THE "Secretas" of the twelfth century, in so far as they relate to methods of making ink, indicate many departures from those contained in the more ancient ones. Frequent mention is made of sour galls, aleppo galls, green and blue vitriol, the lees of wine, black amber, sugar, fish-glue and a host of unimportant materials as being employed in the admixture of black inks. Combinations of some of these materials are expressed in formulas, the most important one of which details with great particularity the commingling together of an infusion of nut-galls, green vitriol (sulphate of iron) and fish-glue (isinglass); the two first (tanno-gallate of iron) when used alone, forms the sole base of all unadulterated "gall" inks.
Dates are appended to some of these ink and other formulas. The "tanno-gallate of iron" one has, however, no date. But as it appears closely following a date of A. D. 1126, it must have been written about that time.
Documents, public and private, bearing dates nearly contemporary with that era, written in ink of like type, are still extant, confirming in a remarkable degree the "Secreta" formula, and establishing the fact that the first half of the twelfth century marks the epoch in which the "gall" or modern ink of today came into vogue.
Its adoption by the priests stamped it with the seal of the Church and the arrival from the West about the same period of flax or linen paper with the added fact that these assimilated so well together, later placed them both on the popular basis which has continued to the present time.
While the Secreta which contains the "gall" ink formula is of Italian origin, the invention of this ink belongs solely to an Asiatic country, from whence in gradual stages by way of Arabia, Spain and France, it finally reached Rome. Thence, through the Church, information about it was conveyed to wherever civilization existed.
We are not confined in our investigations of ancient MSS. to any particular locality or date, as the twelfth, thirteenth, fourteenth and fifteenth centuries are prolific of "gall" ink monuments covering an immense territory. Such inks when used unadulterated, remain in an almost pristine color condition; while the other inks to which some pigment or color had been added, probably to make them more agreeable in appearance and more free-flowing, with a mistaken idea of improving them, are much discolored and in every instance present but slight indications of their original condition.
The question of the character of the paper employed during these eras, composed of different kinds of fibrous vegetable substances, possesses some importance when discussing its relationship to inks. Many authors certify to the manufacture and use of "cotton" in the eleventh, twelfth and later centuries. Madan, however, in treating this subject, makes the following comments which are in line with my own observations:
"Paper has for long been the common substance for miscellaneous purposes of ordinary writing, and has at all times been formed exclusively from rags (chiefly of linen) reduced to pull), poured out on a frame in a thin watery sheet, and gradually dried and given consistence by the action of heat. It has been a popular belief, found in every book till 1886 (now entirely disproved, but probably destined to die hard), that the common yellowish thick paper, with rough fibrous edge, found especially in Greek MSS. till the fifteenth century, was paper of quite another sort, and made of cotton (charta bombycna, bombyx being usually silk, but also used of any fine fibre such as cotton). The microscope has at last conclusively shown that these two papers are simply two different kinds of ordinary linen-rag paper."
De Vinne speaking, of paper and paper-making says:
"The gradual development of paper-making in Europe is but imperfectly presented through these fragmentary facts. Paper may have been made for many years before it found chroniclers who thought the manufacture worthy of notice. The Spanish paper-mills of Toledo which were at work in the year 1085, and an ancient family of paper-makers which was honored with marked favor by the king of Sicily in the year 1102, are carelessly mentioned by contemporary writers as if paper-making was an old and established business. It does not appear that paper was a novelty at a much earlier period. The bulls of the popes of the eighth and ninth centuries were written on cotton card or cotton paper, but no writer called attention to this card, or described it as a new material. It has been supposed that this paper was made in Asia, but it could have been made in Europe. A paper-like fabric, made from the barks of trees, was used for writing by the Longobards in the seventh century, and a coarse imitation of the Egyptian papyrus, in the form of a strong brown paper, had been made by the Romans as early as the third century. The art of compacting in a web the macerated fibres of plants seems to have been known and practised to some extent in Southern Europe long before the establishment of Moorish paper-mills.
"The Moors brought to Spain and Sicily not an entirely new invention, but an improved method of making paper, and what was more important, a culture and civilization that kept this method in constant exercise. It was chiefly for the lack of ability and lack of disposition to put paper to proper use that the earlier European knowledge of paper- making was so barren of results. The art of book- making as it was then practised was made subservient to the spirit of luxury more than to the desire for knowledge. Vellum was regarded by the copyist as the only substance fit for writing on, even when it was so scarce that it could be used only for the most expensive books. The card-like cotton paper once made by the Saracens was certainly known in Europe for many years before its utility was recognized. Hallam says that the use of this cotton paper was by no means general or frequent, except in Spain or Italy, and perhaps in the south of France, until the end of the fourteenth century. Nor was it much used in Italy for books.
"Paper came before its time and had to wait for recognition. It was sorely needed. The Egyptian manufacture of papyrus, which was in a state of decay in the seventh century, ceased entirely in the ninth or tenth. Not many books were written during this period, but there was then, and for at least three centuries afterwards, an unsatisfied demand for something to write upon. Parchment was so scarce that reckless copyists frequently resorted to the desperate expedient of effacing the writing on old and lightly esteemed manuscripts. It was not a difficult task. The writing ink then used was usually made of lamp-black, gum and vinegar; it it had but a feeble encaustic property, and it did not bite in or penetrate the parchment. The work of effacing this ink was accomplished by moistening the parchment with a weak alkaline solution and by rubbing it with pumice stone. This treatment did not entirely obliterate the writing, but made it so indistinct that the parchment could be written over the second time. Manuscripts so treated are now known as palimpsests. All the large European public libraries have copies of palimpsests, which are melancholy illustrations of the literary tastes of many writers or bookmakers during the Middle Ages. More convincingly than by argument they show the utility of paper. Manuscripts of the Gospels, of the Iliad, and of works of the highest merit, often of great beauty and accuracy, are dimly seen underneath stupid sermons, and theological writings of a nature so paltry that no man living cares to read them. In Some instances the first writing has been so thoroughly scrubbed out that its meaning is irretrievably lost.
