The Atlantic Monthly, Volume 16, No. 97, November, 1865. Various

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      Pepys certainly never meant to be one of the invisible things in his own library, for every book contains an engraving from his own portrait. Should he ever come back to look after the possessions he so much valued, he can surely be at no loss to find the likeness of the form he once wore. If a spirit can retain any human vanity and self-importance, his must certainly be unpleasantly surprised that the great collection looks small in these days, and attracts but little attention. To antiquaries and lovers of the odd and curious it must ever be valuable; but the obligation of having a fellow of Magdalen at one's elbow much interferes with that quiet, cozy "mousing" so dear to the soul of a bibliomaniac. We heartily wished that we could have made an appointment with the shade of old Pepys, and, returning to the library in the stillness of midnight, have found him ready to show off his collections. That would have been, indeed, the visible and the invisible of the Pepysian Library. The Cambridge men of to-day are too busy about their own affairs to look much into Pepys's collections, which remain quietly ensconced under the guardianship of Old Magdalen, one of the visible links between the seen and unseen in libraries.

      Nestled quietly in an old Elizabethan house, among the great trees at Wotton, is the library of John Evelyn. Belonging to the same age as that of Pepys, but collected by a man of widely different tastes and character, there is much outwardly to charm as well as to elevate the mind in the influences shed around it. Here are tall copies and folios of grave works, classic and historical, the solid literary food of a man who kept his soul pure amid a corrupt age, books as harmonious with the reflective mind of Evelyn as were the grand old woods of Wotton with the refined tastes of the author of "Sylva." Here is preserved the original manuscript of Evelyn's Journal, the paper yellow with the mellow tints of two hundred autumns, yet the thought as fresh as if written yesterday. Near the manuscript is seen the prayer-book which Charles I. held in his hand when he mounted the scaffold at Whitehall. There is much of the visible and invisible in that quaint old library at Wotton.

      The internal treasures of Christian faith opened a wide field for the outward decoration of religious books. "The Hours" (meaning devotional hours) of kings and queens are magnificent specimens of chirography, showing also the skill of artists in the earliest centuries. The art of preparing these volumes was divided into two branches: that of the Miniatori, or illuminators, who furnished the paintings, the borders, and arabesques, and also laid on the gold; and that of the Miniatori calligrafi, who wrote the whole of the book, and drew the initial letters of blue and red with their fanciful ornaments. Many of the great libraries of Europe contain these splendid manuscripts, and although but one page is open to the passing visitor, which he sees "through a glass darkly," yet that page is written over and illuminated with associations and memories. Could a glance reveal thoughts which have looked out of eyes bending over these pages, when they were held in the hand of their first owner, what messages from the invisible would be received! Some of these rare and regal possessions have gone a little astray, and wandered about in the wilderness of the world, as is confirmed by an anecdote we recently received from good authority. A magnificent volume, illustrated by views of French châteaux of the Middle Ages, presented to a princess of the House of Bourbon, was known to have existed. This manuscript had disappeared, and for more than a hundred years it could not be traced. The Duc d'Aumale, son of Louis Philippe, while in Genoa, was informed (by a person who called upon him for that purpose) that there was for sale in that city a valuable illuminated manuscript, and, as the Duke was known to be a collector of rare books, it would be shown to him. He accordingly followed his informant to an obscure part of the city, and into an old house, where the manuscript was produced. What was his astonishment, when he beheld before him the lost Bourbon manuscript, so long sought for in vain! He immediately became its purchaser; and whatever secret history belongs to the volume, connected with the time when it was invisible, it is now one of the most treasured realities in the magnificent library at Orleans House.

      In the illuminated pages of many of these old manuscripts there lurks much more, doubtless, than meets the eye. Thus, that famous poem of the Middle Ages, the "Romance of the Rose," has passed for a mere fanciful allegory, or love-story. Splendidly illuminated copies of this Romance are well known. The British Museum possesses one, which Dibdin calls "the cream of the Harleian Collection": it is in folio, and replete with embellishments. He also mentions another copy, at that time belonging to Mr. North, the frontispiece of which represents Francis I. surrounded by his courtiers, receiving a copy from the author. Only the visible of the illuminated volume was probably opened to the eyes of Francis, or even of Dibdin. A later student pronounces the Romance to be a complete specimen of Hermetic Philosophy, concealing great truths under its allegory,—the Rose being the symbol of philosophic gold.

      Such is the view taken of this Romance by our distinguished fellow-countryman, Major-General Hitchcock, who found time, in the interval between two wars, to collect and study three hundred volumes of Hermetic Philosophy, coming forth therefrom as a champion in defence of a much misunderstood class. This ingenious work, entitled "Alchemy and the Alchemists," published in 1857, was written to prove that the alchemists were not foolish seekers for sordid gold, nor vain believers in the elixir of life, but philosophers of deep thought and high aims, who, in days when a man dared not say his soul was his own, veiled in mystic language, perfectly understood by each other, theological and philosophical truths, theories, and discoveries, which would have brought them to the stake or the rack, had they been produced openly. "Man was the subject of alchemy, and the object of the art was the perfection, or at least the improvement, of man." These were the real Hermetic Philosophers. After them came men who, not knowing the meaning of the symbolic language which concealed the spiritual truths, took the written word in a literal sense, and went to work with crucibles and retorts, seeking the philosopher's stone and the elixir of life, not knowing, indeed, the Scripture, that "the letter killeth, but the spirit maketh alive."

      Such a theory as that advanced in "Alchemy and the Alchemists" opens a new chapter in the visible and invisible of a library of Hermetic Philosophy.

      The most ancient specimens of calligraphy extant are probably the Terence of the fourth century and the Virgil of the fifth century, in the Vatican Library. Alas for those who have no open sesame to that collection! We shall never forget our disappointment upon entering the Vatican. We could not gaze even on the mouldy vellum or faded leather of old bindings, and saw nothing but stupid modern painted cases, bodies quite unworthy of the souls they hid. Gladly would we have laid aside our theory concerning unseen treasures, and looked that great collection face to face.

      "The taste for the external decoration of manuscripts," says Labarte, (whose interesting "Hand-Book on the Arts of the Middle Ages" has been admirably translated by Mrs. Palliser,) "already existed among the ancients. Marcus Varro called forth the praises of Cicero for having traced in his book the portraits of more than seven hundred celebrated persons; Seneca, in his treatise 'De Tranquillitate Animi,' speaks of books ornamented with figures; and Martial addresses his thanks to Stertinius, who had placed his portrait in his library."

      These ancient works of Art have vanished, none have survived the stormy passage of ages, yet this casual mention of them carries us into the otherwise invisible past. We see the seven hundred portraits in Marcus Varro's book, and walk into the library of Stertinius to give our opinion of the portrait of Martial.

      "The miniatures of manuscripts were long considered," says Labarte, "only as ornaments. Montfaucon was the first to recognize their usefulness as historical documents. To possess manuscripts of the Middle Ages with miniatures is in fact to possess a gallery of contemporaneous pictures."

      The most beautiful specimen of ancient illuminated manuscript we have seen in this country belongs to the Honorable Charles Sumner. It is a missal of the fifteenth century, of finest quality. Several of the miniatures might well be claimed as the work of Van Eyck. The frontispiece consists of the portrait of the lady for whose devotions the book was prepared. She kneels before the Madonna, while her patron saint stands beside her. Beneath this celestial vision is the heraldic shield of the lady's family, thus throwing in a glimpse of visible worldly grandeur. The borders and arabesques of this manuscript are equal in execution СКАЧАТЬ