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until smooth. For a work of 340 leaves, such as the 8
th
-century masterpiece of
Celtic art, the Book of Kells, around 200 calfskins were needed.
The scribe marked up the first page of parchment with a master grid that
indicated where the lines of text and margins would fall. He might copy the grid by
making small score marks with a knife or awl through the first page onto a pile of
pages beneath.
Next he had to prepare his pen. Although pens made from metal were
available, the most common writing implement was the quill, made from a light
feather of a large bird, such as a goose. To prepare a quill, the scribe soaked it in
the water and then heated it to make it hard and flexible. He then cut the nib to the
correct shape for the thickness of the lettering he wished to use. Ink was kept in a
hollow animal horn. Black ink was made from lampblack, oak galls or the bark of
trees mixed with gum. Red ink, also called “red lead” or “red vermilion”, was
made from toasted lead or mercuric sulphide respectively, and was mostly used to
write some initial letters or the first lines or titles of some texts.
The book to be copied, called the exemplar, was laid open on a lectern
arranged close to the scribe’s desk, and copying could begin. One of the great
skills of the scribe was the ability to make the text fit the line, and to make blocks
of the text fit the page, without obviously bunching or squeezing the letters. The
best handwritten texts have a measured regularity, giving a sense of orderliness and
poise.
Tricks of the trade
For most of the Middle Ages, scribes generally used the “Gothic” script,
which was designed to be compact so as to save parchment. For the same reason
they used abbreviations – such as ampersand (&) for “and” – and joined up letters.
The untrained eye often finds medieval manuscripts very hard to decipher.
If a scribe made a mistake, he would scratch away the offending letter or
passage with his knife – one of the advantages of a resilient surface like parchment.
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