"Much as paper was needed, it was not at all popular with copyists; their prejudice was not altogether unreasonable, for it was thick, coarse, knotty, and in every way unfitted for the display or ornamental penmanship or illumination. The cheaper quality, then known as cotton paper, was especially objectionable. It seems to have been so badly made as to need governmental interference. Frederick II, of Germany, in the year 1221, foreseeing evils that might arise from bad paper, made a decree by which he made invalid all public documents that should be put on cotton paper, and ordered them within two years to be transcribed upon parchment. Peter II, of Spain, in the year 1338, publicly commanded the paper-makers of Valencia and Xativa to make their paper of a better quality and equal to that of an earlier period.
"The better quality of paper, now known as linen paper, had the merits of strength, flexibility, and durability in a high degree, but it was set aside by the copyists because the fabric was too thick and the surface was too rough. The art of calendering or polishing papers until they were of a smooth, glossy surface, which was then practised by the Persians, was unknown to, or at least unpractised by, the early European makers. The changes or fashion in the selection of writing papers are worthy of passing notice. The rough hand-made papers so heartily despised by the copyists of the thirteenth century are now preferred by neat penmen and skilled draughtsmen. The imitations of mediaeval paper, thick, harsh, and dingy, and showing the marks of the wires upon which the fabric was couched, are preferred by men of letters for books and for correspondence, while highly polished modern plate papers, with surfaces much more glossy than any preparation of vellum, are now rejected by them as finical and effeminate.
"There is a popular notion that the so-called inventions of paper and xylographic printing were gladly welcomed by men of letters, and that the new fabric and the new art were immediately pressed into service. The facts about to be presented in succeeding chapters will lead to a different conclusion. We shall see that the makers of playing cards and of image prints were the men who first made extended use of printing, and that self-taught and unprofessional copyists were the men who gave encouragement to the manufacture of paper. The more liberal use of paper at the beginning of the fifteenth century by this newly- created class of readers and book-buyers marks the period of transition and of mental and mechanical development for which the crude arts of paper- making and of black printing had been waiting for centuries. We shall also see that if paper had been ever so cheap and common during the Middle Ages, it would have worked no changes in education or literature; it could not have been used by the people, for they were too illiterate; it would not have been used by the professional copyists, for they preferred vellum and despised the substitute.
"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."
IT is well known that alchemy preceded chemistry and hence the Secreta came first. When the formula for making a real "gall" ink had ceased to be a secret, chemistry was then but little understood. It is not a matter for wonder, therefore, to learn that "gall" ink of the first half of the twelfth century was low in grade and poor in quality. It was a muddy fluid easily precipitated and it deteriorated quickly. A century or more of experimenting was needed to modify or overcome defects, as well as to gain information about the chemical value of the different tannins, the relative proportions of each constituent and the correct methods in its admixture.
There is no written account of this ink being manufactured as an industry until over three hundred years later. Hence, as it appears so frequently of varying degrees of color on documents of the intervening centuries, we are compelled to assume that it was compounded by individuals who had neither chemical knowledge, nor who had made a study or a business of ink-making. Notwithstanding which, its progress seems to have been comparatively rapid and like the same ink of the present day was to be obtained of any quality or kind, whether unadulterated or containing some added color.
Intense black or a black tinged with red-brown characterizes the color of the inks found on the very earliest MSS. Their lasting color phenomena, due to the employment of lampblack and kindred substances even after a lapse of so many ages, is at this late day of no particular moment as they but prove the virtues of the different types of "Indian" inks.
A different set of facts are evident in the inks of mediaeval times which are found to greatly vary according to their ages and locality. But few black inks of the ninth and tenth centuries remain to us. In the MSS. of those centuries a red ink was the prevailing one even to the extent of entire volumes being written with it. In Italy and many other portions of Southern Europe specimens now extant, when compared with those belonging to Germany and other more northern countries, are seen to be blacker and this is also true when those of France and England are compared, the blacker inks belonging to France. With the gradual disappearance of the so-called "Dark Ages," the ink found on Spanish written MSS. of the fourteenth and fifteenth centuries, are notedly of intense blackness while those of some of the other countries appear of a rather faded gray color, and in the sixteenth century, this gray color effect prevailed all over the Christian world.
To revert again to the ink phenomena of the fourteenth and fifteenth centuries which are of Italian origin. In no section of that country or of Europe during those centuries do ink creations possess, in so marked a degree, the variety of color qualities that are seen on those of the city of Florence. Indeed it may be truly said that during those periods more ink written MSS. were produced in that place than all the rest of Europe. These productions of MSS. were not confined to simple ink writings. The heads of religious orders and rulers of the country liked to have artists near them to illuminate their missals and sacred books, besides the decorating of walls in their churches and palaces.
Through this art of illuminating and the painting of miniatures in MSS. books, "oil" painting took root and the day for mere symbols and hieroglyphics was over.
In that city of scholars and wealth it was a fashion and later the custom to acquire Greek, Latin and Oriental MSS. and copy them for circulation and sale. The prices offered were sufficient to stimulate the search and zeal for them. We learn that in the year 1400 "on the square of the Duoma a spacciatore was established whose business was to sell manuscripts often full of mistakes and blunders." Nicholas V, before he became Pope, was nicknamed "Tommaso the Copyist." He is said to have presented to the Vatican library as a gift five thousand volumes of his own creation.
The information of these increasing demands for ancient documents of any kind spread over Europe and portions of Asia, bringing into Florence a great quantity of them, as well as many scholars and copyists. Shiploads of the works of the Byzantine historians arrived from the Golden Horn, and the city became a vast manufactory for duplicating or forging ancient MSS. Parchment and vellum were too costly to employ very much, so most of them were of paper. Vespaciano, one of the many engaged in this business and who lived in 1464, found it necessary in order to reduce the cost of production, to become a paper merchant. In writing to a friend he says:
"I engaged forty-five copyists and in twenty- two months had completed two hundred volumes, which included some Greek and Latin as well as many Oriental writings."
