curâ & industriâ, ingentique sumptu congressêre vir clarissimi DD. uterque Joannes, Nicolaus, & Lud. Emericus Bigotii, domini de Sommesnil & de Cleuville. . . . 

"According to Olivier, the Library was begun by Jean Bigot in the early 17th century, and continued by his son, Louis-Emery; it eventually passed to Robert Bigot, sieur de Monville, and was sold at his death in 1706. The library included that of Jean-Jacques de Mesmes. The abbé de Louvois purchased many books for the Bibliothèque du roi; Franklin records that the library was purchased by the king. This was Gabriel Martin's first catalogue, and according to Bléchet, Jean-Pierre Nicéron was an editor" (North, Printed Catalogues of French Book Auctions and Sales by Private Treaty 1643-1830 in the Library of the Grolier Club [2004] no. 12).

The Bigot manuscripts were purchased for the Bibliothèque du roi. Over 150 years later they were catalogued by Léopold Delisle as Bibliotheca Bigotiana Manuscripta. Catalogue des manuscrits rassemblés aux XVIIe siecle par les Bigot, mis en vente au mois de juillet 1706, aujourdhui conservé aux Bibliothèque nationale (1877).

White Kennett, Bishop of Peterborough, England, publishes in London Bibliothecae Americanae Primordia. An Attempt Towards Laying the Foundation of an American Library, in Several Books, Papers, and Writings, Humbly given to the Society for Propagation of the Gospel in Foreign Parts. . . .

Published in an edition of 250 copies, this was the library of the first collector of historical documents on the continent of North America. It was also the first bibliography of Americana, carefully listing in chronological order books, charts, maps, and documents with a detailed alphabetical index.

Breslauer & Folter, Bibliography: Its History and Development (1984) no. 93.

London rare book dealer and publisher Thomas Osborne issues The British Librarian: Exhibiting a Compenious Review or Abstract of our most Scarce, Useful and Valuable Books in all Sciences as well in Manuscript as in Print.

The work, of which only six issues appeared from January to June 1737 (issued in a collected volume in 1738), was the first periodical published in English on rare books and manuscripts, and it may be the first periodical on these topics in any language, as the antiquarian book trade was just beginning to become organized around this time, and the earliest recorded rare book catalogue is also dated 1738.

The anonymous author of the periodical, William Oldys, included descriptions of unique manuscripts, of examples of early printing such as several works printed by William Caxton, and of other works which were considered rare and collectable at the time. He sometimes includef details of bindings and of private collections. While Oldys' descriptions lean toward the verbose, and there is a certain lack of analysis, the periodical provides valuable insight into how rare books were appreciated and marketed in the first half of the eighteenth century. It is especially helpful since, as Oldys remarks, book sellers' catalogues and library catalogues of this period were primarily listings, and almost never annotated.

William Oldys devoted his life to antiquarian and bibliographic pursuits, compiling valuable notes on Langbaine's Dramatick Poets (1691), writing an important "Life" of Sir Walter Raleigh (published in the 1736 edition of Raleigh's History of the World), and amassing a library of historical and political works. In 1731 Oldys sold his library to Edward Harley (1689-1741), second Earl of Oxford and a noted bibliophile. From 1738 to 1741 Oldys served as the Earl's librarian, but had to give up the post upon his patron's death. In 1742 The Earl of Oxford's immense library of printed books was purchased by bookseller Thomas Osborne, publisher of The British Librarian and one of England's first rare book dealers. Osborne hired Oldys and Samuel Johnson to prepare a descriptive catalogue of the Harleian collection prior to its sale; the resulting Catalogus bibliothecae Harleianae was issued in five volumes between 1743 and 1745. Osborne and Oldys also worked together on The Harleian Miscellany, an annotated reprint of selected tracts and pamphlets from the Harleian library edited by Oldys and Johnson and published by Osborne. "Three years later Harley died, and from that time Oldys worked for the booksellers. His habits were irregular, and in 1751 his debts drove him to the Fleet prison. After two years' imprisonment he was released through the kindness of friends who paid his debts, and in April 1755 he was appointed Norfolk Herald Extraordinary and then Norroy King of Arms by the Duke of Norfolk" (Wikipedia article on William Oldys, which derives material from the 11th edition of the Encyclopaedia Brittanica).

Catalogue raisonné de toutes les pieces qui forment l'oeuvre de Rembrandt by Edmé-François Gersaint, P.-C.-A. Helle, and Jean-Baptiste Glomy is published in Paris.

This was the "first catalogue raisonné in Western art history" (Sylvia Hochfield, "Rembrandt: Myth, Legend, Truth", ARTnews, accessed 01-04-2008). Gersaint (d. 1750) was the leading auctioneer of the time in Paris of art objects and natural history specimens, and a scholar and connoisseur. He compiled his catalogue from the collection of Arnold Houbraken, of Amsterdam, which had previously been the property of Mayor Jan Six, an intimate firend of Rembrandt and the subject of more than one portrait. Gersaint's widow turned over the manuscript of the unfinished catalogue to Helle and Glomy who augmented this compilation by examination of a number of collections in France, and published the catalogue in duodecimo format one year after Gersaint's death. A supplement by Pieter Yver based on the collection of M. van Leyden, which had been culled from those of Houbraken, Halling, Maas, Moewater and De Burgy, and which was the largest known collection at the time, appeared in 1756.

