February 3:
Here are a few photos of the finished book:
The outside front cover, with the toggle closure partially fastened. The single thread (button thread) text reads: Ex umbris ad lucem spiriti, which is my family motto "out of darkness (or shadow) into spiritual light. One of my goals here was to make sure the toggle band would not be inadvertently pulled out, so the first two words actually secure the band to the book cover.
Outside back cover, the band emerges from the back opening. I decided that having these photos on the compute's keyboard would give a fair idea of scale.
Inside back cover. Here is my Society for Creative Anachonism (SCA) name: Yrmegard (of Hawkwood) just for identification purposes if I need it in the future. no, I'm not impressed with my sewn lettering skills. If I do more sewn lettering, I think I should do them BEFORE I attach the cover to the book.
I was using the same mise-en-page format, only larger, than I had intended to use on my original progect. The "parchment" paper came in two groups of three sheets, so I pricked the paper with a sturdy sewing needle, using my template. I lined the first group using a ruler and a sharp piece of bone. This made the lining visible almost all the way through all three sheets. I decided to start with a double column of text and I planned where pictures would occur. I also decided that my first text would be written in unical script. Before the writting began I did further planning:
The two photos above show my plan of two quires, each with three leaves. The two resemble each other because one shows what will be one side of each leaf, while the "other" shows what will be on the reverse side of each leaf. This is important when planning page numbering and the organization of the text.
The photo above does not intend to show my script, rather to show the initial framing for the eventual illustration that will accompany the text. Please note the paper clips. I am keeping each sheet of this "quire" in careful order. Also notice the graph paper underneath. I was already planning a second mise-en-page for the second quire based on the lines on the graph paper. More on that below.
The photo above is actually a list of things to do. Please notice the blurred ink. I realized that the ink in my fountain pen is not permanent. I hasily messaged friends for a solution, did a Google search and... found no solutions! I either have to go to a dip pen and permanent ink, or a felt tip calligraphy pen. Remembering the wax tablets from the course, I decided to make a test. I used left-over candle wax and covered the paper with the wax (in solid form). Then I sprinkled the paper with water. Result: if the ink is thouroughly and evenly covered with a coating of wax, it will resist water. YES! But I MUST wait for everything, including the illumination, to be done.
The photo above shows about ninty minutes of work using Caroline or Carolingian minisule. This is the second text for the book. I am working from a draft. For this text I decided not to have columns. I am changing script styles partly to imply different "hands" writing, or different ages, but actually I want to try each of the scripts and see which I like best. More about this is below.
The photo above is actually two seperate leaves of the first quire. The one on the left is in unical script and in two columns. The one on the right is in caroline and not in columns. The initial letters are penciled in.
The photo above is in the caroline script. I have experimented with several different pens here - which is quite obvious. I do want waterproof without needing to wax over. However, of all the pens I tried I like my fountain pen best. So I will be waxing. The first word at the top left is done with a dip pen and permanent ink and I immediately made a mess. The middle of the right side is done with a permanent felt tip calligraphy pen. I am using a felt tip calligraphy pen for the initial letters.
So my challenges began. Here are more notes:
To learn Carolingian
calligraphy I used this web site: https://sites.dartmouth.edu/ancientbooks/2016/05/23/how-to-write-caroline-minuscule/ because I figured that Dartmouth wasn’t going to post
rubbish. I carefully reviewed the various YouTube videos it had embedded.
I saw that I needed to
have spaces – I already had them but now they are “legal” so hopefully no scripto continua. Now I will have
ascenders and descenders (hurray) I anticipate enjoying the t, d, b, g, j (yes
I know they didn’t use it, but I do), y and so on. And since I have already
learned Unical having a uncial letter
for “caps” should be fine.
Further down the
Dartmouth page, I find I can use Carolingian Majuscule to begin each sentence.
unfortunately I do not find a link to the script.
Dartmouth’s page also
mentions the punctuation. I decide to keep to what I am familiar with.
Watching the first video
I saw I would have problems with the “s” and the “r”. A few other potential challenges
appeared too. He mentions three different form of the letter “a”, one of which
looked like two “c”’s to me. The second video, silent, was very fast, but quite
clear. The third video did not go all the way through the alphabet, and it did
not follow what would have been period ductus, so I return to the first video.
I also watched: https://www.youtube.com/watch?v=1aDHJu9J10o a video from the Getty museum on manuscript making,
and several other clips on YouTube, but didn’t find anything more useful than
what I already had.
Using Google. I eventually
found this site: http://cmcgavren.home.sprynet.com/azcarolingian_p1of2.html there are two separate pages which are
downloadable/printable which had a sample of Carolingian /Caroline script which
most closely resembled the one shown in video 1 (from Dartmouth).