The reading and judging of manuscripts are now known as the science of diplomatics. To determine their antiquity or genuineness requires the nicest distinctions and care, irrespective of alleged dates (whether exhibited by Roman numbers or the Arabic one which we continue to employ, and which first made their appearance near the commencement of the twelfth century). The inks as already mentioned and used on them, as we shall see, serve fully as much in estimating authenticity or genuineness as does combined together,—the style of the writing, the miniatures, vignettes and arabesques (if any), the colors, covers, materials, ornamentation and the character of their contents.
With the re-establishment of learning in the fifteenth century and the creation of alleged stable governments, who may perhaps have realized the necessity for an ink of enduring good commercial and record qualities, so-called "gall" inks were chosen as best possessing them, and were made and employed with varying results even more than the ancient "Indian" inks.
Mediaeval practices in relation to ink and other writing materials as well as the monastic libraries of which England, France, Germany and Italy possessed many during the thirteenth, fourteenth, and more particularly the fifteenth centuries, were governed by established rules.
The libraries of such institutions were placed by the abbot under the sole charge of the "armarian," an officer who was made responsible for the preservation of the volumes under his care; be was expected frequently to examine them, lest damp or insects should injure them; he was to cover them with wooden covers to preserve them and carefully to mend and restore any damage which time or accident might cause; he was to make a note of any book borrowed from the library, with the name of the borrower; but this last rule applied only to the less valuable portion of it, as the "great and precious books" could only be lent by the permission of the abbot himself. It was also the duty of the armarian to have all the books in his charge marked with their correct titles, and to keep a perfect list of the whole. Some of these catalogues are still in existence and are curious and interesting in their exemplification of the kinds of ink employed and as indicative of the state of literature in the Middle Ages, besides presenting the names of many authors whose works have never reached us. It was also the duty of the armarian, under the orders of his superior, to provide the transcribers of manuscripts with the writings which they were to copy, as well as all the materials necessary for their labors, to make bargains as to payment, and to superintend the work during their progress.
These transcribers, Mr. Maitland in his "Dark Ages" tells us, were monks and their clerks, some of whom were so skilled that they could perform all the different branches. They were exhorted by the rules of their order to learn writing, and to persevere in the work of copying manuscripts as being one most acceptable to God; those who could not write were recommended to bind books. This was in line with the behest of the famous monk Alciun who lived in the eighth century and who entreated all to employ themselves in copying books, saying:
"It is a most meritorious work, more useful to the health than working in the fields, which profits only a man's body, while the labour of a copyist profits his soul."
When black ink was used in liturgical writings, the title page and heads of chapters were written in red ink; whence comes the term rubric. Green, purple, blue and yellow inks were sometimes used for words, but chiefly for ornamenting capital letters.
A large room was in most monasteries set apart for such labors and here the general transcribers pursued their avocations; in addition, small rooms or cells, known also as scriptoria, occupied by such monks as were considered, from their piety and learning, to be entitled to the indulgence, and used by them for their private devotions, as well as for the purpose of transcribing works for the use of the church or library. The scriptoria were frequently enriched by donations and bequests from those who knew the value of the works carried on in them, and large estates were often devoted to their support.
"Meanwhile along the cloister's painted side,The monks—each bending low upon his bookWith head on hand reclined—their studies plied;Forbid to parley, or in front to look,
Lengthways their regulated seats they took:The strutting prior gazed with pompous mien,And wakeful tongue, prepared with prompt rebuke,If monk asleep in sheltering hood was seen;He wary often peeped beneath that russet screen.
"Hard by, against the window's adverse light,Where desks were wont in length of row to stand,The gowned artificers inclined to write;The pen of silver glistened in the handSome of their fingers rhyming Latin scanned;Some textile gold from halls unwinding drew,And on strained velvet stately portraits planned;Here arms, there faces shown in embryo view,At last to glittering life the total figures grew."—FOSBROOKE.
The public scribes of those days were employed mostly by secular individuals, although subject to be called upon at any moment by the fathers of the church. They worked in their homes except when any valuable work was to be copied, then in that of their employer, who boarded and lodged them during the time of their engagement.
To differentiate the character of the class of pigments or materials then employed in making colored inks, from those of the more ancient times is difficult; because we not only find many of like character but of larger variety. These were used more for purposes of illuminating and embellishing than for regular writing.
Even when printing had been invented spaces were frequently left, both in the block books and in the earliest movable type, for the illumination by hand, of initial letters so as to deceive purchasers into the belief that the printed type which was patterned closely after the forms of letters employed in MSS. writings was the real thing. The learned soon discovered such frauds and thereafter these practices were abandoned.
THE gray color of most of the inks found on documents written in the sixteenth century is a noteworthy fact. Whence its cause is a matter for considerable speculation. The majority of these inks unquestionably belong to the "gall" class and if prepared after the formulas utilized in preceding centuries should indicate like color phenomena. As these same peculiarities exist on both paper, vellum and parchment, it cannot be attributed to their use. Investigations in many instances of the writings indicate the exercise of a more rapid pen movement and a consequent employment of inks of greater fluidity than those of an earlier history. Such fluidity could only be obtained by a reduction of the quantity of gummy vehicles together with an increase of ink acidity. The acids which had theretofore been more or less introduced into inks, except oxalic acid, could not effect such results. Consequently, as the monuments of this gray ink phenomena are to be found belonging to all the portions of the Christian world, with a uniformity that is certainly remarkable, it becomes a fair deduction to assume that the making of inks bad passed into the hands of regular manufacturers who adulterated them with "added" color.
