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[FOOTNOTE B: See Eubel, Hierarchia Catholica Medii AEvi, ii. 248]

Matthias Corvinus, King of Hungary (d. 1490), is a name famous among old bibliophiles. He got together a library of fine books, mostly recent copies made for him, and it was dispersed and sacked by the Turks in 1526. It is spoken of with bated breath by the old writers, as if it had contained priceless treasures. I am sceptical.

Ferdinand of Aragon and Calabria was a collector of the same kind, whose beautiful books, adorned with his arms in the lower margin of the first page, are many of them at Valencia, having passed to the University there by way of the Abbey of St. Miguel de Los Reyes. These are of Italian and not of Spanish manufacture, and very fine they are.

These last-mentioned libraries have been scattered, but there are still some of the Renaissance period which survive in their original homes. The Laurentian at Florence and the Vatican at Rome stand at the head of all. With regard to the latter it may be said that though earlier Popes, of course, had libraries (that of Avignon was quite considerable), yet Nicholas V. (d. 1455) must be regarded as the founder of the Vatican library in its present state. So, too, the Marciana at Venice and the Malatestiana at Cesena must rank as genuine Renaissance collections.

It was not only the great men who loved to have books. The tribe of scholars, foreign as well as native, who coveted them was numerous. Every library now has its quota of humbler copies of the classics, often on paper, in the Roman or the more cursive Italic hand, not written by a professional scribe. Often these are of infinitesimal value, transcripts of extant copies of no greater age; but there is always the possibility that they may be a competent scholar’s own careful apograph of some ancient MS. which a Poggio had unearthed at St. Gall, and which has since vanished. A glance at the apparatus criticus of a few editions of classics will show that often a fifteenth-century MS. ranks high among the authorities for the text. Pedigree is what matters, not beauty of hand, nor, necessarily, date.

It has been the fate of these scholars’ books, as it is the fate of all MSS., to be absorbed into great libraries, and many of them lurk there still unexamined and their origin undetermined. Discoveries, no doubt, yet remain to be made among them.

Whether or not a breath of influence from Italy was the cause, it is plain that library-making was popular in countries and circles which were not obviously affected by the Renaissance. The monasteries of England were certainly not so affected, yet we find many of them setting their books in order and building special rooms to contain them. Christchurch at Canterbury and Bury St. Edmunds are leading instances. Now, too, Universities and colleges made fresh catalogues, and received large accessions of books.

If the Renaissance did not touch the English public as a whole in this century, it made some proselytes. Among Englishmen who dealt with our Florentine Vespasiano were John Tiptoft, Earl of Worcester, Humphrey, Duke of Gloucester, William Gray, Bishop of Ely, Andrew Holes, of Wells. Others who resorted to Italy were John Free, Thomas Linacre, John Gunthorpe, Dean of Wells, William Flemming, Dean of Lincoln, William Tilley of Sellinge, Prior of Christchurch, Canterbury. We shall see later on what traces some of these have left on our libraries.

In places to which the Italian influence did not penetrate the humdrum trade of copying went on. Anselm, Bernard, and Augustine; sermon-books by the score; Burley on Aristotle, etc. Then, in another class, the production of books for use in church was very large. There were few Bibles, but Missals, Breviaries, large choir-books to be laid on the lectern, Graduals and Processionals, are legion. Then, again, every well-to-do person must have his or her Book of Hours, illuminated if possible. Such things were common wedding-presents, it seems. Upon the best of them really great artists were employed, like Foucquet of Tours and Gerard David; we even find Perugino painting a page in one, but the average are shop work made for the Italian market at Naples or Florence, for the French at Paris, Tours, or Rouen, for the English very often at Bruges, where also many sumptuous chronicle books and French versions of secular history and romances were turned out. Edward IV. had a considerable number of such in his library.