One key thing I noticed
in all the videos (except the first) was that different people had chosen
different angles. The first video specified a 30 angle. Another mentioned a 90
angle and a third had the angle at 45 degrees. This pdf http://www.safde.org/hwhistory.pdf is the second to mention the 30 degree angle for the
pen nib on p 18 where they have the Caroline alphabet on display – Finally.
Everything in one place. How hard can that be folks?!
Writing began.
My biggest complaint are the “f” and the “s”. I do have to stop and give “g” a
good look each time. I know I am using the previous unical “w” and “k”. I’ve added “j” and I’ve
added the diacritical marks for modern Finnish “Ä/ä”. Each time I make an “I” I
must stop and remind muself not to dot it. the “t” also feels strangely small.
I am careful to include the small flourish on the “e”, actually I quite like
it.
I think I can
address “why” students tend to give themselves 1 cm lines. There are probably
three reasons: 1) they do their mise-en-page (page layout) on plain paper
rather than graph paper; 2) they want more space for writing the unfamiliar
scripts; 3) they are uncomfortable with their pen especially as they want to
get the thick and thin aspects of the calligraphy an opportunity to appear.
What can be done about these things? Choose a small nib; practice on narrowly lined sheets, do the mise-en-page on
graph paper; and remember that the “parchment” is valuable and that as much
information as possible should fit on each page; be sure that each different
script covered in the course, receive at least one page of “alphabet” practice
on the pages of the book – which could take the form either of text, or of the
alphabet. Even keeping those things in mind, this is NOT easy to do. We don’t
have the constant lifetime of practice.
Below you will find the actual course material. It will take time to complete the stories both writing and illuminating. When they are done I will post full photos and do a write up of the story. Please stop back here occasionally to see what is new. Whatever is new will be toward the top of the blog page.
Below you will find the actual course material. It will take time to complete the stories both writing and illuminating. When they are done I will post full photos and do a write up of the story. Please stop back here occasionally to see what is new. Whatever is new will be toward the top of the blog page.
Week 7:
For this last portion of the project I began
with a (Google) search for "Carolingian book binding", and reached the following website: https://www.westdean.org.uk/study/school-of-conservation/blog/books-and-library-materials/historical-binding-a-carolingian-cutaway-model It was probably the most in depth site of those
I looked at. Another site I visited was: http://www.sydneybookbinding.com/my-bindings/more-medieval-bindings-girdle-book/ which
also had something I could use, but won't do this time.
This site: http://aelflaed.homemail.com.au/doco/carolingianbook.html seemed to mirror the first site but with two
exceptions: less detail and the hole align – either for the maker’s aesthetic
reasons, or because they may not have noted why the first site deliberately
misaligned the holes (in order to prevent the boards from splitting). The other
sites I found dealing specifically with Carolingian binding gave less and less
detail and most seemed based on either the first or the third site. I specifically confined my search to Carolingian book binding because it suits
the time frame I am focused on.
I used a portion of the following YouTube video https://www.youtube.com/watch?v=Rzt3wuFCZDU (from 3:20 to 6:36)to make a toggle closing
for my book. My toggle differs from the one in the video because the end
without the toggle is wide, with a slit to allow the toggle at the opposite end
to pass through the slit and secure the book.
The site I used to walk me through sewing my
manuscript was https://www.youtube.com/watch?v=S2FRKbQI2kY
although I did not sew the “signatures” or quavers (actually quaternios) to
either end cover. And this one is also very good: https://www.youtube.com/watch?v=9O4kFTOEh6k
What she calls “Kettle Stitch” seems to be similar to the “link stitch”
discussed in the lectures. The sewing of my quires most closely resembles that shown in Fig 1 at this site: http://www.antithetical.org/restlesswind/plinth/bookbind2.html (Fig 1 is located well-down the page). Although Fig ! shows supports, my supports were added after sewing for several reasons – Please see below for a full description and illustration. I also consulted this site: http://web.ceu.hu/medstud/manual/MMM/bookbinding.html As you see these are not sites showing actual medieval books or their bindings. I was looking for HOW TO DO IT. These are just some of the sites I visited to look into the “how to do it”.
Before I could begin... the next nine (9) pictures really belong to week 6. I had to do the initial letters which had not been done last week (scroll down to Week 6 if you want to know why). I used my fountain pen because it offers three different nibs. I chose the smallest..
2) Below all initials are added.
3) Below: I decide to gild the first initial letter in the first quire. This is the gilding glue and the brush that I applied it with. Note that the initial letter is already outlined.