We can well believe that the influences which the fathers of the Church exerted during the thousand years known as the "Dark Ages," in respect to ink and kindred subjects, must have been very great. That they endeavored to perpetuate for the benefit of succeeding generations in book and other forms, this kind of information, which they distributed throughout the world we know to be true. Most of these sources of ink information, however, gradually disappeared as constituting a series of sad events in the unhappy war which followed their preparation.
The Reformation began in Germany in the first quarter of the sixteenth century, and with it the eighty years of continual religious warfare which followed. During this period the priceless MSS. books of information, historical, literary and otherwise, contained in the monastic libraries outside of Italy were burnt.
We are told:
"In England cupidity and intolerance destroyed recklessly. Thus, after the dissolution of monastic establishments, persons were appointed to search out all missals, books of legends, and such 'superstitious books' and to destroy or sell them for waste paper; reserving only their bindings, when, as was frequently the case, they were ornamented with massive gold and silver, curiously chased, and often further enriched with precious stones; and so industriously had these men done their work, destroying all books in which they considered popish tendencies to be shown by illumination, the use of red letters, or of the Cross, or even by the—to them —mysterious diagrams of mathematical problems— that when, some years later, Leland was appointed to examine the monastic libraries, with a view to the preservation of what was valuable in them, he found that those who had preceded him had left little to reward his search."
Bale, himself an advocate for the dissolution of monasteries, says:
"Never had we bene offended for the losse of our lybraryes beyng so many in nombre and in so desolute places for the moste parte, yf the chief monuments and moste notable workes of our excellent wryters had bene reserved, yf there had bene in every shyre of Englande but one solemyne lybrary for the preservacyon of those noble workes, and preferrments of good learnyuges in our posteryte it had bene yet somewhat. But to destroye all without consyderacyon is and wyll be unto Englande for ever a most horryble infamy amonge the grave senyours of other natyons. A grete nombre of them wych purchased of those superstycyose mansyons reserved of those lybrarye bokes, some to serve theyr jaks, some to scoure theyr candelstyckes, and some to rubb theyr bootes . some they solde to the grossers and sope sellers, and some they sent over see to the bokebynders, not in small nombre, but at tymes whole shippesful. I knowa merchant man, whyche shall at thys tyme be namelesse, that boughte the content-, of two noble lybraryes for xl shyllyngs pryce, a shame it is to be spoken. Thys stuffe hathe he occupyed in the stide of greve paper for the space of more than these ten years, and yet hathe store ynough for as many years to come. A prodyguous example is thys, and to be abhorred of all men who love theyr n atyon as they shoulde do."
Passing to later epochs, A. D. 1602, the following quaint receipt proves interesting as showing that the "gall" inks were well known at that time:
"To make common Ink, of Wine take a quart,Two ounces of Gumme, let that be a part;Five ounces of Galls, of Cop'res take three,Long standing doth make it the better to be;If Wine ye do want, raine water is best,And then as much stuffe as above at the least,If the Ink be too thick, put Vinegar in,For water doth make the colour more dimme."
Shakespeare in his Twelfth Night III, 2, has also referred to them in the following amusing strain:
"Go write it in a martial hand; be curst and brief; it is no matter how witty, so it be eloquent, and full of invention; taunt him with the license of ink; if thou thou'st him thrice, it shall nor be amiss; and as many lies as will lie on a sheet of paper, although the sheet were big enough for the bed of Ware in England, set 'em down; go, about it. Let there be gall enough in thy ink, though thou write with a goose pen, no matter: about it."
The general black ink conditions for a period of at least three hundred years, if we exclude the sixteenth century, had been but repetitions of each other. They so remained until the year 1626, when the French government concluded an arrangement with a chemist by the name of Guyot, for the manufacture of a "gall" ink WITHOUT added color and which thereby guaranteed and insured more sameness in respect to desirable ink qualities. That government with a few modifications relative to the proportions of ingredients continued its employment, which was followed by the contemporaneous writers. Other governments later partially adopted the French formulas while some of them gave the matter no attention, although their records and those of the cities or towns not only of Europe but early America, the United States and Canada are found in most instances to have been written with an ink of this character.
Where prior to 1850, inks containing a different base (with the single exception of indigo) were used, they have either disappeared or nearly so and it is not an infrequent occurrence among those who are accustomed to examine old records to find that signatures or dates to valuable instruments, pages of writings and indeed sometimes the writings in an entire book are more or less obliterated.
The black inks of a large portion of the seventeenth century, on documents of every kind, are found to be nearly perfect as to color conditions, which is evidence of the extreme care used in their preparation and the exclusion of "added" color in ink manufacture.
THE literature of the fifteenth, sixteenth and seventeenth centuries on the subject of black and colored ink formulas, secret inks, etc., is both diversified and of considerable importance. The following authors and citations are deemed the most noteworthy:
John Baptista Porta, of Naples, born A. D. 1445 and died A. D. 1515, is best known as the inventor of the "camera obscuro;" was also the author of many MSS. books compiled; he says,
"As the results of discussions of long years held at my own house which is known as de Secreti, and into which none can enter unless he claim to be an inventor of new discoveries."
Two of these treatises which were extant in the first half of the seventeenth century, dated respectively 1481 and 1483, dwell at great length on SECRET inks and specifically mention as translated into the English of the time "sowre galls in white wine," and "vitriol;" repeating Italian formulas pertaining to the "Secreta" of the twelfth century.