The will of English physician and naturalist Sir Hans Sloane bequeathes his collection of 70,000 objects, including a library, and an herbarium to Britain as the basis for the British Museum.

"When Sloane retired in 1741, his library and cabinet of curiosities . . . had grown to be of unique value. He had acquired the extensive natural history collections of William Courten, Cardinal Filippo Antonio Gualterio, James Petiver, Nehemiah Grew, Leonard Plukenet, the Duchess of Beaufort, the rev. Adam Buddle, Paul Hermann, Franz Kiggelaer and Herman Boerhaave. On his death on 11 January 1753 he bequeathed his books, manuscripts, prints, drawings, flora, fauna, medals, coins, seals, cameos and other curiosities to the nation, on condition that parliament should pay to his executors £20,000, which was a good deal less than the value of the collection. The bequest was accepted on those terms by an act passed the same year, and the collection, together with George II's royal library, etc., was opened to the public at Bloomsbury as the British Museum in 1759. A significant proportion of this collection was later to become the foundation for the Natural History Museum" (Wikipedia article on Sir Hans Sloane).

King George II donates the 'Old Royal Library' of the sovereigns of England to the British Museum. With that gift the British Museum obtained the privilege of acquiring books by copyright receipt.

Having been founded in 1753 by the bequest of English physician Sir Hans Sloane, the British Museum is opened to the public.

Sloane's library of about 40,000 volumes, especially significant for scientific and medical material, was among the largest formed in the eighteenth century. The British Museum retained all the Sloane manuscripts, but during the eighteenth and nineteenth centuries they dispersed certain printed books from the collection as "duplicates." 

♦ The Sloane Printed Books Catalogue on the British Library website is a project to publish bibliographical descriptions of each volume in Sloane's original library from institutional holdings around the world.

The Roxburghe Club, the oldest society of bibliophiles in the world, is founded. Membership is limited to 40.

"The Club came into existence on 16 June 1812 when a group of book-collectors and bibliophiles, inspired by the Revd Thomas Dibdin, panegyrist of Lord Spencer, the greatest collector of the age, dined together on the eve of the sale of John, Duke of Roxburghe’s library, which took place on the following day. This was the greatest private library of the previous age, and the sale was confidently expected to break all records, and it did. The first edition of Boccaccio (then believed to be unique) printed in 1471 made £2,260, a record that stood for more than sixty years, and the Duke’s Caxtons made equally high prices. The diners decided that this occasion should not be forgotten and so they dined again together the next year on June 17, the anniversary of the sale, and again the year after. So the Roxburghe Club was born and its members still dine together each year on, or about, that memorable day" (The Roxburghe Club website).

Within a month after the burning of the Library of Congress President Thomas Jefferson offers his personal library as a replacement.

Jefferson spent 50 years accumulating 6,487 books, "putting by everything which related to America, and indeed whatever was rare and valuable in every science." His library was considered one of the finest in the United States.

Jefferson, who was heavily indebted, sought to use the proceeds of the sale of his library to satisfy his creditors. He anticipated controversy over the nature of his collection, which included books in foreign languages and volumes of philosophy, science, literature, and other topics not normally viewed as part of a legislative library. He wrote: "I do not know that it contains any branch of science which Congress would wish to exclude from their collection; there is, in fact, no subject to which a Member of Congress may not have occasion to refer."

David Ricardo publishes The Principles of Political Economy and Taxation in which he expounds the theory of comparative advantage, "a fundamental argument in favor of free trade among countries and of specialization among individuals. Ricardo argued that there is mutual benefit from trade (or exchange) even if one party (e.g. resource-rich country, highly-skilled artisan) is more productive in every possible area than its trading counterpart (e.g. resource-poor country, unskilled laborer), as long as each concentrates on the activities where it has relative productivity advantage" (Wikipedia article on David Ricardo, accessed 12-27-2008).

Concerning the economic value of rare books and manuscripts Ricardo included pertinent observations in Chapter One, Section 1, paragraph 4:

"There are some commodities, the value of which is determined by their scarcity alone. No labour can increase the quantity of such goods, and therefore their value cannot be lowered by an increased supply. Some rare statues, scarce books and coins, wines of a peculiar quality, which can only be made from grapes grown on a particular soil, of which there is very limited quanity, are all of this description. Their value is wholly independent of the quantity of labour necessary to produce them, and varies with the varying wealth and inclinations of those who desire to possess them." 

Carter & Muir, Printing and the Mind of Man (1967) no. 277.