4) Below: while waiting for the glue to set, I did all the other initial letters in red and green calligraphy pens. All the initial letters had first been outlined in black.
5) 1 and 2 Below: the gold leaf is being applied to the now "tacky" glue.
6) Below: separating the pages of the quires. Each A-4 page gives four leaves of a quire. I use a cutting knife, ruler and cutting board.
7) Below: one quire with initials in green and red alternating. This was consistently done throughout all the quires.
Below: the next quaver aligned and marked.
Below: using herring bone stich to attach to the sewing supports. On this tiny book this feels like overkill.
Below and through the secondary holes and now... because I cannot cut "chanels" in this cardboard to hide or take the twisted left-over ends, I am left with a long lump that is as thick as the entire block of quavers. I am NOT happy. So... I cut all the stitching and remove my block and...
Below: New cardboard covers - these must work, beacuse I am now out of cardboard. I mark and cut through all the penciled markings. NOTE: If using wood, the holes should NOT line up to prevent the board from forning weak spots and splitting.
New straps will be added. Both covers are treated identically.
Below: The straps going through the first holes of the back.
Below: the straps coming up through the second holes of the straps.
Below: the "out-side" of the back cover.
Below: the straps now inserted through the sewing along the spine and inserted into the front cover.
Below: trying to glue down the ends. It didn't work. This is upholstry fabric and is not taking to glue - even on its "wrong" side.
Below: making the cover. This tab is cut to the thickness of the spine of the book. It will be tucked under and sewn down.
Below: making the toggle (described above with links). The knife is through the toggle end. the opposite end is not tappered as shown in the video link, but deliberately cut wide so that it formes the loop through which the toggle passes. The toggle portion of the project was measured to go around the book, passing from the outer front edge, under the cover, around the book, and back out through the outer back edge of the cover.
Below: the cover, clipped into place and cut for sewing. The book was closed. The fabric placed around the book and both side edges secured with sturdy clips before any further work was done. Books need more fabric to go around them when closed than when open.
Below: Adding the toggle. I removed and re wrapped it, because when watching the video for the sixth time I realized I had wrapped it wrong.
Below: the toggle band reinserted after the toggle has been rewound. This shows the back of the book, and the cover still unsewn.
Below: The inside front of the book, with the toggle just peeking around hte left edge, and the toggle closure over the right edge. Sewing this closed in place was a challenge. Doing the back side will be a bigger challenge.
Below: the spine of the book, with the spine flaps sewn down each with a red "Y" (Yes, I have a reason for that). The toggle is visible on the right and the closure tab on the left. The back is not yet sewn as I finish this week's work. There are several reasons for this: I have not yet done the end stitch sewing - the thread is ready at both ends of the spine for me to do it; I will embroider my family motto on the front cover which will also secure the toggle band, preventing (hopefully) it from indvertently being removed. Both of these details require that the cover still be open so I can get neddle and tread through in the right places.
Final considerations: I think I could have salvaged the first binding of the book (herrinbone) if I had had the upholstry fabric cover already in place, and if I had placed the supports through the fabric and the cardboard and finished the supports on the outside of the fabric. I clearly did not use medieval MS to inspire this weeks work. I have experimented with two types of stiches, two types of supports, and two types of attaching the book block to the covers. I experimented with a type of cover board shown in the lecture, I have created a toggle closure (fastening) and my cover (fabric) is well in progress, is a suitable color and texture for the time. Decoration of the cover is described but is still pending, however, as this week's work, not including the first nine photos above, has taken some ten hours, I feel the goals of the week's project are well in hand.
Week 6:
Last week I thought I had understood the project. Maybe I did and maybe I didn’t. As I went through several peer reviews I saw so much beautiful work that I was ashamed of mine. I also began to realize that my mise en page was just touching a few points and that if I wanted to do this week’s work, that I basically would have to do my mise en page all over again so that it would correctly represent what I wanted to do. Unfortunately this week has been ver
Wednesday morning, I had finally sorted out two pages which I wanted to do (please do not feel you have to go there because I did NOT "do" either page, although I began with the latter):
http://www.bl.uk/catalogues/illuminatedmanuscripts/TourPopupMax.asp?TourID=250
From the psalter of Henry the Lion (a German Duke) dated 1168-89. And:
http://www.bl.uk/catalogues/illuminatedmanuscripts/TourPopup.asp?TourID=493
Showing a “decorated initial ‘B’ (estiarum) at the beginning of the Bestiary fromCentral or northern England c. 1200-10, 220 x160 mm.”
