Scarcity of books was at first a chief impediment to the study of antiquity. Popes and princes and even great religious institutions possessed far fewer books than many farmers of the present age. The library belonging to the Cathedral Church of S. Martino at Lucca in the ninth century contained only nineteen volumes of abridgments from ecclesiastical commentaries. The Cathedral of Novara in 1212 could boast copies of Boethius, Priscian, the 'Code of Justinian,' the 'Decretals,' and the 'Etymology' of Isidorus, besides a Bible and some devotional treatises.[89] This slender stock passed for great riches. Each of the precious volumes in such a collection was an epitome of mediæval art. Its pages were composed of fine vellum adorned with pictures.[90] The initial letters displayed elaborate flourishes and exquisitely illuminated groups of figures. The scribe took pains to render his caligraphy perfect, and to ornament the margins with crimson, gold, and blue. Then he handed the parchment sheets to the binder, who encased them in rich settings of velvet or carved ivory and wood, embossed with gold and precious stones. The edges were gilt and stamped with patterns. The clasps were of wrought silver, chased with niello. The price of such masterpieces was enormous. Borso d'Este, in 1464, gave eight gold ducats to Gherardo Ghislieri of Bologna for an illuminated Lancellotto, and in 1469 he bought a Josephus and Quintus Curtius for forty ducats.[91] His great Bible in two volumes is said to have cost 1,375 sequins. Rinaldo degli Albizzi notes in his Memoirs that he paid eleven golden florins for a Bible at Arezzo in 1406. Of these MSS. the greater part were manufactured in the cloisters, and it was here too that the martyrdom of ancient authors took place. Lucretius and Livy gave place to chronicles, antiphonaries, and homilies. Parchment was extremely dear, and the scrolls which nobody could read might be scraped and washed. Accordingly, the copyist erased the learning of the ancients, and filled the fair blank space he gained with litanies. At the same time it is but just to the monks to add that palimpsests have occasionally been found in which ecclesiastical works have yielded place to copies of the Latin poets used in elementary education.[92] [Footnote 89: See Cantù, _Storia della Letteratura Italiana_, p. 105, note.] [Footnote 90: 'Hodie Scriptores non sunt Scriptores sed Pictores,' quoted by Tiraboschi, vol. iv. lib. i. cap. 4.] [Footnote 91: See Cantù, loc. cit. p. 104.] [Footnote 92: See Comparetti, vol. i. p. 114.]