394. Manufacture of Papyrus. The papyrus reed (Fig. 261) had a triangular stem which reached a maximum height of perhaps fourteen feet with a thickness of four or five inches. The stem contained a pith of which the paper made by a process substantially as follows. The stem was cut crosswise, and the rind removed. The pith was cut into thin lengthwise strips as evenly as possible. The first seems to have been made from one of the angles to the middle of the opposite side, and the others parallel with it to the right and to the left. The strips were then assorted according to width, and enough of them were arranged side by side as closely as possible upon a board to make their combined width almost equal to the length of the single strip. Across these was laid another layer at right angles, with perhaps a coating of glue or paste between them. The mat-like sheet that resulted was then soaked in water and pressed or hammered into a substance not unlike our paper, called by the Romans, charta. After the sheets (schedae) had been dried and bleached in the sun, they were freed of rough places by scraping and trimmed into uniform sizes, depending upon the length of the strips of pith. The fewer the strips that composed each sheet, or in other words the greater the width of each strip, the closer the texture of the charta and the better its quality. It was possible, therefore, to grade the paper by its size, and the width of the sheet rather than its height was taken as the standard. The best quality was sold in sheets about ten inches wide; the poorest that could be used to write upon came in sheets about six inches wide. The height in each case was perhaps one inch to two inches greater. It has been calculated that a single papyrus plant would make about twenty sheets, and this number seems to have been made the commercial unit of measure (scāpus) by which the paper was sold, a unit corresponding roughly to our quire.

   395. Pens and Ink. Usually only the upper surface of the sheet—formed by the horizontal layer of strips—was used for writing. These strips, which showed even after the process of manufacture, served to guide the pen of the writer. In the case of books where it was important to keep the number of lines constant to the page, lines were ruled with a circular piece of lead. The pen (calamus) was made of a reed brought to a point and cleft in the manner of a quill pen. For the black ink (ātrāmentum: § 391) was occasionally substituted the liquid of the cuttlefish. Red ink was much used for headings, ornaments, and the like, and in pictures the inkstand is generally represented with two compartments (Fig. 263), presumably one for black ink, one for red ink. The ink was more like paint than modern ink, and, when fresh, could be wiped off with a damp sponge. It could be washed off even when it had become dry and hard. To wash sheets in order to use them a second time was a mark of poverty or niggardliness, but the reverse side of schedae that had served their purpose was often used for scratch paper, especially in the schools (§ 110).

   396. Making the Roll. A single sheet might serve for a letter or other brief document, but for literary purposes many sheets might be required. These were not fastened side by side in a back, as are the separate sheets in our books, or numbered and laid loosely together, as we arrange sheets in our letters and manuscripts, but, after the writing was done, they were glued together at the sides (not at the tops) into a long, unwieldy strip, with the lines on each sheet running parallel with the length of the strip, and with the writing on each sheet forming a column perpendicular the length of the strip. On each side of the sheet therefore, a margin was left as the writing was one, and these margins, overlapping and glued together, made a thick blank space, a double thickness of paper, between every two sheets in the strip. Very broad margins, too, were left at the top and bottom, where the paper would suffer from use a great deal more than in our books. When the sheets had been securely fastened together in the proper order, a thin slip of wood might be glued to the left (outer) margin of the first sheet, and a second slip (umbilīcus) to the right (also outer) margin of the last sheet, much as a wall map is mounted today. When not in use, the volume was kept tightly rolled about the umbilīcus. Some authorities think that the umbilīcī were not always attached to the rolls, but that they might be slipped in when the books were in use.2

   397. A roll intended for permanent preservation was always finished with greatest care. The top and bottom (frontēs) were trimmed perfectly smooth, polished with pumice-stone, and often painted black. The back of the roll was rubbed with cedar oil to defend it from moths and mice. To the ends of the umbilīcus were added knobs (cornua), sometimes gilded or painted a bright color. The first sheet would be used for the dedication, if there was one, and on the back of it were frequently written a few words giving a clue to the contents of the roll; sometimes a pen-and-ink portrait of the author graced this page. In many books the full title and the name of the author were written only at the end of the roll on the last sheet, but in any case to the top this sheet was glued a strip of parchment (titulus) with the title and author’s name upon it; the strip projected above the edge of the roll. For every roll a parchment cover was made, cylindrical in form, into which it was slipped from the top; the titulus alone was visible. If a work was divided into several volumes (see § 398), the rolls were put together in a bundle (fascis) an kept in a wooden box (capsa, scrīnium) like a modern hat box. When the cover was removed, the titulī were visible, and the roll desired could be taken without disturbing the others (Fig. 265). The rolls were kept sometimes in cupboards (armāria: § 230), where they were laid lengthwise on the shelves with the titulī to the front, as shown in the figure in the next paragraph.