Using the latter, I took an unmarked quire and did the mise en page for this second page. And pricked the opposite pages four corners, so I could return to it any time to extend or change the mise en page. This is interesting because it has two columns, reverting to “full page”.
and ended up damaging the top two pages - as you can see below:
The text starts above the top line. I used my compass to draw the lines. I “eyeballed” the space for the center column, and did “guess-work” for the two side edges. I had my first “nasty” surprise: actually cutting through my pages. Good reason to use parchment or thicker paper, rather than printer paper. Fortunately I had marked a full quire so I can discard the top two leaves And very good thing I have an excess of leaves!
Above: I started copying (in pencil) the top line and you can see the outline of an initial B. I realized I simply do not write small enough. I took a midday break and then all sorts of unexpected demands hit my week.
I debated: 1) drop the course, 2) switch to another course, 3a) press on doing something stupid, or 3b) doing something I don’t like….
Friday morning in a brief patch of free time I decided: Press on. Show other work I have done in the past, I simply do NOT have time to get this week’s work done. As it is, I will have spent a good four hours just getting this far and I do not have more time!
Below is a photo of the fronticepiece of the book I used for the pages you will see after it.
The pages you see below were done about two years ago. I began by doing two mise en page - unfortunately not properly because I did not know any better at that time. The two pages - otherwise blank - were then copied many times. The mise en page was specifically designed to allow later double-sisded copying after the text had been added. Several attempts were made to ensure that text would come out "right side up" on both sides when copied later with text. The pages you see below are just two examples.
This earlier project is intended as a gift to my grandchildren as they reach 15 and the blank pages are for them to either illustrate or add material that interests them. All recto pages are intended to be blank. Pages are not dyed and I would NOT dye these in any case). All initials are to be done by me after copying, before binding.
Below, one of my original mise en page pages done without proper set up - because I didn't know any better then. They were done in pencil.
Above, my original mise en page, done in pencil, then copied in copy machine.
No set calligraphy other than “my own”. I have penciled in the missing initial letters very faintly on the top sheet (set to become four leaves). The ONLY reason for penciling in the initial letters here is for this assignment. The sheets are meant to go into the copy machine, be copied front and back and then be cut to leave. As I said: this is a previous project. I would not want “penciled in” letters on a copy because I would not be able to erase them.
Above, a close-up showing a double page with the initial penciled in only for this photo. It will be erased.
I will not have access to a copy machine until Monday so no decoration is done. Again: this is because these are intended for my grandchildren and I simply am NOT going to mess with these originals to decorate them just for the sake of getting a grade! So basically none of the bonus points apply AT ALL! The quotations here are from a book which I consider "most holy", so there are many elements (such as an author picture) which would be irreverant to add. Hopefully next week - which is also looking like an impending disaster as far as my time is concerned - will allow me to make one complete copy (via a copy machine), decorate the pages, AND do whatever else is demanded. The reality - my reality - I do not have time to do more with this project this week. Next week I have a brain scan to track the progress of two brain tumors and deal with whatever comes of that. Below, you will find my work for the previous weeks.
Finally, if anything I have started here for this project has caught your interest then please know that I hope to eventually complete the work which this course set out to demand - but it will be done in the spring after the course is over. I will post the progress reports and updates here on this same page.
Week 5:
I began this week by collecting writing supplies:
Then I located my text. I am using this page – 21-r – from Rudolf von Ems Weltchronik. http://www.e-codices.unifr.ch/en/vad/0302/21v
Below the assignment considerations, you will find a description of the text in German and a translation in English. You will need to access the link above so you can compare it to my picture below I used the first two lines in the left coulmn.
So now is time to consider the ductus which is the order in which each element of a letter is formed. I have focused on three letter: a w, a k, and what may be a g. Each of these has more than three strokes. The w is formed by making two identical downward strokes starting from the left and ending toward the right. The third stroke ends toward the left. The k is formed with a downward stoke for the back of the letter. The second stroke of the k comes downward toward the back. The final stroke of the k begins where the second stroke ended and descends to the right. The letter which might be a g is more complicated. First I am not certain that it is a g which can cause semantic rumours, meaning I see what I expect to see, in this case because it looks most like the letter which I know as “G”. I studied this letter a while and decided that the most likely ductus for me would be to start with the curve of my supposed g. Second I did the short line from what is the top of the g’s curve to where I would put the g’s back. Perhaps I should have first done the long back of the letter which descends diagonally from left to right, crossing the writing line and containing a curve. This confused and concerned me, because I couldn’t be certain I was writing it correctly. After I did the back, I added the tail horizontally from left to the tail in a slight downward curve.