From his private press at his estate at Middle Hill, Broadway, Worcestershire, England, Sir Thomas Phillipps issues Catalogus librorum manuscriptorum in bibliotheca d. Thomae Phillips, Bt.

According to A.N.L. Munby, this catalogue of Phillipps's manuscript collection, published in fascicules, or parts, over more than thirty years, was issued in only 50 copies, of which only three surviving copies may be considered complete. The fascicules were printed by a variety of printers, only some of whom worked at Phillipps's estate, and Phillipps bound up copies from both corrected and uncorrected sheets, resulting in copies that are exceptional in their bibliographical complexity. The catalogue includes 23,837 entries, which, for various reasons outlined by Munby, describe a considerably larger collection that may have comprised about 60,000 manuscripts. In 1968 Munby issued, in an edition of 500 copies, a facsimile of a complete copy of the Phillips catalogue which belonged at the time to rare book dealer Lew D. Feldman: The Phillipps Manuscripts. Catalogus librorum manuscriptorum . . . with an introduction by A.N.L. Munby. (London: Holland Press).

"Philipps began his collecting while still at Rugby School and continued at Oxford. Such was his devotion that he acquired some 40,000 printed books and 60,000 manuscripts, arguably the largest collection a single individual has created. . . . A.N.L. Munby notes that '[h]e spent perhaps between two hundred thousand and a quarter of a million pounds[,] altogether four or five thousand pounds a year, while accessions came in at the rate of forty or fifty a week.' His success as a collector owed something to the dispersal of the monastic libraries following the French Revolution and the relative cheapness of a large amount of vellum material, in particular English legal documents, many of which owe their survival to Phillipps. He was an assiduous cataloguer who established the Middle Hill Press (named after his country seat at Broadway, Worcestershire) in 1822 not only to record his book holdings but also to publish his findings in English topography and geneology."

"During his lifetime Phillipps attempted to turn over his collection to the British nation and corresponded with the then-Chancellor of the Exchequer Disraeli in order that it should be acquired for the British Library. Negotiations proved unsuccessful and ultimately the dispersal of his collection took over 100 years. Phillipps's will stipulated that his books should remain intact at Thirlestaine House, that no bookseller or stranger should rearrange them and that no Roman Catholic should be permitted to view them. In 1885 the Court of Chancery declared this too restrictive and thus made possible the sale of the library which Phillipps’s grandson Thomas FitzRoy Fenwick supervised for the next fifty years. Significant portions of the European material were sold to the national collections on the continent including the Royal Library, Berlin, the Royal Library of Belgium and the Provincial Archives in Utrecht as well as the sale of outstanding individual items to the J. Pierpont Morgan and Henry E. Huntington libraries. By 1946 what was known as the 'residue' was sold to London booksellers Phillip and Lionel Robinson for £100,000, though this part of the collection was uncatalogued and unexamined. The Robinsons endeavored to sell these books through their own published catalogues and a number of Sothebys sales. The final portion of the collection was sold to New York bookseller H.P. Kraus in 1977 who issued a sale catalogue the same year: the last to bear the title Bibliotheca Phillippica. A five-volume history of the collection and its dispersal, Phillipps Studies, by A.N.L. Munby was published between 1951 and 1960" (Wikipedia article on Sir Thomas Phillipps, accessed 11-25-2008).

Mathematician, logician and pioneer collector of the history of mathematics, Augustus de Morgan publishes Arithmetical Books from the Invention of Printing to the Present Time, being Brief Notices of a Large Number of Works Drawn up from Actual Inspection.

De Morgan's work was first separately published bibliography on the history of science. The bulk of the book consisted of an extensively annotated list of treatises on arithmetic from 1491 to 1846, arranged in chronological order; de Morgan claimed that he had personally examined every book. Most of the books described were from de Morgan’s own library, which he acquired at relatively low cost because of the obscurity of the subjects involved. A few of the books he described came from the libraries of collector friends, and a few from the library of the British Museum. There is an index of 1,580 entries.  In The History and Bibliography of Science in England (1968) A. N. L. Munby stated that “only in the physical descriptions of books cited is De Morgan’s great work disappointing.”

De Morgan was an eloquent exponent of the value of collecting the history of science. He wrote on p. ii his prefatory letter to Arithmetical Books:

“The most worthless book of a bygone day is a record worthy of preservation. Like a telescopic star, its obscurity may render it unavailable for most purposes; but it serves, in hands which know how to use it, to determine the places of more important bodies.”

Even though de Morgan’s library was not kept together when it was transferred to the University of London, his books were separately identified in the printed catalogue of the University of London Library published in 1876. Thus it is still possible to study one of the pioneering collections of books formed in England not just on mathematics, but on a wide range of the physical sciences.

Charles Darwin issues through the London publisher, John Murray, his book entitled On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life. 