About secret ink he tells us:
"There are many and almost infinite ways to write things of necessity, that the Characters shall not be seen, unless you dip them into waters, or put them near the fire, or rub them with dust, or smeer them over. * * * * * * * *
"Let Vitriol soak in Boyling water: when it is dissolved, strain it so long till the water grow clear: with that liquor write upon paper: when they are dry they are not seen. Moreover, grinde burnt straw and Vinegar: and what you will write in the spaces between the former lines, describe at large. Then boyl sowre Galls in white Wine, wet a spunge in the liquor: and when you have need, wipe it upon the paper gently, and wet the letters so long until the native black colour disappear, but the former colour, that was not seen, will be made apparent. Now I will show in what liquors paper must be soaked to make letters to be seen. As I said, Dissolve Vitriol in water: then powder Galls finely, and soak them in water: let them stay there twenty-four hours: filtre them through a linen cloth, or something else, that may make the water clear, and make letters upon the paper that you desire to have concealed: send it to your Friend absent: when you would have them appear, dip them in the first liquor, and the letters will presently be seen. * * * * * * * *
If you write with the juice of Citrons, Oranges, Onyons, or almost any sharp things, if you make it hot at the fire, their acrimony is presently discovered: for they are undigested juices, whereas they are detected by the heat of the fire, and then they show forth those colours that they would show if they were ripe. If you write with a sowre Grape that would be black, or with Cervices; when you hold them to the fire they are concocted, and will give the same colour they would in due time give upon the tree, when they were ripe. Juice of Cherries, added to Calamus, will make a green: to sow- bread a red: so divers juices of Fruits will show divers colours by the fire. By these means Maids sending and receiving love-letters, escape from those that have charge of them. There is also a kind of Salt called Ammoniac: this powdered and mingled with water, will write white letters, and can hardly be distinguished from the paper, but hold them to the fire, and they will shew black."
With respect to the preparation of black and colored inks and also colors: Antonio Neri, an Italian author and chemist who lived in the sixteenth century, in his treatise seems not only to have laid the foundation for most of the receipts called attention to by later writers during the two hundred years which followed, but to have been the very first to specify a proper "gall" ink and its formula, as the most worthy of notice.
Pietro Caneparius, a physician and writer of Venice, A. D. 1612, in his work De Atrametis, gives a more extensive view about the preparation and composition of inks and adopts all that Neri had given, though he never quotes his name, and adds—"hitherto published by no one." He does however mention many valuable particulars which were omitted by Neri. Most of his receipts are about gold, silver and nondescript inks, with directions for making a great variety for secret writing and defacing. This book revised and enlarged was republished in London, 1660.
In 1653 Peter Borel, who was physician to Louis XIV, King, of France published his "Bibliotheca Chemica," which contains a large number of ink receipts, two of which may be characterized as "iron and gall" ones. They possess value on account of the relative proportions indicated between the two chemicals. The colored ones, including gold, silver and sympathetic inks are mostly repetitions of those of Neri and Caneparius. The French writers, though, speak of his researches in chemistry as "somewhat credulous."
Christopher Merret, an English physician and naturalist, born A. D. 1614, translated Neri into our language in 1654, with many notes of his own about him; his observations have added nothing of value to the chemistry of inks.
Johann Kunckel, a noted German chemist and writer in 1657, republished in the German language Neri's work with Merret's notes, and his own observations on both. He also inserted many other processes as the result of considerable research and seems to have been thoroughly conversant with the chemistry of inks, advocating especially the value and employment of a tanno-gallate of iron ink for record purposes.
Salmon, A. D. 1665, in his Polygraphics, proceeds to give instructions relative to inks which notwithstanding their merit are confounded with so many absurdities as to lessen their value for those who were unable to separate truth from falsehood; but he nevertheless dwells on the virtues of the "gall" inks.
Jacques Lemort, a Dutch chemist of some note, issued a treatise, A. D. 1669, on "Ink Formulas and Colors," seemingly selected from the books of those who had preceded him. He expresses the opinion that the "gall" inks if properly compounded would give beneficial results.
Formulas for making inks are found tucked away in some of the very old literature treating of "curious" things. One of them which appeared in 1669 directs: "to strain out the best quality of iron employ old and rusty nails;" another one says, that the ink when made is to remain in an open vessel "for thirty days and thirty nights, before putting it in a parchment bag."
An English compendium of ink formulas, published in 1693, calls attention to many formulas for black inks as well as gold, silver, and the colored ones; no comment, however, is made in respect to any particular one being better than another as to permanency, and these conditions would seem to have continued for nearly a century later, though the art of handwriting was making giant strides.
It is a remarkable fact that notwithstanding the numerous devotees to that art which included many of the gentler sex, reproductions of whose skill in "Indian" ink are to be found engraved in magnificent publications, both in book and other forms, there is no mention in them or in any others included within this period about the necessity of using any other DURABLE ink for record or commercial purposes.
As indicative in some degree of the progress of the art of handwriting and handwriting materials, commencing A. D. 1525 and ending A. D. 1814, I present herewith a compilation of the names of over one hundred of the best known calligraphers and authors of the world, and not to be found as a whole in any public or private library. It is arranged in chronological order.
1525.
The first English essay on the subject of "Curious Calligraphy" was by a woman who from all accounts possessed most remarkable facility in the use of the pen as well as a knowledge of languages. Her name was Elizabeth Lucar; as she was born in London in 1510 and died 1537, her work must have been accomplished when only fifteen years of age.
1540.
Roger Ascham, best known as the tutor ofQueen Elizabeth.
1570.
Peter Bales, author of many works, "The Writing Schoolmaster," which he published in three parts, being the best known. He was also a microscopic writer. His rooms were at the sign of "The Hand and Golden Pen," London.
1571.
John de Beauchesne, teacher of the Princess Elizabeth, daughter of King James I. Author of many copy books.
1588.
John Mellis, "Merchants Accounts," etc.
1600.
Elizabeth Jane Weston, of London and Prague, wrote many poems in old Latin.
1600.
Hester Inglis, "The Psalms of David."
1601.
John Davies, "The Writing Schoolmaster, orAnatomy of Fair Writing."
1616.
Richard Gething, "The Hand and Pen; 1645, "Chirographia" and many others.
1618.
Martin Billingsley, "The Writing Schoolmaster, or the Anatomie of Fair Writing." This author was writing master to King Charles I.
1622.