Considering writing angle I have used two lines from the MS indicated above. I have tried to duplicate the hand in the ms. Therefore I hope that what should be thin in my copy work is thin and that what ought to be thick is thick. Now, although I clearly used different pens to write with, it cannot be said that I experimented with different angles.
Finally we can consider the weight of the text. I used four different pens. of these four, only one is clearly different and distinguishable from the other three. The first two pens were both felt-tip “calligraphy” pens, one in black and the much more heavily weighted (broader) one in red. The other two pens are a fountain pen with its broadest nib (it came with three nibs), and a calligraphy pen that must be dipped in ink (it came with only one nib and small sample of ink). Both of the latter two show bleeding into the paper. Of the two, the fountain pen was easier to write with – after I got over the aggravation of getting the ink from the ink cartridge to the pen nib. The nibbed calligraphy pen was aggravating because I had to dip it in ink so frequently and be careful not to overfill it which caused bleeding. All four pens are undoubtedly heavier than the original quill. I would not use the red pen as it is too heavy for this. The other three pens seem to have a 2.0mm weight (I am guessing based on the fact that the black felt-tipped pen which the first writing sample illustrates is a 2.0mm pen). Of the four, while I love my felt-tip pens, and the ease of the fountain pen, I think the nibbed calligraphy pen most closely recalls the original hand.
Description of the text in German: vor Vers 5476: Jakob erschleicht den Segen Isaaks / Esau auf der Jagd / Esau vor Isaak (Genesis 27, 14-40) Oben streckt Jakob seinem blinden Vater Isaak seinen durch ein übergelegtes Fell behaart erscheinenden Arm entgegen, in der anderen Hand trägt er ein zum Mahl zubereitetes Böcklein; Isaak hat die rechte Hand zum Segensgestus erhoben; hinter Jakob steht seine Mutter Rebecca, die rechte Hand warnend erhoben. Unten ist in der linken Bildhälfte Esau auf der Jagd dargestellt, der mit seinem Bogen ein Böcklein schiesst; rechts bringt er seinem Vater das erlegte Tier, wird von diesem aber mit einer abwehrenden Geste zurückgewiesen. from: http://www.e-codices.unifr.ch/en/description/vad/0302/ accessed 6 January 2017. Translated (by Google) as: Isaac (Genesis 27, 14-40) Jacob, his blind father, stretches out his arm, which is haired by an overcoat, and carries in the other hand a meal prepared for the meal Child; Isaac raised his right hand to blessing; Behind Jacob stands his mother Rebecca, his right hand raised. Below is shown in the left half of Esau on the hunt, which shoots with its bow a kid; On the right he brings his father the slaughtered animal, but is rejected by him with a repulsive gesture.
Week 4:
This week's work is about mise en page or page layout. Please note: If you give me full points for my work it means you have NOT looked at my work for this week. I would also appreciate comments. Thank you.
I bought and coffee-washed a big sheet of paper (if you want to know why then scroll down and read week 2 and 3). I want the contrast between skin-side and muscle-side which printer paper had NOT given, and I wanted to try one (1) quire (quarternio) with a thicker paper. I only stained part of it.
I cut off the top part (white) and made a template. Above my template is in progress. Below it is finished:
Above is one quire (four leaves) ready to be pricked. I do NOT have a proper tool to prick the leaves with, so PLEASE do NOT give me full points here. Throughout this week's project I used a large sewing needle to make holes. I used the piece of bone to top-score (dry point) lines in the paper. This is regular printer paper. The piece of bone could score three leaves satisfactorily, but the fourth (lowest) leaf was barely touched. However, each leaf was successfully pricked, so it can be scored later.
All of my quires are quarternios.
Above is the top-scored lines, Sorry it is so difficult to see. These lines are made with the bone. And the MS I had spefically in mind for this quire was: http://www.bl.uk/catalogues/illuminatedmanuscripts/TourPopupMax.asp?TourID=492 . It is one of my sources from last week. (Please note: it is ONE of the required sources. Please be SURE you do the math on how many sources I have so that I do NOT get full points unless I have ALL the sources.
Above is my second four leaf quire on top of my first four leaf quire. This second quire had prickings to form the top-scored frame, and prickings down each side, close to the page sides as guides for the top-scored lines. These lines are meant to be seen by the scribe, which is why they are so difficult to see in the photo. this actually more closely resembles the link to the source given above - but that is still just one source.