The idea of species evolution can be traced as far back as the ancient Greek belief in the "great chain of being". Darwin's great achievement was to make this centuries-old "underground" concept acceptable to the scientific community and educated readers by cogently arguing for the existence of a viable mechanism— natural selection— by which new species evolve over vast periods of time.  Though Darwin stated his case persuasively and in the most diplomatic of tones, the work evoked a storm of controversy, causing Darwin to revise it through six editions during his lifetime. Since its publication the scientific evidence supporting evolution by natural selection has reached a massive—even overwhelming— preponderance, yet the controversy over evolution has never abated.

There is only one issue of the first edition of On the Origin of Species, and although three cloth binding and advertisement variants have been identified, no priority has been established. 1250 copies were printed, of which about 1,170 were available for sale; the remainder consisted of 12 author's copies, 41 review copies, 5 copyright copies, and "Darwin required ninety copies to be sent as presentations to friends, family, and scientists [Correspondence, 8: 554-6]" (Kohler & Kohler, see below, 333). Following Darwin's instructions, these presentation copies were sent out by the publisher, usually inscribed "From the Author" by the publisher's clerk.  The book was offered to booksellers two days earlier on November 22, and oversubscribed by 250 copies causing John Murray to propose a new edition immediately.

On the Origin of Species is undoubtedly the most famous book in the history of the life sciences, and one of the world's most famous books on any subject. It is also perhaps the most published book in the history of science and the most translated book originally published in English. As a result of this fame, a great deal of historical research has been concentrated on this work. Early in 2009 Cambridge University Press published The Cambridge Companion to the "Origin of Species," edited by Michael Ruse and Robert J. Richards. Most pertinent to book collecting and book history is the excellent chapter on "The Origin of Species as a Book" by Michèle Kohler and Chris Kohler.

Among the many very informative details the Kohlers include, of particular interest to the history of collecting rare books in the history of science is their observation that the first edition may have first been offered as collectable "rare book" by Bernard Quaritch Ltd in 1903 for £2-10-0, "a premium on the price of a new copy, not a discount." (p. 345). They also observe that the price of the first edition remained essentially static in the rare book trade until it began to rise in the 1920s, after which it very gradually moved upward. When I first opened my shop at the beginning of 1971 the price of a fine copy of the first edition in the original cloth was $1000. At this time the work was relatively common, and there were usually several copies of the first edition on the market at one time.

Hook & Norman, The Haskell F. Norman Library of Science and Medicine (1991) No. 593.

Charles Babbage’s scientific library is sold at auction. The auction catalogue, containing over two thousand items on topics such as mathematical tables, cryptography, and calculating machines, and including many rare volumes, may be the first catalogue of a library on computing and its history.

Press manufacturer and book collector, Robert Hoe, and eight of his book collector friends found The Grolier Club in New York. It became the leading society of bibliophiles in the United States, and a leading venue for exhibitions relating to book history.

The library of The Grolier Club became a leading research center for book history, for the history of libraries, the history of book collecting and the book trade.

Chemist, historian of chemistry, and bibliographer John Ferguson publishes Bibliotheca Chemica. A Catalogue of the Alchemical, Chemical, and Pharmaceutical Books in the Collection of the Late James Young of Kelly and Duris.  The work was finely printed on handmade paper in an edition of unknown size, in full buckram or quarter morocco bindings, and presented "With the Compliments of the Trustees and Family of the Late Dr. James Young of Kelly."

One of the earliest technical chemists, Young's discovery of the distillation of paraffin from coal and oil-shales made him the founder of the Scottish shale oil industry. In about 1850 Young set out to collect the classic original works in the history of alchemy, chemistry, and pharmacy, eventually aided in this pursuit by Ferguson. Along with Augustus de Morgan and Latimer Clark, whose libraries are also noticed in this database, Young was one of the earliest collectors of the history of science.

The Young collection numbered about 1400 separate items, many of which were already of the greatest rarity by the end of the nineteenth century. Ferguson's 2-volume catalogue of more than a thousand densely printed quarto pages, with bibliographical details of each work, biographical notices of each writer, and exhaustive lists of references in chronological order, set a new standard in scope and accuracy for the descriptive bibliography of the history of science. Sir William Osler considered Ferguson's catalogue the model of descriptive scientific bibliography, writing in his inimitable style:

"though an absorbing and profitable study, the results of bibliography are too often recorded in tomes of intolerable dullness. The merit that appeals to me [in Ferguson's Bibliotheca Chemica] is the combination of biography with bibliography. Beside the book is a picture of the man sketched by a sympathetic hand "

The Young collection is preserved in the Andersonian Library, University of Strathclyde, Glasgow.

Historian of Mathematics David Eugene Smith publishes Rara arithmetica: A Catalogue of the Arithmetics Written Before the Year MDC! with a Description of Those in the Library of George Arthur Plimpton of New York. This two-volume work, issued by Plimpton's textbook publishing company, Ginn & Company., described and illustrated Plimpton's library of early mathematical books and medieval manuscripts before 1601.  Two versions of the catalogue were published:

1. A deluxe numbered edition limited to 151 copies printed on handmade paper and bound in full vellum, elaborately gilt, in two volumes, with the plates printed in color on Japan vellum, enclosed in a slipcase
2. A trade edition of indeterminate number, printed on regular paper and bound in one volume in cloth-backed boards. 
   

