Influence of the Bible Upon Writing
The events which led to the compilation of the Gospels were of the greatest moment in the history of writing. The educational influence of the Bible—apart entirely from its claims to supernatural importance—in spreading the use of letters and creating schools for the study of reading and writing, has been incalculable. The historical and religious traditions of the Jews would probably have had but little effect upon the world, if the result of the various wars by which Syria was so often desolated had not been to expatriate the chosen people of the Lord. A large Jewish population occupied Northern Egypt at the time when Alexander’s conquests revolutionised the old world. The establishment of Greek dynasties in that country and in Syria speedily Hellenised the upper classes and the citizens in both; and the linguistic subjugation of the Jews in Egypt was even more complete than that of their old masters. Their peculiar condition facilitated a change; for while they possessed the sacred book of the Law of their forefathers in a language that had been dead for centuries, they had only translations in the language of the country of their former exile (Chaldæa); and though they had the commercial qualification of bilingualism, their Chaldee and their Egyptian were probably equally weak. Two generations were enough to Hellenise them, and seventy years after Alexander’s death, the Bible was introduced to the knowledge of the Greek world in an edition destined to render the old Hebrew scripture intelligible to Egyptian and Syrian Jews. This fortunate circumstance drew a number of people into the Elohistic fold who would never otherwise have been found there; and had no small influence in bringing about the social and moral revolution which signalised the beginning of our era.
The Septuagint must remain the true Bible of Christendom until the Hebrew text of the præ-Christian ages is discovered. Next to it in importance is the Syriac Bible, and next to that, the Latin Vulgate. All three indicate the prior existence of a Hebrew original; but to obtain a critically exact knowledge of what that original was at the time of Alexander the Great, one must resort to the Septuagint; at the time of Christ, to the Syriac; and at the time of the Emperor Julian, to the Vulgate. The Hebrew text, as we now have it, underwent so many changes and corruptions during the first few centuries of the growth of Christianity as a younger rival to Judaism, that even the oldest Hebrew MSS. are precluded by their comparative modernity from claiming equal importance with the three versions referred to. The multiplication of copies of the Syriac Scriptures, between the first century after Christ and the seventh, must have been very great; that of the Greek Bible and Testament, from the first to the fourteenth century, still greater; and that of the Latin Vulgate, from the fifth to the fifteenth, enormous. The early missionaries of the Christian Church were Hellenised Syrians or Egyptians, and they stamped the art of their native countries upon the new Biblical literature in every country except Italy. Italy was the exception, simply because it was the centre of political power and of Græco-Roman culture, and thus too learned and too fastidious to accept a new popular religion or an inferior type of ornamental art. But all the external provinces of the Empire underwent the influence of the enthusiastic proselytizers, and even Byzantium succumbed to it after the Empire of the West had been extinguished. The types of ornament created for the embellishment of Bibles were Egyptian in design and colouring; and this is the reason why the pictures in all the early examples of book-illustration in the West are supposed to have a Byzantine aspect; the fact being that while classical art faded away almost with paganism in Italy and Hellas, the Oriental substitute, which reigned from Asia Minor to Ireland, was preserved in Byzantium till the downfall of the Greek empire. A few belated specimens of degenerate classical ornament are found to represent the ages between Constantine and Charles the Great; but in general terms it may be said that Roman book-illustration died out in the fourth century. It came to life again, but in utter metamorphosis, in the decorated Irish books of the sixth-seventh century, which were really the first examples of the mediæval art of illumination.
The Coptic alphabet and the Gothic alphabet were two late and artificial inventions, due entirely to a holy rage for producing the Bible in the language of the Egyptians and the Goths. The two Slavonic alphabets likewise were late scripts, invented for the purpose of translating the Bible into Slovene. The Armenian alphabet (and out of it the Georgian) had a similar origin, and seems to have had some relationship to the Slav Glagolitic. They are both attributed to the fifth century.
Writing in Italy during the first five centuries of the Christian era
We have not as full a knowledge as could be wished for of the ordinary styles of writing under the Roman empire. The books of the fourth and fifth centuries which are extant show that calligraphy was then flourishing in great splendour, so far as capitals and uncials were concerned; and the coins and inscriptions of the three preceding centuries show us Roman capitals at their best. That rustic capitals were used in the first century is proved by the Herculanean remains, and that the fashion of writing in square capitals, rustic capitals, and uncials was still practised in Italy down to the eighth century, we have sufficient grounds for knowing. But as to the style of handwriting used in books of which editions of perhaps a few hundred copies were issued—such, for example, as the edition of his own epigrams which Martial found at Lyons—we can only form conjectures. The semi-uncials of the fifth and sixth centuries, which grew into the minuscules of the seventh and eighth, must have been as much needed in the first century as the sixth, but there is no trace of them. The Roman cursive hand, upright or backsloped, that appears in the few extant tablets and wall-inscriptions of the first and second centuries, would have been too difficult for the readers who bought books to enjoy them, and would assuredly have served as an obstacle to their sale. It resembles rather the charter hand of later days than the minuscule writing of books, but the letters are unconnected, and there is no trace of any attempt at neatness. It is indeed almost illegible, without slow and painful decipherment. One striking peculiarity is the b, which has frequently the shape of d, a form that was retained in the official diplomatic hand of the fifth century. Such as it was, however, the cursive hand would have had considerable influence in shaping the semi-uncial or minuscule writing, which must have existed before it was adopted by the Irish in the fifth century and most other barbarians in the sixth. That semi-uncial, although we find no examples of its use in the empire before the end of the fifth century, had evidently been the immediate parent of the first Irish, which only differs from it in the superior evenness and regularity of the latter. It included the g, r, s, t, which are usually looked upon as special and characteristic letters of the Irish and Anglo-Saxon alphabet.
After the fifth century Italy ceased to be entirely Roman. In Rome itself, and in the region subject to the Popes, the production of fine manuscripts of the old style in capitals and uncials still went on, sometimes written in gold and on purple vellum; and the modified cursive hand above referred was applied to the writing of books as well as the writing of despatches. When this custom began is just what we should like to know, because it would give us the true origin of all modern minuscule writing or printing. A specimen, dating from the seventh century, is given in the Palæographical Society’s facsimiles, which is clearly the type that was followed and improved upon in Central France, in the Caroline period. Carelessly written as it seems, it indicates that a considerable length of time had elapsed since the pen had been trained to form alternate light and heavy strokes, and to give to the curves of the letters an agreeable roundness, which was wholly missing in the earlier Roman cursive. It does not seem unreasonable to suppose that such writing was used in books long before the arrival of the fifth century; but there is no proof accessible.