Above I turned off the flash, hoping to give better contrast. I am still using the bone to top-score the paper, doing an entire open quire of four leaves at once. Here the prickings have formed the frame, and then prickings on the sides, close to the edge, in the middle, and along the fold gutter have served to provide columns - YES: columns! I hope the finished page will resemble this source: http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=8998 which is also from last week, a calendar page from Henry the Lion. I have left extra space at the top to allow for the arches. This is my second source.
Above we are back to my brand new quire, made with heavier paper. As you can see, the coffee stain wash did not soak through this heavier paper, so finally I have something where it is easier to distinguish hair-side from muscle-side. Being heavier, I was not about to top-score this. I pricked the frame elements on three of the four. The top paper is lined with red pencil which is similar to the edges of source 2 above. I tried to use red pencil on several leaves, simply for contrast. On the other sides of hte leaves I used a regular mechanical pencil (Sorry no graphite, simply because I forgot to get a graphite pencil, so PLEASE do not give me full points here eíther). Some of these pages are lined for text and some are designed for pictures such as: http://www.bl.uk/catalogues/illuminatedmanuscripts/TourPopupMax.asp?TourID=250 which is my third source. I tried to follow the visible pricking on this source page.
Above is the same quire, with the other papges open, including the center leaf wich is twice as wide as the other leaves. I have NOT yet done any pricking or lining to this leaf because I have "ideas" of what I want to do with it, but I have no "source" to support my "ideas". Although the middle leaf looks like it opens top to bottom, it is designed to be opened outward (right and left). I do not want to prepare it in any way until I am sure of what I want in this particular leaf.
Some thoughts after doing Week 4: I had difficulty aligning the dots. I kept exceeding the lines - going beyond the frame. I was frustrated by how faintly rulled the fourth sheet in the top-scored quires was, especially as my strength to press down harder just disappeared and my finger began to hurt. It really emphasized two issues: 1) have the right tools, and 2) the total focus needed so that the slightest distraction didn't make my work sloppy. I also became very tense, with stiff shoulders doing this work. I am so grateful for copy machines!
Adding up points: I only used one template. so I should NOT get full points for the proportional rectangles. I do NOT have one page in full lines. I DO have one quire with columns. I do NOT have an appropriate pricking instrument. I do NOT have in text pricks. My ruling is either dry point or lead pencil (no graphite, no ink: both of which are noted as appropriate, where mine are NOT). I have used marginal pricks. I don't believe I have used more than one ruling system.
Week 3:
This week's work begins with something I should have done last week or even the week before: websites and online Manuscripts (hereafter MS). Then I will have a photo collection of my work this week.
Websites/Libraries/Manuscripts:
Because I didn’t plan on
doing the very first assignment (looking in online libraries for MS) I have definitely found myself in trouble now. My original plan was to just make a book. I
had no intention of trying to duplicate even one original page. So, this past
week, I was desperately looking for possible MS to use. Unfortunately the MSs I
specifically wanted, do not seem to be available in the libraries that are
reputed to have them or they are not available in digital form, or both.
I am specifically
looking for MSs that are “German” in origin and date between 1150 and 1250 CE.
I have reason for the placing and time but this is not the place to discuss
them.
My first MS is in the
British Library and is a bestiary: Stowe 1067 http://www.bl.uk/catalogues/illuminatedmanuscripts/TourPopupMax.asp?TourID=492
This indicates marginal
miniatures, probably inserted before the text was. I owe my friend, Sara Uckelman,
another debt of gratitude for directing me to the British library. More
description of this bestiary can be found here: http://www.bl.uk/catalogues/illuminatedmanuscripts/TourBestiaryEnglish.asp
Both of the above should
be direct links. The description of this bestiary mentions it as an early 12C
MS, which at fits my time frame, though not location.
My second MS page, also
in the British Library is from a psalter: the Psalter of Henry the Lion and
fits both of my parameters: Germany and 1168-1189:which shows some outlining in carbon black ink in the bordering frame. Eventually I got to the following page:
http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=8998 which provides
a calendar image for January from the Psalter of Henry the Lion. This is the
f1.There are similar calendar pages for each month (simple search: psalter from
1168 to 1189), which would show Henry which days are Feast days. With the gold
leaf and the red background and text in gold (leaf or ink??) it is clearly
meant for a very influential personage. A quick look at f1 and f2 seems to show
that f1 is darker, possibly indicating a hair-side presentation of the
parchment, while f2 seems lighter, possibly indicating a muscle-side
presentation of the parchment. There is some black outlining in the border and
indicating where the written lines must go. There is also red outlining and
underscoring to aid the placement of the text-
The third source I want
to take note of is Llibre Vermell de Montserrat (Red book of Montserrat) and
the ten songs with it has preserved. There are pages in Wikipedia which note
that this book is still in the Abbey of Montserrat. While I found the web page
for the Abbey, which seemed to have
links to the library there, all I found were YouTube videos briefly discussing
some of the Abbey’s vast collection. I am therefore linking here to the Wikipedia
page which has images of the pages containing the music. You will need to
scroll down to the images:Each facsimile image is labeled as to its original’s number (starting with 21 which may have some text inserted at the bottom right, perhaps indicating where the quire was to be placed) and whether it is verso or recto, denoted by ‘v’ and ‘r’ respectively. The images do seem to show the originals suffered some irregularities or perhaps damage through frequent use, and the ‘r’ sides seem to be darker than the ‘v’ sides, although this could be due to the way the facsimiles were digitized.