David Brown, who was scribe to King James I."Calligraphia."
1622.
William Comley, "Copy-Book of all the most usual English Hands," etc.
1646.
Josiah Ricrafte, "The Peculiar Character of the Oriental Languages."
1650.
Louis Hughes, "Plain and Easy Directions toFair Writing."
1650.
John Johnson, "The Usual Practices of Fair and Speedy Writing."
1651.
John Clithers, "The Pens Paradise," dedicated to Prince Charles.
1652.
James Seamer, "A Compendium of All theUsual Hands Written in England."
1657.
Edward Cocker, penman and engraver, famous in his time for the number and variety of his productions. Author of "The Pen's Triumph," "The Artist's Glory," "England's Penman," and many more.
1659.
James Hodder, "The Penman's Recreation," etc.
1660.
John Fisher, "The Pen's Treasury."
1663.
Richard Daniel, "A Compendium of many hands of Various Countries."
1669.
Peter Story or Stent, "Fair Writing of SeveralHands in Use."
1678.
William Raven, "An Exact Copy of the CourtHand."
1680.
Peter Ivers, famous for his engrossing and drawings.
1680.
Thomas Watson, "Copy-Book of Alphabets."
1681.
John Pardie, "An Essay on the German Text and Old Print Alphabets."
1681.
Thomas Weston, "Ancilla Calligraphiae."
1681.
Peter Gery, "Copy book of all the Hands in use, Performed according to the Natural Freeness of the Pen."
1681.
William Elder, "Copy-book of the most useful and necessary Hands now used in England."
1683.
John Ayers, "Tutor to Penmanship," and many others.
1684.
Caleb Williams, "Nuncius Oris," written and engraved by himself.
1693.
Charles Snell, "The Penman's Treasury Opened;" 1712, "Art of Writing in Theory and Practice;" 1714, "Standard Rules," etc.
1695.
Richard Alleine, writing master.
1695.
Eleazer Wigin, "The Hand and Pen."
1695.
John Sedden, "The Penman's Paradise."
1696.
John Eade, writing master.
1699.
Joseph Alleine, published several books about writing and accounts.
1699.
Robert More, "The Writing Masters Assistant." 1725. "The General Penman."
1700.
John Beckham, father of the celebrated George Beckham, wrote and engraved several pieces for "The Universal Penman."
1700.
Edward Smith, "The Mysteries of the Pen in fifteen Hands, Unfolded," etc.
1700.
Henry Legg, "Writing and Arithmetic."
1702.
William Banson, "The Merchants Penman."
1703.
John Dundas, microscopic writer.
1705.
George Shelley, "The Penmans Magazine."In 1730 he wrote several pages for "Bickman'sUniversal Penman."
1708.
John Clark, "The Penmans Diversion."
1709.
James Heacock, writing master.
1709.
George Shelley, "Natural writing in all hands."
1711.
George Bickham, one of the most famous of writers of his time, born 1684, died 1758, author of "The Universal Penman." He published many works. 1711, "The British Penman;" 1731, "Penmanship in its utmost Beauty and Extent" and "The Universal Penman" are the best known.
1709.
John Rayner, "Paul's Scholars Copy-Book."
1711.
Humphrey Johnson, "Youth's Recreation: aCopy-Book of Writing done by Command ofHand."
1712.
William Webster, writing and mathematics. 1730, wrote several pages for "The Universal Penman."
1713.
Thomas Ollyffe, "The Hand and Pen." 1714,"The Practical Penman."
1717.
William Brooks, "Delightful Recreation for the Industrious." Contributor to "The Universal Penman."
1717.
Abraham Nicholas, "Various Examples of Penmanship." 1722, "The Compleat Writing Master." Wrote also for "The Universal Penman."
1719.
Ralph Snow, "Youths Introduction to Handwriting."
1720.
William Richards, "The Complete Penman."
1723.
John Jarman, "A System of Court Hands."
1724.
Henry Lune, "Round Hand Complete."
1725.
John Shortland, writing master and contributor to "The Universal Penman."
1725.
Edward Dawson, writing master and contributor to "The Universal Penman."
1726.
Moses Gratwick, writing master and contributor to "The Universal Penman."
1727.
John Langton, "The Italien Hand."
1728.
John Day, writing master and contributor to"The Universal Penman."
1729.
Gabriel Brooks, writing master and contributor to, "The Universal Penman."
1730.
William Keppax, writing master and contributor to "The Universal Penman."
1730.
John Bland, "Essay in Writing." Also contributor to "The Universal Penman."
1730.
Solomon Cook, "The Modish Round Hand."
1730.
William Leckey, "A Discourse on the Use of the Pen." Contributor to "The Universal Penman."
1730.
Peter Norman, writing master and contributor to "The Universal Penman."
1730.
Wellington Clark, writing master and contributor to "The Universal Penman."
1730.
Zachary Chambers, "Vive la Plume." Contributor to "The Universal Penman."
1733.
Bright Whilton, writing master and contributor to "The Universal Penman."
1734.
Timothy Treadway, writing master and contributor to "The Universal Penman."
1738.
George J. Bickham, writing master; also wrote for "Bickham's Universal Penman."
1739.
Emanuel Austin, writing master; he wrote 22 pages in "The Universal Penman."
1739.
Samuel Vaux, writing master and contributor to "The Universal Penman."
1740.
Jeremiah Andrews, writing master and tutor to King George III.
1740.
Nathaniel Dove, "The Progress of Time," and contributor to "The Universal Penman."
1741.
John Blande, "Essay in Writing; 1730, contributor to "The Universal Penman."
1741.
Richard Morris, writing master and contributor to "The Universal Penman."
1747.
Mary Johns, microscopic writer and author.
1749.
Charles Woodham, "A Specimen of Writing, in the most Useful Hands now Practised in England."
1750.
John Oldfield, "Honesty." He wrote one piece in "The Universal Penman."
