The Key to the Family Deed Chest: How to Decipher and Study Old Documents: Being a Guide to the Reading of Ancient ManuscriptsThoyts, Emma Elizabeth
History
The Key to the Family Deed Chest: How to Decipher and Study Old Documents: Being a Guide to the Reading of Ancient Manuscripts
Thoyts, Emma Elizabeth
Diplomatics -- Great Britain; Paleography -- Handbooks, manuals, etc.
Supposing even that paper was made in England in the fifteenth and
sixteenth centuries, the quantities produced here were very small and
inadequate to meet the demand; hence the chief supply was of foreign
manufacture even until a comparatively recent period. The tax on
English paper may have interfered with its production.
The Netherlands and Germany were the great paper-producing countries.
It was a State privilege, and the water-marks used were either the
arms of the royal patron or a crest or badge of the manufacturer,
so by this means the precise locality of some of these ancient
manufacturers may be ascertained. The Dutch paper bore the arms of the
country--_i.e._, the lion rampant, holding the sabre in one paw
and the arrows (?) in the other.
The history of old paper-marks sadly needs a Chaffers or a Cripps to
investigate the matter. No such collection has ever been attempted,
nor has the subject hitherto met with the attention it demands and
deserves. Perhaps, now that antiquarianism is becoming so fashionable,
this, like other kindred sciences, will find some followers.
In the _Antiquary_ magazine for November and December, 1895, may
be seen two articles I wrote on old water-marks of paper. The marks
were chiefly collected from the old family papers belonging to the
Pulestons of Emral. These papers were, I fear, burnt after the death of
my uncle, the late Sir Gresley Puleston, Bart.
As regards paper and paper-making, Mr. S. L. Sotheby published a costly
work. There is also a small book written by Mr. Richard Herring in 1863.
Another important part of a deed is the ink with which it was written.
Each scribe had his own particular receipt for making it, the principal
ingredients being oak-galls and sulphate of iron. Many chemicals
are recommended as restoratives for faded ink, but these should be
avoided as far as possible, as they are liable to stain and disfigure
the parchment, and in the end make matters worse. Familiarity with
particular handwritings after some practice will enable the reader to
make out otherwise unintelligible words without any other assistant
than a powerful magnifying glass.
If the ink is very faint the simplest and most harmless restorative is
sulphate of ammonia; but its loathsome smell once endured is not easily
forgotten; the experiment in consequence is very seldom repeated, for
the result is scarcely good enough to risk a repetition of so horrible
a smell, and it is liable to affect the MSS.
Coloured inks or pigments were seldom, if ever, employed for legal
documents. The use of these was restricted to the cloister, requiring
manipulation by an illuminator instead of a mere scribe. Red, blue, and
green were in use; these were mineral colours. The red was composed
either of red-lead or oxide of iron, the green from copper, and the
blue from lapis lazuli finely powdered, or else it, too, like the
green, was prepared from an oxide of copper.
Public-domain text, read in full here on John Shaqi.
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