The fourth source I was trying to find images
from Hildegard von Bingen’s Physica and Causae et Curae or
Liber subtilitatum diversarun naturarum creaturarum suggests that according to:
http://healthyhildegard.com/causae-et-curae/
the only extant copy may “only
one traditional manuscript remains from the 13th century, stored at the Royal
Library in Copenhagen.” This in itself presents
problems since Hildegard would have written in somewhere after 1151.
The fifth MS I was trying to find was by Rudolf von
Ems (1200-1254), his Weltchronik. It is a book I am most anxious to explore,
because it seems that it includes the contemporary history of Holy Roman
Emperor Frederick II, and therefore may also include information about the
struggle for the throne of Germany Frederick II had with Otto VI. If it also
had any information on calendar or weather or such seemingly minor details I
would be thrilled. Wikipedia suggests his works might be at the Deutschen
Nationalbibliotek (German National Library). There seems to have been a
facsimile edition of Weltchronik made. Another link suggests it is at the J.
Paul Getty Museum. However, after much searching it seems I may have it St. Gallen, Kantonsbibliothek, Vadianische Sammlung, as VadSlg Ms. 302.at
http://www.e-codices.unifr.ch/en/description/vad/0302/
which is searchable! I will link to just one page here: http://www.e-codices.unifr.ch/en/vad/0302/143r
. A ‘r’ page.
Please understand that my intention for my project
book, is to make a small book. I will be using four leaves, or bifolia, per
quaternio. Each leaf will be half of an A-4 (similar to letter-sized paper). I
will follow Gregory’s Rule: hair-side to hair side; and muscle-side to muscle
side with hair-side facing out to start each quaternio. Please keep in mind, I am using regular paper
that has had one side washed in a solution of coffee mixed with water which is
to indicate what would have been the hair-side had I been using parchment.
My week's project work: a photo and journal.
I found a tanned hide that I plan on making into shoes. This is probably a sheep's skin, although it could be a calf's skin. I suspect sheep, based on the amount of floor-space this takes and how much floor-space a sheep's fleece (wool) uses when layed out. Here you can see some damage to the hide, and I have placed two sheets of paper side by side next to the spine, with the idea that I would want to know which way the "parchment" would be cut after it was ready.
Here are nine sheets of paper "parchment" set out on the skin. Obviously there is waste. I should have tried other layouts to see which would be most efficient. The bottom-most paper would have two missing corners.
My stack of 16 diluted coffe washed papers, all with the coffee painted side up. One has been folded in half.
I put placemats down to increase the contrast. here I am trying to show the "waves" in the paper created during the drying process (scroll down to week 2's work to see that).
The above photo gives a clearer impression of how the paper dried on my drying rack got "waves" from the drying rack. These waves allowed me to be sure to stack all my dried paper "coffee-wash painted side" up. Remember that the coffee-wash, or diluted coffee paint, was to differentiate the "hair-side of parchment from the "muscle-side".
First four A-4 (similar to American "Letter-sized" paper) folded. They are stacked in a fan for easy counting, and these are all diluted-coffee painted sides to diluted coffee painted sides.
Here I am trying tos show the reason why using normal printer paper does not really give the contrast of genuine parchment. I cannot tell which side is supposed to be the "hair-side" - which side received the diluted coffee treatment. Basically the coffee pentrated the paper. This is the reason I resort to using the "waves."
Here are all 16 pages folded in half and stacked in fanned groups of four.
Now I begin dividing my papers in half, using a knife. Then I fold them into quires still keeping what were "coffee-treated" sides face to face. It really seems like a futile effort at this point since I do not "see" a difference in the cororation of the sides. Perhaps I am a poor sighted manuscript maker!
Here are my future quires - quaternios. One against the tea-pot is folded into the eventual sisze of the book I plan. The others are still unfolded, in groups of four sheets to make quarternios. They are stacked in an overlapping manner so I will know which is which.