Plimpton’s mathematical library, preserved at Columbia University, is the first specialized private collection of antiquarian scientific books formed by an American for which we have an annotated bibliographical catalogue.  Smith also discussed some of Plimpton’s early manuscripts in his History of Mathematics (Boston: Ginn & Co., 1923–25), and issued a pamphlet addendum to his catalogue of Plimpton’s library in 1939 (Rara arithmetica: Addenda to “Rara arithmetica" [Boston: Ginn & Co.]).

Plimpton did not comment on his library in any of Smith’s works, all, or nearly all of which were published by Plimpton's Ginn & Company. The only place where I find published remarks by Plimpton on his mathematical library is in “The History of Elementary Mathematics in the Plimpton Library", Atti del Congresso Internazionale dei Matematici Bologna 3–10 Settembre 1928, VI (1932) 433–42.

William D. Weaver publishes Catalogue of the Wheeler Gift of Books, Pamphlets, and Periodicals in the Library of the American Institute of Engineers. With Introduction, Descriptive and Critical Notes by Brother Potamian.

This 2-volume work described primarily the library of Latimer Clark, an electrical engineer and inventor who, in partnership with Sir Charles Tilson Bright, was responsible for laying many of the first submarine telegraphic cables. While pursuing a remarkably successful and creative scientific and entrepeneurial career, Clark also found time to build one of the most complete collections ever formed of early books and manuscripts on the history of electricity and magnetism, including virtually every known publication in English on these subjects prior to 1886.

In 1901 Clark's library was purchased by the American engineer, Schulyer Skaats Wheeler, and donated by him to the American Institute of Electrical Engineers in New York. The extensively annotated and illustrated catalogue of the collection of 5,966 items, edited by William Weaver and annotated by Brother Potamian, was financed by Andrew Carnegie. Though the title page of the catalogue takes no notice of it, a high percentage of the items in Clark's library, particularly the final 2000 items, concern telegraphy.

♦ Problematic Management of the Latimer Clark Library in the Twentieth Century:

"In 1913 the Engineering Societies Library was established in New York City, a joint venture of the AIEE, the ASME (Mechanical Engineers), and the AIME (Mining Engineers), funded by a $1.5 million gift from Andrew Carnegie. The AIEE’s main contribution to the Library was the Wheeler Gift Collection. For many years the collection was accessible according to the terms above, but in the 1990s the ESL decided that it could no longer maintain its Manhattan premises and closed the library there.

"By that time the Wheeler Gift Collection had been merged with other works at the library, and had suffered from neglect over the years, much of the material being kept in poor physical conditions. A 1985 survey of the collection showed about 9% (532 items) were missing, and it seems unlikely that the situation improved in the following ten years, prior to the dispersion of the collection.

"Constrained by the terms of the Gift to keep the collection in New York City, the ESL boxed up whatever could be definitely identified as part of the original Wheeler Gift and in 1995 sent 205 cartons of books and papers to the Humanities and Social Sciences division of the New York Public Library at 42nd Street. The rest of the collection, including items in the 1909 catalog that were part of the Wheeler Gift but did not have identifying labels, went to Linda Hall Library in Kansas City, MO"(http://atlantic-cable.com/CablePioneers/LatimerClark.htm, accessed 07-31-2009).

Hook & Norman, Origins of Cyberspace (2001) no. 211.

The International Exhibition of Modern Art, organized by the Association of American Painters and Sculptors, occurs in New York City's 69th Regiment Armory. 

It displayed some 1,250 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists, including  Impressionists, Fauvists, and Cubists. Known as the Armory Show, this exhibition is credited with introducing "modern art" to the United States.

"News reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, President Theodore Roosevelt declared, 'That's not art!' The civil authorities did not, however, close down, or otherwise interfere with, the show.

"Among the scandalously radical works of art, pride of place goes to Marcel Duchamp's Cubist/Futurist style Nude Descending a Staircase, painted the year before, in which he expressed motion with successive superimposed images, as in motion pictures. An art critic for the New York Times wrote that the work resembled 'an explosion in a shingle factory,' and cartoonists satirized the piece" (Wikipedia article on Armory Show, accessed 03-13-2009).

You can tour a virtual recreation of the Armory Show prepared by the American Studies Program at the University of Virginia at http://xroads.virginia.edu/~museum/armory/armoryshow.html.

In 1916 the distinguished London antiquarian booksellers Maggs Bros bought the penis of Napoleon Bonaparte from the descendants of Abbé Ange Paul Vignali, who had given the last rites to Napoleon on St. Helena. Vignali brought the penis along with a collection of more conventional mementos of Napoleon to Corsica, and died in a vendetta in 1828. He passed on the mementos to his sister, who at her death passed them on to her son, Charles-Marie Gianettini. After holding the Vignali collection of Napoleon memorabilia for eight years, Maggs sold it to the legendary American antiquarian bookseller Dr. A.S.W Rosenbach for £400 (then $2000) in 1924. 