1750.
Joseph Champion, "The Parallel or ComparativePenmanship." 1762, "The Living Hands."
1751.
Edward Lloyd, "Young Merchants Assistant."
1758.
Richard Clark, "Practical and Ornamental Penmanship."
1760.
Benjamin Webb, writer of copy books, etc.
1762.
William Chinnery, "The Compendious Emblematist."
1763.
William Massey, "The Origin and Progress of Letters," containing valuable information about the art.
1769.
John Gardner, "Introduction to the CountingHouse."
1780.
Edward Powell, writing master and designer.
1784.
E. Butterworth, "The Universal Penman" in two parts, published in Edinburgh.
1795.
William Milns, "The Penman's Repository."
1799.
William G. Wheatcroft, "The Modern Penman."
1814.
John Carstairs, "Tachygraphy, or the FlyingPen." 2. "Writing made easy, etc."
Illustrated works on the subject of penmanship of contemporaneous times and not of English origin are but few. The best known are:
1543.
Luduvico Vicentino, "A Copy book" published in Rome, seems to have been the first.
1570.
Il perfetto Scrittore (The Perfect Writer) byFrancesco Cresci, published in Rome.
1605.
Spieghel der Schrijkfkonste (or Mirror of Penmanship) written by Van den Velde, published in Amsterdam.
1612.
"Writing and Ink Recipes," by Peter Caniparius,Venice and London.
1700.
Der Getreue Schreibemeister (or True Writing Master), by Johann Friedr Vicum, published in Dresden.
From 1602 to 1709 many "Indian" ink specimens were extant and are still of the different schools of penmanship. The productions of Phrysius, Materot and Barbedor illustrating the French style, Vignon, Sellery and others, for the Italian hand, and Overbique and Smythers for the German text, and Ambrosius Perlengh and Hugo, with a few more, complete the list.
THE increasing demands for ink, and the lack of interest as to its composition during the eighteenth century, if viewed in the same lights which prevail in our own times, permitted the general manufacture of cheap grades of ink which possessed no very lasting qualities. The chemistry of Inks was not fully understood, indeed we find Professer Turner of the College of Edinburgh declaring in 1827:
"Gallic acid was discovered by Scheele in 1786, and exists ready formed in the bark of many trees, and in gall-nuts. It is always associated with tannin, a substance to which it is allied in a manner hitherto unexplained. It is distinguished from tannin by causing no precipitate in a solution of gelatine. With a salt of iron it forms a dark blue coloured compound, which is the basis of ink. The finest colour is procured when the peroxide and protoxide of iron are mixed together. This character distinguishes gallic acid from every other substance excepting tannin."
The general lack of information or knowledge respecting ink chemistry or its time-phenomena was not confined to any particular country, and it does not appear that any general or specific attention was scientifically directed to it until 1765, when William Lewis, F. R. S., an English chemist, publicly announced that he proposed to investigate the subject. His experimentations covered a period of many years and their results and his theories as to the phenomena of inks were published in 1797. The most valuable of his conclusions were that an excess of iron salt in the ink is detrimental to color permanence (such ink becoming brown on exposure) and also that acetic acid in the menstruum provides an ink of greater body and blackness than sulphuric acid does (a circumstance due to the smaller resistance of acetic acid to the formation of iron gallo-tannate). Many of his other observations were later shown to have been erroneous. Dr. Lewis was the first to advocate log- wood as a tinctorial agent in connection with iron and gall compositions.
Ribaucourt, a French ink maker, in 1798 determined that an excess of galls is quite as injurious to the permanence of ink as an excess of iron.
Pending the completion of the researches of Lewis, the Royal Society of England, affected by complaints from all quarters relative to the inferiority of inks as compared with those of earlier times, brought the subject to the attention of many of its members for discussion and advice. Its secretary, Charles Blagden, M. D., read a paper before the society, June 28, 1787, which was published in the "Philosophical Transactions" and widely circulated. It is so interesting that copious extracts are given:
"In a conversation some time ago with my friend Thomas Astle, Esq., F. R. S. and A. S., relative to the legibility of ancient MSS. a question arose, whether the inks in use eight or ten centuries ago, which are often found to have preserved their colour remarkably well, were made of different materials from those employed in later times, of which many are already become so pale as scarcely to be read. With a view to the decision of this question, Mr. Astle obligingly furnished me with several MSS., on parchment and vellum, from the ninth to the fifteenth centuries inclusively, some of which were still black, and others of different shades of colour, from a deep yellowish brown to a very pale yellow, in some parts so faint as to be scarcely visible. On all of these I made experiments with the chemical re-agents which appeared to me best adapted to the purpose, namely, alkalis both simple and phlogisticated, the mineral acids, and infusions of galls.
"It would be tedious and superfluous to enter into a detail of the particular experiments, as all of them, one instance only excepted, agreed in the general result, to shew that the ink employed anciently, as far as the above-mentioned MSS. extended, was of the same nature as the present; for the letters turned of a reddish or yellow brown with alkalis, became pale, and were at length obliterated, with the dilute mineral acids, and the drop of acid liquor which had extracted a letter, changed to a deep blue or green on the addition of a drop of phlogisticated alkali; moreover, the letters acquired a deeper tinge with the infusion of galls, in some cases more, in others less. Hence it is evident, that one of the ingredients was iron, which there is no reason to doubt was joined with the vitriolic acid; and the colour of the more perfect MSS. which in some was deep black, and in others purplish black, together with the restitution of that colour, in those which had lost it, by the infusion of galls, sufficiently proved that another of the ingredients was a stringent matter, which from history appears to be that of galls. No trace of a black pigment of any sort was discovered, the drop of acid which had completely extracted a letter, appearing of an uniform pale ferrugineous color, without an atom of black powder, or other extraneous matter, floating in it.
