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Christopher de Hamel: The Book.  A History of the Bible   (2001)

Review by Rae West 2022



Phaidon has about a century of publishing history. Its own website puts it date of establishment as 1923, in Vienna, clearly a Jewish outfit. It seems to have specialised in technically advanced books, as far as I can tell including colour printing. it was well-known for publishing The Story of Art (1950) by Ernst Gombrich, and biographies of visual artists (approved by Jews) in uniform style. Their website does not stress the links there must have been with commerce, auctions, promotions, valuations, and the 'art industry' generally. After the Jewish victory in 1945, there were of course innumerable thefts and forgeries. In 1990 Phaidon seems to have had an entrepreneur-led takeover.

Christopher de Hamel seems to have joined this world after about 1990, the book's blurb saying Phaidon published his History of Illuminated Manuscripts (2nd edition 1994).
      Born in 1950, according to Wikipedia 'At the age of four he moved with his parents to New Zealand, where he was educated at King's High School, Dunedin, and graduated with an honours degree in history from the University of Otago.' (This University is notable in New Zealand. Chris Caskie went there—rather more recently).
      Wiki continues: 'He was subsequently awarded a Doctor of Philosophy (DPhil) degree by Oxford University for his research on 12th-century Bible commentaries. His thesis [ahem; dissertation] was titled "The production and circulation of glossed books of the Bible in the twelfth and early thirteenth centuries"'.
      The blurb for The Book states: [He] is the Fellow Librarian of Corpus Christi College, Cambridge. For 25 years he was responsible for all sales of medieval and illuminated manuscripts as Sotheby's in London. ...' I'm uncertain if he counts himself as Jewish: de Hamel sounds like du Hamel, suggesting cosmopolitanism. But his book hasn't much on Jews; it doesn't include the Talmud, for example.

Inputs for this book therefore seem to be two: (1) the emotional/ artistic/ historical/ spiritual interpretations of the Bible, and the 2000-year date; and also (2) the skills and knowledge of a man accustomed to the physical aspects of manuscripts (and the later printed Bibles).
      But I'm left with the impression that there was lack of sympathy between the two parties. The jacket design is odd and null, suggesting that designer(s) left. And de Hamel's outlook, which sounds excellent to me, may not have been what Phaidon wanted. He seems to have liked and taken delight in the physical aspects of manuscripts, their composition, their inks, their bindings when they existed. David Irving has explained how German archives smelt, looked, were typed, were initialled by secretaries whom he recognised. My guess, which may be wrong, is that de Hamel was (and is) a similar type of person. Eustace Mullins described Jewish collectors of diaries and personal papers. As weeders-out of material, they were keen to suppress facts about Jews. De Hamel doesn't sound as though he'd be inclined in the slightest to do that.
      Thus, for example, this book has no mention anywhere of the 'Scofield Bible', edited and promoted for Jewish/Zionist reasons. The hotel Bibles distributed by the 'Gideons' since, they claim, 1908, are unmentioned. I could find no mention of USA Masonic Bibles, prefaced with symbolic compasses and other illustrative matter.
      The fact that de Hamel's The Bible had only one edition (as far as I could find) suggests that it was not very successful, in the ordinary money sense. (My copy was slightly damp and musty, found in a books-for-pennies place).

Physical Description and Indexes   This is about 8" x 9½", the main text occupying a bit more than 200 pages. Each page has a left-hand margin, unlike the old Bibles with their wide central margins, to accommodate the hefty bindings. Many pages have colour reproductions of books, manuscripts, and parts of books. There are a few reproductions of other materials—a portrait of Luther, a library.
      There are I suppose four indexes: the first (in small face) is endnotes for each of the 12 chapters, the bibliography, mostly of course modern books, since even if antiquarian surveys existed, there could not be many. The Cambridge History of the Bible (in three volumes) emerges in pole position.
      The three other indexes are of: Manuscripts (mostly listed by European towns), General Index (longest; 30 columns, 4 columns per page, largely proper names in a sort of miscellany of once-significant Biblical items), and Photographic Acknowledgements, in addition to those in the body of the text. (As far as I could see, all the illustrations were supplied by the owners, museums etc, and not made by Phaidon).

Introduction     In only about five pages, de Hamel lays out his entire scheme in elegantly abbreviated form. He writes 'its actual text has hardly changed at all in thousands of years, except for the occasional disputed phrases here and there, or a delicate realignment of emphasis.' (page viii). His chapter layout is more or less as follows; but note chapters do not have a table of contents, so the book is presented as chapters each needing continuous reading, not split by subtitles:

1 Latin Bibles: Jerome to Charlemagne. Begins in 400AD (pages ix and x)     ['Bethlehem to Jarrow, to Naples and Spain']
2 Hebrew and Greek Bible looking back     ['Eastern Mediterranean']
3 Giant Bibles of early Middle Ages     ['Mostly Italy and Central Europe']
4 Commentaries on the Bible     ['Around Europe, especially France']
5 Portable Bibles (13th century)     ['Centred in Paris, then the largest city in Europe']
6 Bible Picture Books     ['Around Europe, especially France']
7 English Wycliffite Bibles     ['Set in England'}
8 Gutenberg Bible     ['Mostly events started in Germany']
9 Protestant Reformation Bibles     ['Mostly events started in Germany']
10 English-language Bible industry     [Much in North America]
11 Missionary Bibles     ['Includes the Far East, south Pacific, and Africa']
12 The Modern Search for Origins     ['Mainly at Egypt and the Near East']
[13. My notes- Ferrar Fenton]

The square bracketed suffix material is taken from page x in the Introduction. It occurs to me that Portugal especially, and Spain, are under-represented. So perhaps are versions of paper and other bookbinding materials; what did they use in antiquarian Chinese documents, for example? However, generally, de Hamel provides a convincing and not over-rigid framework.
      The final paragraph of the introduction nods to Alfred Reed, in New Zealand, when de Hamel was aged 13. And dedicates this book to him. Reed opened the world of artefacts 'of Western civilization' to de Hamel. This attitude perhaps disbarred de Hamel from deep attacks on the violent absurdities of the Bible.

How Useful is this Book for Research?   I'll try to give examples of more-or-less interesting topics, and how far I could get with burrowing into them. I'm choosing widely-differing interests.
After examining de Hamel's book, I fear I could not find great value in it. Except to collectors and people who love illustrations and impressive calligraphy and artistic embellishments, even if the latter are often rather simple repetitive detail and curlicues. The mystery of how such rubbish made such an impression over such a long time remains unsolved.


Rae West   21 March 2022

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