Though the authenticity of the other Napoleon memorabilia in the Vignali collection was never in doubt, authenticity of the penis, which resembled something "like a maltreated strip of buckskin shoe-lace or shriveled eel," "rested mainly on a memoir by the valet, Ali (Saint-Denis), published in 1852 in the celebrated Revue des [Deux] Mondes. Ali claimed that he and Vignali had removed certain unnamed portions of Napoleon's corpse during the autopsy" (Charles Hamilton, Auction Madness [1980] 54-55).

With his characteristic flair Dr. Rosenbach received considerable publicity for this purchase.  According to the May 12, 1924 issue of Time Magazine:

"The collection numbers about 40 pieces, half of which consist of documents. The most interesting are: death mask from the matrix moulded by Dr. Antomarchi, Napoleon's doctor; a letter from Antomarchi to Vignali; the last cup ever used by the ex-French Emperor, a silver goblet inscribed with the Imperial arms; a silver knife, fork and spoon also engraved with the Imperial arms; a shirt, handkerchiefs, pair of white breeches, white pique waistcoats; Church vestments from the Longwood Chapel, some marked with the Imperial cypher; last, the most gruesome relic, a mummified tendon taken from the ex-Emperor's body during the postmortem" (http://www.time.com/time/magazine/article/0,9171,718332,00.html, accessed 08-02-2009).

Dr. Rosenbach had the penis "enshrined" in an elaborate blue morocco and velvet box. In 1927 he exhibited it, along with the other Vignali relics, in the Museum of French Art in New York.

Though I had heard of this most unusual purchase in Dr. Rosenbach's career I was not aware that The Rosenbach Company had issued a catalogue  describing the collection until a copy of Description of the Vignali Collection of the Relics of Napoleon (1924) was offered early in 2010. This I acquired, and we mounted a scan of the 20 page catalogue in the Traditions section of our website.

In that catalogue the description of item number 9 reads as follows:

"A mummifled tendon taken from Napoleon's body during the post  mortem. (The authenticity of this remarkable relic has lately [in 1852!] been confirmed by the publication in the Revue des Deux Mondes of a posthumous memoir by St. Denis, in which he expressly states that he and Vignali took away small pieces of Napoleon's corpse during the autopsy.)"

As historic as the Vignali collection was, it was not readily salable. According to the standard biography, Rosenbach by Edwin Wolf II and John F. Fleming (1960), a work which was inspirational in my early career, the Vignali collection remained in the inventory of The Rosenbach Company for 23 years until it was finally purchased by collector Donald Hyde in 1947.

But wait, the story continues:

According to Charles Hamilton, when Donald Hyde died in 1966 his widow, Mary, also a serious collector, turned the Vignali collection over to Dr. Rosenbach's successor, John Fleming. Fleming in turn sold it to dealer Bruce Gimelson for $35,000. Finding the collection difficult to resell, as had Maggs and Rosenbach, Gimelson consigned it to Christie's in London for sale en bloc at a reserve price equal to his cost, but with no success. When the collection failed to sell London tabloids ran the naughty headline, "Not Tonight, Josephine!"

Eight years later Gimelson consigned the collection in Paris at Drouot Rive Gauche. This time the collection was dispersed, and the penis was purchased by John K. Lattimer, professor emeritus and former chairman of urology at the Columbia University College of Physicians and Surgeons, for the equivalent of $3000. The object fit in well with other historical objects in Lattimer's collection:

"Dr. John Lattimer possessed Abraham Lincoln's bloodstained collar and a treasure trove of items from his own idiosyncratic relationships to some of the most important historical events of the 20th century. He was an attending urologist to Nazi prisoners at the Nuremberg trials and had acquired Herman Goering's suicide vial. He worked on the autopsy of John F. Kennedy and possessed upholstery from the president's limousine in Dallas" ("The Twisted Story of Napoleon's Privates" http://www.npr.org/templates/story/story.php?storyId=92126411, accessed 05-23-2010).

The number of titles of fifteenth century books (incunabula) present in North American libraries at this time: 6,292. Number of copies: 13,200. (Goff, Incunabula in American Libraries, 3rd census [1964] xv.).

London antiquarian booksellers Maggs Bros. issue Catalogue of Medical Works from the Library of Dr. Nicholaus Pol, Born c1470; Court Physician to the Emperor Maximilian I. Maggs further characterized the 34 items offered in the catalogue as "A remarkable collection of 'Editiones principes' and other early editions of Medical Authors, Classical, Arabian, and medieval from famous early presses of France and Italy in the original Gothic Bindings executed for Dr. Pol".

The asking price for the collection—£2500, even when the pound equalled nearly $5— seems exceptionally reasonable today, considering the optimal significance and quality of the books involved.

The catalogue was bought in its entirely by the Cleveland Medical Library and it is preserved in the Howard Dittrick Medical History Center at Case Western Reserve University.