"As to the durability of the more ancient inks, it seemed, from what occurred to me in these experiments, to depend very much on a better preparation of the material upon which the writing was made, namely, the parchment or vellum; the blackest letters being those which had sunk into it deepest. Some degree of effervescence was commonly to be perceived when the acids came into contact with the surface of these old vellums. I was led, however, to suspect, that the more modern; for in general the tinge of colour, produced by the phlogisticated alkali in the acid laid upon them, seemed less deep; which, however, might depend in part upon the length of time they have been kept: and perhaps more gum was used in them, or possible they were washed over with some kind of varnish, though not such as gave gloss.
"One of the specimens sent me by Mr. Astle, of the fifteenth century, and the letters were those of an engrossing hand, angular, without any FINE strokes, broad and very black. On this none of the above-mentioned re-agents produced any considerable effect; most of them seemed to make the letters blacker, probably by cleaning the surface; and the acids, after having been rubbed strongly on the letters, did not strike any deeper tinge with the phlogisticated alkali. Nothing had a sensible effect toward obliterating these letters but what took off part of the surface of the vellum, when small rolls, as of a dirty matter, were to be perceived. It is therefore unquestionable, that no iron was used in this ink; and from its resistance to the chemical solvents, as well as a certain clotted appearance in the letters when examined closely, and in some places a slight degree of gloss, I have little doubt but they were formed with a composition of a black, sooty or carbonaceous powder and oil, probably something like our present printer's ink, and am not without suspicion that they were actually printed (a subsequent examination of a larger portion of this supposed MSS. has shown that it is really a part of a very ancient printed book).
"Whilst I was considering of the experiments to be made, in order to ascertain the composition of ancient inks, it occurred to me that perhaps one of the best methods of restoring legibility to decayed writing might be to join phlogisticated alkali with the remaining calx of iron, because, as the quantity of precipitate formed by these two substances very much exceeds that of the iron alone, the bulk of the colouring matter would thereby be greatly augmented. M. Bergman was of opinion that the blue precipitate contains only between a fifth and a sixth part of its weight of iron, and though subsequent experiments tend to show that, in some cases at least, the proportion of iron is much greater, yet upon the whole it is certainly true, that if the iron left by the stroke of a pen were joined to the colouring matter of phlogisticated alkali, the quantity of Prussian blue thence resulting would be much greater than the quantity of black matter originally contained in the ink deposited by the pen, though perhaps the body of colour might not be equally augmented. To bring the idea to the test, I made a few experiments as follows:
"The phlogisticated alkali was rubbed upon the bare writing in different quantities, but in general with little effect. In a few instances, however, it gave a bluish tinge to the letters, and increased their intensity, probably where something of an acid nature had contributed to the diminution of their colour.
"Reflecting that when phlogisticated alkali forms its blue precipitate with iron the metal is first usually dissolved in an acid, I was next induced to try the effect of adding a dilute mineral acid to writing besides the alkali. This answered fully to my expectations, the letters changing very speedily to a deep blue colour, of great beauty and intensity.
"It seems of little consequence as to the strength of colour obtained, whether the writing be first wetted with the acid, and then the phlogisticated alkali be touched upon it, or whether the process be inverted, beginning with the alkali; but on another account I think the latter way preferable. For the principal inconvenience which occurs in the proposed method of restoring MSS. is, that the colour frequently spreads, and so much blots the parchment as to detract greatly from the legibility; now this appears to happen in a less degree when the alkali is put on first, and the dilute acid is added upon it.
"The method I have hitherto found to answer best has been to spread the alkali thin with a feather or a bit of stick cut to a blunt point, though the alkali has occasioned no sensible change of colour, yet the moment that the acid comes upon it, every trace of a letter turns at once to a fine blue, which soon acquires its full intensity, and is beyond comparison stronger than the colour of the original trace had been. If now the corner of a bit of blotting paper be carefully and dexterously applied near the letters, in order to suck up the superfluous liquor, the staining of the parchment may be in a great measure avoided: for it is this superfluous liquor which absorbing part of the colouring matter from the letters becomes a dye to whatever it touches. Care must be taken not to bring the blotting paper in contact with the letters, because the colouring matter is soft whilst wet, and may easily be rubbed off. The acid I have chiefly employed has been the marine; but both the vitriolic and nitrous succeed very well. They should undoubtedly be so far diluted as not to be in danger of corroding the parchment, after which the degree of strength does not seem to be a matter of much nicety.
"The method now commonly practiced to restore old writings, is by wetting them with an infusion of galls in white wine."
(See a complicated process for the preparation of such a liquor in Caneparius De Atramentis, A. D. 1660, p. 277)
"This certainly has a great effect; but is subject, in some degree, to the same inconvenience as the phlogisticated alkali, of staining the substance on which the writing was made. Perhaps if, instead of galls themselves, the peculiar acid of or other matter which strikes the black with iron were separated from the simple astringent matter, for which purpose two different processes are given by Piesenbring and by Scheele, this inconvenience might be avoided. It is not improbable, likewise, that a phlogisticated alkali might be prepared better suited to this object than the common; as by rendering it as free as possible from iron, diluting it to a certain degree, or substituting the volatile alkali for the fixed. Experiment would most likely point out many other means of improving the process described above; but in its present state I hope it may be of some use, as it not only brings out a prodigious body of colour upon letters which were before so pale as to be almost invisible, but has the further advantages over the infusions of galls, that it produces its effect immediately, and can be confined to these letters only for which such assistance is wanted."
The Society of Arts in 1830, received a communication from Dr. Bostock, in the course of which he stated that the "tannin, mucilage and extractive matter are without doubt the principal causes of the difficulty which is encountered in the formation of a perfect and durable ink and for a good ink the essential ingredients are gallic acid and a sesqui salt of iron." Owing to his working with galls he was unable to make decisive experiments, but he concludes, and that rightly, that in proportion as ink consists merely of gallate of iron, it is less liable to decomposition and any kind of metamorphosis.