More of folding the first quarternio. The mid-most page is folded. Hence, what is seen as facing up is the "un-coffee-painted side" indicating the "muscle" side of parchment.
Keeping a careful and specific order.
The entire quarternio
The one folded quarternio and the others still unfolded but stacked so as to know which ones come in which order. I then put them all unfolded ones in an envelope.
To tacket the folded quire, I decided to spin some linen thread. Here is one of my drop spindles and the linen.
An odd photo perhaps, but I'm trying to indicate how the linen fibers twist into the strand of thread.
Several things in this photo. My spiky distaff with the linen, my drop spindle with a new thread started. Under my drop spindle the end of the thread I spun and plied (or twisted with another thread). In this case I just folded the thread in half and spun it in the opposite direction. I did this because I was only going to use a very small amount of thread to tacket. Finally to the left of my hand is my waiting quarterio
My thread, on my needle and through the quarternio.
One tacketed quarternio. The others are safely waiting whatever comes next.
Week 2:
Please note that first is written description, then photos. This is for the "Hand-On" Project component of the course: building medieval-style manuscript (hereafter MS) a parchment-like codex. I use the expressions "medieval-style" and "parchment-like" because the current year is 2016, so certainly not in the "Middle Ages" (500-1500 CE) and because I will be using paper rather than parchment.
This project will attempt to follow guideline set in the course. Among the notes is that we could buy real parchment but are discouraged from doing that. The original requirement was for four to eight (4-8) school cardboards in whitish yellow. However, the instructor posted a forum to allow us to use A3 printer paper. So first I will say: I do not have A3 printer paper, so I used the size of printer paper (A4) that I have available to me.
Other requirements are: some coffee, a thick brush (although a rag is also mentioned) color pencils and scissiors. I used left over coffee (mixed with water to make it less dark). Not finding a brush, I used a clean cotton face "swab" to apply coffee to one side of each sheet of paper to indicate the "hair-side" of parchment. My clothes drying rack could hold four sheets of paper at a time. I applied diluted coffee to a total of 16 sheets of A4 printer paper, allowing each group of four sheets to dry before removing them and starting the next four sheets.
The directions also advise on using color pencils to add stains, hair follicals and other realistic details. What I did was to splatter more diluted coffee on the dried sheets and allow the sheets to dry again. I was quite pleased with those results. I did notice that whereever I allowed diluted-coffee to "pool" on the paper when it was first wet, that the coffee stain passed through the paper and those pools were actually lighter on the "painted" side. This makes me wonder about using thicker paper.
Further, the directions suggest using scissors to create holes such as real parchment can develop from over scraping. Achieving holes was all too easy with my wet paper. In fact it was nearly impossible not to add holes.
Finally, I would like to say that I wish I had a variety of papers of different weights and thicknesses available for testing this method of parchment-like preparation. I feel the staining too easily passed through the printer paper, rendering both sides of each piece almost identical in coloring. As soon as there is some sun (I live in Finland and currently (December 18) daylight is between 9:30 (am) and about 14:30 (2:30 pm) and there are many completely cloudy days too) I want to examine the sheets in daylight.
The first sheets of paper on my closthes drying rack testing for fit.
Diluted coffee in cup in my sink ready for painting the paper.
The cotton swab I used to paint the paper with the diluted coffee. Yes, my hand is in a cast.
In background: two coffee-painted sheets of paper. In foreground: the coffee-soaked cotton swab on a piece of paper. Things were not going smoothly. I was still trying to figure out how best to paint the diluted coffee on the sheets, my hand was bothering me and the paper kept going limp, tearing and so on. This was the first batch of coffee painte paper. By the time the third batch was painted I had a better system going.
The last of the first four sheets of paper. Yes I was trying to keep the paper flat on the mirror so I could paint it. It wasn't working very well either. That's part of learning, right?
The second set of diluted-coffee painted sheets of paper. I worried about any areas that looked "dry" and sometimes gave them a second coat of diluted coffee.
This photo is actually upside down. Sorry. I was holding the camera in my left hand , my right hand was wet because I had been splattering diluted coffee on the just dried sheets of paper to see if I could create thos stains the lesson speaks of and it was impossible to click the "take photo" button with the camera in the usual position.
Splatter stains when dry. I'm really not sure if this is what is wanted or not, but I am rather happy with this result (perhaps only because I don't really know what the real thing looks like). It doesn't - at this poor magnification - look like hair follicals. I wonder if using a spray bottle and a fine mist spray with the diluted coffee would give that visual appearance? Unfortunately I don't have a spray bottle to see how that would work.
1 comment:
Wow, really cool!
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