"Through a clerical error, Dr. Harvey Cushing did not receive a copy of the catalogue, but his nephew Dr. Edward H. Cushing of Cleveland did. He promptly persuaded President Vinson of Western Reserve University to cable for the collection and hold it until the Cleveland Medical Library Association could raise the money. This was soon supplied by a donor who asked to be nameless, and the collection came to rest in the Cleveland Medical Library as a memorial to Mr. Charles H. Bingham" (http://www.cwru.edu/artsci/dittrick/site2/books/pol.html, accessed 08--02-2009).

The Printing and the Mind of Man exhibition takes place in London. The lengthy and complex title of its catalogue reads: Catalogue of a display of printing mechanisms and printed materials arranged to illustrate the history of Western civilization and the means of the multiplication of literary texts since the XV century, organised in connection with the eleventh International Printing Machinery and Allied Trades Exhibition, under the title Printing and the Mind of Man, assembled at the British Museum and at Earls Court, London, 16-27 July 1963.

This was  followed in 1967 by a cloth-bound edition edition with more detailed annotations, and without discussion of "printing mechanisms," entitled Printing and the Mind of Man. A Descriptive Catalogue Illustrating the Impact of Print on the Evolution of Western Civilization, compiled and edited by John Carter and Percy H. Muir, assisted by Nicolas Barker, H.A. Feisenberger, Howard Nixon and S.H. Steinberg.

This exhibition was, and remains, immensely influential on both institutional and private collectors of landmark books that influenced the development of Western Civilization. Taking place at the dawn of online searching and the ARPANET, and roughly twenty years before the development of the personal computer, this exhibition and its catalogues may also record the peak of the print-centric view of information before the development of electronic information technology leading to the Internet. The only references to computing in the exhibition and its catalogues were to Napier on logarithms, and to Leibnitz's stepped-drum calculator. There were references to the invention of radio and films, but not to television. 

Diana Hook and the author/editor of this database, Jeremy Norman, issue as a limited edition an annotated, descriptive bibliography entitled Origins of Cyberspace: A Library on the History of Computing, Networking, and Telecommunications. It was the first annotated descriptive bibliography on these subjects.

The Parker Library on the Web project, digitizing one of the greatest collections of medieval manuscripts, begins. It is:

"a multi-year undertaking of Corpus Christi College, the Stanford University Libraries and the Cambridge University Library, to produce a high-resolution digital copy of every imageable page in the 538 manuscripts described in M. R. James Descriptive Catalogue of the Manuscripts in the Library of Corpus Christi College, Cambridge (Cambridge University Press, 1912), and to build an interactive web application in which the manuscript page images can be used by scholars and students in the context of editions, translations and secondary sources" (Parker Library on the Web site, accessed 11-27-2008).

The project was expected to be completed in 2009. The website of the Parker Library is at this link.

The Walters Art Museum reports through The New York Times that the Archimedes Palimpsest, the unique tenth century source for two treatises by Archimedes: The Method and Stomachion, and the unique source for the Greek text of On Floating Bodies, also contains ten pages of previously unknown speeches by Hyperides, "one of the foundational figures of Greek democracy," "illuminating some fascinating, time-shrouded insights into Athenian law and social history." The palimpsest includes parchment from seven texts including two texts which remain to be identified.

This manuscript was purchased by a private collector at an auction at Christie's in New York on October 28, 1998. It has been characterized as one of the most important scientific manuscripts ever to appear on the market.

The Walters Art Museum reports through  BBC News  that through the technique of multispectral imaging a previously unknown commentary on Aristotle has been discovered in the Archimedes Palimpsest, which was purchased by a private collector at Christie's in New York on October 28, 1998.

After a decade of scientific study all the Archimedes Palimpsest images are released to the public on Google Books. Several videos, audio presentations and articles about the project are available at this link.

Reflective of the economic realities of small circulation print magazines, Fine Books & Collections, a magazine about information in physical form, converts from bi-monthly print publication to monthly electronic publication, retaining in printed form only an annual Fine Books & Collections Compendium.

Bonhams auctioneers announced that they identified a Roman cameo glass vase, which may be the most important of its kind in the world. Strikingly similar to the Portland Vase, it is larger, in better condition and with superior decoration  

"The vase dates from between late First Century B.C. to early First Century A.D and stands 13in (33.5cm) high. Only 15 other Roman cameo glass vases and plaques are known to exist today. These very rare vessels were highly artistic, luxury items, produced by the Roman Empire’s most skilled craftsmen. They are formed from two layers of glass – cobalt blue with a layer of white on top – which is cut down after cooling to create the cameo-style decoration.  

"Items of this kind were produced, it is thought, within a period of only two generations. They would have been owned by distinguished Roman families.  

"Until now, the most famous example has been the Portland Vase, held by the British Museum. This is smaller, standing at only 9in (24cm) high. It is also missing its base and has been restored three times.

