that they could be filled in with bright color, by hand-painting or by stenciling. They were printed with a fluid writing ink, which may have been black, but is now of a dingy brown.
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| Mark of Adam de Walsokne, who died 1349. |
Mark of Edmund Pepyr, who died 1483. [From Jackson.] |
Mark of an unknown person from a tomb in Lynn. |
A recent Italian author, D. Vincenzo Requeno, who has published an essay on this subject, tells us that the employment of engraved letters by the Italian book-makers of the middle ages was not confined to floriated initials. He says that they were sometimes used for the texts of books, and that many so-called manuscripts were printed by stamping cut letters one after another upon the page. This method of printing a book, letter by letter, could have been made a quicker process that that of careful writing. Not more than sixty-six engraved characters would have been required for the copying of any ordinary manuscript. A skillful workman, who had the characters before him, fitted up as hand-stamps, lettered so that he could select them at a glance, resting on a surface which kept them coated with ink, could take them up one after another, and produce on paper the impressions of letters faster than they could be produced by the penman who was obliged to carefully draw each letter and to paint or fill in its outlines with ink.[1]
In a library at Upsal, Sweden, is a volume known as the Codex Argenteus, or the Silvered Book, which seems to have been made exclusively by this method of stamping one letter
- ↑ The letters in the most meritorious manuscript books of the middle ages were not made with running hand, closely connected, like the letters of modern penmanship. The form of writing most in fashion was a spurred or pointed Gothic of remarkable blackness. Each letter was separate, carefully drawn, angled and painted, by many strokes of the reed.
