Forty Centuries of Ink: Or, A chronological narrative concerning ink and its backgrounds, introducing incidental observations and deductions, parallels of time and color phenomena, bibliography, chemistry, poetical effusions, citations, anecdotes and curiosa together with some evidence respecting the evanescent character of most inks of to-day and an epitome of chemico-legal ink.Carvalho, David Nunes
History
Forty Centuries of Ink: Or, A chronological narrative concerning ink and its backgrounds, introducing incidental observations and deductions, parallels of time and color phenomena, bibliography, chemistry, poetical effusions, citations, anecdotes and curiosa together with some evidence respecting the evanescent character of most inks of to-day and an epitome of chemico-legal ink.
Carvalho, David Nunes
Ink
"The scarcity of vellum in one century, and its
abundance in another, are indicated by the size
of written papers during the same periods. Before
the sixth century, legal documents were generally
written upon one side only; in the tenth century
the practice of writing upon both sides of the vellum
became common. During the thirteenth century
valuable documents were often written upon strips
two inches wide and but three and a half inches
long. At the end of the fourteenth century these
strips went out of fashion. The more general use
of paper had diminished the demand for vellum and
increased the supply. In the fifteenth century,
legal documents on rolls of sewed vellum twenty
feet in length were not uncommon. All the valuable
books of the fourteenth century were written on
vellum. In the library of the Louvre the manuscripts
on paper, compared to those on vellum, were
as one to twenty-eight; in the library of the Dukes
of Burgundy, one-fifth of the books were of paper.
The increase in the proportion of paper books is a
fair indication of the increasing popularity of paper;
but it is obvious that vellum was even then considered
as the more suitable substance for a book of value."
The curious contract belonging to the fourteenth
century which follows, is a literal copy of the original.
It does not seem to specify whether the book is to be
made of vellum or paper. In other respects the minute
details no doubt prevented any misunderstanding between
the contracting parties.
"August 26th, 1346--There appeared Robert
Brekeling, scribe, and swore that he would observe
the contract made between him and Sir John Forber,
viz., that the said Robert would write one Psalter
with the Kalender for the work of the said Sir
John for 5 s. and 6 d.; and in the same Psalter, in
the same character, a Placebo and a Dirige, with a
Hymnal and Collectary, for 4 s. and 3 d. And
the said Robert will illuminate ('luminabet') all
the Psalms with great gilded letters laid in with
colours; and all the large letters of the Hymnal
and Collectary will he illuminate with gold and
vermillion, except the great letters of double feasts,
which shall be as the large gilt letters are in the Psalter.
And all the letters at the commencement of the
verses shall be illuminated with good azure and vermillion;
and all the letters at the beginning of the
Nocturns shall be great uncial (unciales) letters, containing
V. lines, but the Beatus Vir and Dixit Dominus
shall contain VI. or VII. lines; and for the
aforesaid illumination and for colours he [John]
will give 5 s. 6 d., and for gold he will give 18 d.,
and 2 s. for a cloak and fur trimming. Item one
robe--one coverlet, one sheet, and one pillow."
CHAPTER IX.
END OF MEDIAEVAL INK.
Public-domain text, read in full here on John Shaqi.
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