"The recently identified vase is also more complex than others of its kind, being decorated with around 30 figures and a battle scene around the lower register. By comparison, the Portland vase has just seven figures. Bonhams’ experts believe that this magnificent artefact could rewrite the history books on cameo vases. Unlike the Portland Vase, it still has its base and lower register and will therefore add significantly to the archaeological understanding of these vessels.  

"The vase is thought to have resided in a private European collection for some time. The collector is a long-term client of Bonhams.  

"In co-operation with leading experts in the field and with the present owner of the vase, Bonhams say they will be carrying out detailed research over the coming months into the historical background of the vase and its miraculous survival as well as into its more recent history and chain of ownership.  

"The vase was presented publicly for the first time at a the 18th Congress of the International Association for the History of Glass at Thessaloniki in Greece in September, where it was viewed by around 200 of the world’s leading glass specialists" (http://www.antiquestradegazette.com/news/7312.aspx).  

The web auction site ComicConnect.com sells the first edition of the first Superman comic book, Action Comics #1, for $1,000,000.

"ComicConnect.com, one of the industry’s leading online auction/consignment sites, just sold an extremely rare, top-condition copy of the world’s most coveted comic book for exactly $1,000,000. That figure is more than three times higher than the prior record-holder, also set by ComicConnect.com.

"That comic book, of course, is Action Comics #1, which marked the debut of Superman in 1938 and promptly changed the course of pop culture forever.

" 'This particular copy has been in a private collection for more than 15 years, and it’s likely to disappear again once it’s been turned over to its new owner. However, ComicConnect.com will allow the media to view it briefly in its New York City showroom (873 Broadway, Suite 201, 212-895-3999). The showroom is also home to ComicConnect.com’s affiliate, Metropolis Collectibles (metropoliscomics.com), the largest vintage comic book dealer in the world.

" 'It’s the Holy Grail of comic books,' says founder Stephen Fishler, one of the leading experts on collectible comics.

“ 'Before Action Comics #1, there was no such thing as a superhero or a man who could fly,' notes Fishler, who created the 10-point grading scale which today is used universally to evaluate the condition of comic books.

“ 'It’s the single most important event in comic book history,' adds ComicConnect.com co-owner and COO, Vincent Zurzolo.

"Only about 100 copies Action Comics #1 remain in existence, and of those 100, only two have received a grading of 8.0 (Very Fine) or higher. This particular book is one of them, making it among the rarest of the rare.

"Up until now, the record-holder was another Action Comics #1, this one with a grading of 6.0. It sold on ComicConnect.com for $317,200 in 2009.

"According to the Overstreet Price Guide to Comic Books—the industry bible—Action Comics #1 is indisputably the highest-valued comic book of all time. In second place is Detective Comics #27, which marked the first appearance of Batman in 1939. An Action Comics #1 graded 8.0 or higher is priced about 25% higher than a comparable Detective Comics #27" (http://www.comicconnect.com/, accessed 02-25-2010).

A superfine copy of Action Comics No. 1 from 1938, which features the first appearance of Superman, the "Man of Steel," and graded 8.5 on the 10 point Fischler rating, was bought by an undisclosed buyer for a record $1.5 million  on the online auction site ComicConnect.com.

" 'This is the Holy Grail of Holy Grails,' said Vincent Zurzolo, co-owner of the Web site.

"A copy of the same issue sold for $1 million in February, but this one fetched a higher price because it is in better condition. It was stored inside a movie magazine for the past 50 years, Zurzolo said. 

" 'The book looks like it just came off the presses yesterday,' said Zurzolo. 'The colors are extremely vivid, the whites behind the 'Action Comics' logo are snow white. It's just a stunning copy -- it almost looks brand new.' The sale of the Superman book marks the third time this year that a record was set for the sale of a comic book. The other copy of 'Action Comics' No. 1 held onto its record for only three days before a comic book featuring Batman's debut sold for $75,000 more at an auction in Dallas, Texas. 

"It's widely believed that there are 50 to 100 copies of Action Comics No. 1 floating around, which makes it exceedingly rare. However, the copy sold Monday has received the highest rating to date from the Certified Guaranty Company, an independent comic grading company in Sarasota, Florida. The company inspects comic books for imperfections, ranging from yellowing to slight creases. J.C. Vaughn, the associate publisher of The Overstreet Comic Book Price Guide, an annual publication considered the authority on comic book pricing, said the Action Comic No. 1 book sold Monday is worth every penny.

" 'The older any comic book gets, obviously the more unlikely you'll find it with a high rating,' said Vaughn.

" 'A book this old, featuring Superman's first appearance? I think this book warrants the price.' Back in 1938, there were 200,000 of these first editions printed and 130,000 sold, said Vaughn. The 70,000 other copies were destroyed.

"Zurzolo said it could be a while before another comic book sets a new mark, because only a few other comics have this type of value" (http://www.cnn.com/2010/SHOWBIZ/03/30/superman.comic/, accessed 04-02-2010).