   398. Size of the Rolls. When a volume was consulted, the roll was held in both hands and unrolled column by column with the right hand, while with the left the reader rolled up the part he had read on the slip of wood fastened to the margin of the first sheet (Fig. 266), or around the umbilīcus. When he had finished reading, he rolled the volume back upon the umbilīcus, usually holding it under his chin and turning the cornua with both hands. In the case of a long roll this turning backward and forward took much time and patience and must have sadly soiled and damaged the roll itself. The early rolls were always long and heavy. There was theoretically no limit to the number of sheets that might be glued together, and consequently none to the size or length of the roll. It was made as long as was necessary to contain the given work. In ancient Egypt rolls were put together of more than fifty yards in length, and in early times rolls of corresponding length were used in Greece and Rome. From the third century B.C., however, it had become customary to divide works of great length into two or more volumes. The division at first was purely arbitrary and made wherever it was convenient to end the roll, no matter how much the unity of thought was interrupted. A century later authors had begun to divide their works into convenient parts, each part having a unity of its own, such as the five “books” of Cicero’s Dē Fīnibus, and to each of these parts, or “books,” a separate roll was allotted. An innovation so convenient and sensible quickly became the universal rule. It even worked backward; some ancient works, which had not been divided by their authors, e.g., Herodotus, Thucydides, and Naevius, were now divided into books. About the same time, too, it became the custom to put upon the market the sheets already glued together, to the amount at least of the scāpus (§ 394). It was, of course; much easier to glue two or three of these together, or to cut off the unused part of one, than to work with the separate sheets. The ready-made rolls, moreover, were put together in a most workmanlike manner. Even sheets of the same quality (§ 394) would vary slightly in toughness or finish, and the manufacturers of the roll were careful to put the very best sheets at the beginning, where the wear was the most severe, and to keep for the end the less perfect sheets, which might sometimes be cut off altogether.

   399. Multiplication of Books. The process of publishing the largest book at Rome differed in no important respect from that of writing the shortest letter. Every copy was made by itself, the hundredth or the thousandth taking just as much time and labor as the first had done. The author’s copy would be distributed for reproduction among a number of librāriī, his own, if he were a man of wealth, a Caesar or a Sallust; his patron’s, if he were a poor man, a Terence or a Vergil. Each of the librāriī would write and rewrite the portions assigned to him, until the required number of copies had been made. The sheets were then arranged in the proper order, if the ready-made rolls were not used, and the rolls were mounted as has been described (§ 396). Finally the books had to be looked through to correct the errors that were sure to be made, a process much more tedious than the modern proofreading, because every copy had to be corrected separately, as no two copies would show precisely the same errors. Books made in this way were almost exclusively for gifts, though friends would exchange books with friends and a few might find their way into the market. Up to the last century of the Republic there was no organized book trade, and no such thing as commercial publication. When a man wanted a book, instead of buying it at a bookstore he borrowed a copy from a friend and had his librāriī make him as many more as he desired. In this way Atticus made for himself and Cicero copies of all the Greek and Latin books on which he could lay his hands, and distributed Cicero’s own writings everywhere.

   400. Commercial Publication. The publication of books at Rome as a business began in the time of Cicero. There was no copyright law and no protection therefore for author or publisher. The author’s pecuniary returns came in the form of gifts or grants from those whose favor he had won by his genius; the publisher depended, in the case of new books, upon meeting the demand before his rivals could market their editions, and, in the case of standard books, upon the accuracy, elegance, and cheapness of his copies. The process of commercial publication was essentially the same as the method already described, except that larger numbers of librāriī would be employed. The publisher would estimate as closely as possible the demand for any new work that he had secured, would put as large a number of scribes upon it as possible, and would take care that no copies should leave his establishment until his whole edition was ready. After the copies were once on sale, they could be reproduced by anyone. The best houses took all possible pains to have their books free from errors; they had competent correctors to read them copy by copy, but in spite of their efforts blunders were legion. Authors sometimes corrected with their own hands the copies intended for their friends. In the case of standard works purchasers often hired scholars of reputation to revise their copies for them, and copies of known excellence were borrowed or hired at high prices for the purpose of comparison.

   401. Rapidity and Cost of Publication. Cicero tells us of Roman senators who wrote fast enough to take evidence verbatim, and the trained scribes must have far surpassed them in speed. Martial tells us that his second book could be copied in an hour. It contains five hundred and forty verses, which would make the scribe equal to nine verses to the minute. It is evident that a small edition, consisting of copies not more than twice or three times as numerous as the scribes, could be put upon the market more quickly than it could be produced now. The cost of the books varied, of course, with their size and the style of their mounting. Martial’s first book, containing eight hundred twenty lines and covering thirty-nine pages in Teubner’s text, sold at thirty cents, fifty cents, and one dollar; his Xenia, containing two hundred and seventy-four verses and covering fourteen pages in Teubner’s text, sold at twenty cents, but cost the publisher less than ten. Such prices would hardly be considered excessive now. Much would depend upon the reputation of the author and the consequent demand. High prices were put on certain books. Autograph copies—Gellius (late in the second century, A.D.) says that one by Vergil cost the owner one hundred dollars—and copies whose correctness was vouched for by some recognized authority commanded extraordinary prices.

   402. Libraries. The gathering of books in large private collections began to be general only toward the end of the Republic. Cicero had considerable libraries not only in his house at Rome, but also at his countryseats. Probably the bringing to Rome of whole libraries from the East and Greece by Lucullus and Sulla started the fashion of collecting books; at any rate collections were made by many persons who knew and cared nothing about the contents of the rolls, and every town house had its library (§ 206) lined with volumes. In these libraries were often displayed busts of great writers and statues of the Muses. Public libraries date from the time of Augustus. The first to be opened in Rome was founded by Asinius Pollio (died 4 A.D.), and was housed in the Ātrium Lībertātis. Augustus himself founded two others, and the number was brought up to twenty-eight by his successors. The most magnificent of these was the Bibliothēca Ulpia, founded by Trajan. Smaller cities had their libraries, too, and even the little town of Comum boasted one founded by Pliny the Younger and supported by an endowment that produced thirty thousand sesterces annually. The public baths often had libraries and reading-rooms attached to them (§ 365).

FIG. 267
LIBRĪ