The Art of the Scribe

‘The Art of the Scribe’ is Patricia Lovett’s latest book published by the British Library in Spring 2025.

It is an informative as well as a practical book and focuses on the seven major periods of manuscript production in terms of script and page illumination and decoration – Uncials, Caroline Minuscule, English Caroline Minuscule, Gothic Textura (Black Letter), Bâtarde, Humanistic Minuscule and Italic. At the end of each of these chapters are three graded projects – foundation, intermediate and advanced – with clear photographs and step-by-step instructions covering layout and design, illumination, using shell gold, writing is a circle, and also in a spiral, as well as painting various manuscript styles.

The second part is comprehensive and detailed and includes materials, tools and techniques, covering everything from paper, vellum and parchment, quill curing and cutting, oak gall ink, making and using gesso and then gilding with leaf gold, painting a mediaeval miniature, and so much more; modern tools and materials are covered as well. There are also sections on analysing scripts, serifs, layout and design, spacing and book binding.

This book is the result of decades of learning, researching and perfecting the craft.

The Art of the Scribe

‘The Art of the Scribe’

The Art of the Scribe cover‘The Art of the Scribe’ is the latest book published by the British Library in Spring 2025. It focuses on the scripts and the illumination and decoration used in the seven major periods of mediæval and Renaissance book production. Each of the seven chapters includes information about manuscripts of those times, what they were, who they were produced by – the scribes and illuminators – and the people associated with the books. There is also a detailed second section on tools, materials and techniques for calligraphy (including analysing texts, spacing of letters, words and lines, layouts, and serifs), illumination, painting, and simple book binding.

The Art of the Scribe, a pageFor each of the seven writing styles there are clear exemplar letters with guides for writing each one – here are Uncials as in the St Cuthbert Gospel in the British Library. Both the alphabet is shown as well as the letters arranged in families that have similar strokes – this makes learning and practising the letters much quicker.

 

The Art of the Scribe, a pageIllustrations are large, often taking up the whole page as here – a page from one of the huge bibles produced at the monastery of St Martin, Tours, in France. The script is Caroline Minuscule and is a lovely dancing script, very legible, and wonderful to write.

 

 

The Art of the Scribe, a pageAt the end of each of the seven chapters are three graded projects – foundation, intermediate and advanced. This is a favourite from Caroline Minuscule – a zig zag or concertina book using text from Dorothy Wordsworth’s ‘Grasmere Journal’ describing the walk when the ‘host of golden daffodils’ was seen. The illustration along the bottom matches the text, with a few daffodils to start with and then more and more.

 

The Art of the Scribe, a pageThe second section consists of a comprehensive consideration of materials, tools and techniques; for tools and materials – what is needed, how to use them and how to take care of them. The pages here are how to mix gouache for ink and paint and how to mix repeat colours.

 

 

The Art of the Scribe, a pageThis double spread is about vellum, how it’s made, types of skin – vellum and parchment – and the differences in thickness in the skin which affects the final result in use.

 

 

 

The Art of the Scribe, a pageIncluded in the section on tools is a section on quills, quill curing and quill cutting – all clearly illustrated with excellent photographs by the British Library photographer, Jonathan Vine, and with step-by-step instructions. Just visible on the left are the final steps for laying gesso, adding gold leaf (illumination) and painting a mediæval miniature.

Here is a sneaky peek inside the book showing the seven chapters – Uncial, Caroline Minuscule, English Caroline Minuscule, Gothic Textura (Black Letter), Bâtarde, Humanistic Minuscule and Italic – and also the second section of detailed information.

‘The Art of the Scribe’ is available from the British Library bookshop, and I have a limited number of copies for sale where I am happy to write in a name calligraphically; contact me through this website for this and for the cost of p+p (it is a heavy book, so that isn’t cheap!).

 

Stanford University Calligraphy Collection – Mary Noble

Everyone associated with the Stanford University Calligraphy Collection was delighted when UK Calligrapher, Mary Noble, donated three of her artworks to the growing Collection. Mary is a calligrapher at the top of her game and specialises in innovative lettering as well as beautifully written brush lettering as shown here with ‘Et Semel …’, a Latin quotation written by Horace.

Mary’s thoughts behind producing this piece were: ‘My love affair with Rustics drew me to seek an appropriate Latin quotation that would feature all my favourite letters! As I had recently witnessed words said then regretted, this quote was perfect. The pencil translation is in Rustics-inspired letterform focusing on the strong diagonals.’

Mary’s writing can also be free and expressive as here in this quotation by John Muir. Using a ruling pen and a pointed nib, the word ‘Wilderness’, as Mary writes, required a very free form to the lettering.

She says about this piece: ‘John Muir’s outlook on life and all living things always encourages hope, and at more than a century after his death they are potent reminders of what we may lose. the word ‘wilderness’ demanded free interpretation, grounded by the contrasted line of text. The gold is to hint at secrets to be enjoyed in nature.’

Mary’s third piece – ‘What do you do for your soul?’ – shows a different approach again. Using her favoured brushes, and this time with a lead pencil as well, Mary writes that she enjoyed making every letter!

‘I was posed this question some years ago by Sue Cavendish, who was quoting a past friend in the calligraphy world. It gave me pause to think, and to enlarge the thought with the later-found proverb – ‘the desire accomplished is sweet to the soul’. Assembling this composition was my response to the question, as I enjoyed making every letter.’

We are all delighted that we have such excellent and different work from a truly inspiring calligrapher and are pleased that her work is represented in this most prestigious Collection which goes from strength to strength.

‘Mediæval Women in Their Own Words’ book

This five-star rated 2024–2025 blockbuster exhibition by the British Library is an incredible collection of many manuscripts and artefacts of the period demonstrating aspects of women’s lives. However, the accompanying book is mighty impressive too, including as it does additional images from the exhibition! The book follows the exhibition’s focus on four aspects: Private Lives, Public Lives, Working Lives, and Spiritual Lives. Each section in the book starts with essays giving more details of each of these, and then shorter accounts of individual women or a focus of one the items – and what items they are in the exhibition and in the book – some not seen before and likely not to be seen again.

 

There is much in the book that is truly amazing, but it is one small figure that particularly caught my eye. The Luttrell Psalter is by any definition an astounding book, made for Sir Geoffrey Luttrell of Irnham (and includes image of two women on the same page as him – his wife and daughter-in-law). The precise prescissus (cut off) strong script marching across the page is well balanced by jewel colours of weird and wonderful combinations of human and animal figures surrounding the text. At the bottom of some of the pages, though, in contrast to the ‘in yer face’ of the other images, are delicate paintings mainly of the work of ordinary people. In this image, women are harvesting corn with sickles, grasping a bunch of stalks, cutting it ready to be picked up by the man behind who is binding it into sheaves. But one of them has taken a break, and it was this that stood out. Look at how she’s standing stretching her back – you can almost feel the ache of many hours in the same tiring position – so well depicted!

One of the outright stars of the exhibition, and with a glorious double spread image in the book is a manuscript that hasn’t been on display before. It is a discoloured and stained piece of hand-made paper that shows the signature of Joan of Arc. It was held in the vaults in Riom and the content of the letter is Joan asking for military items and gunpowder for her army to fight against the English.

 

 

 

The book doesn’t just include amazing and eye-catching images of manuscripts – the artefacts included are pretty stunning too. Wouldn’t you feel a queen if you tried this crown on? Consisting of incredible gold work, single and quatrefoil pearls, and what look like sapphires and rubies. This was the crown of Anne of Bohemia, Queen of England and wife of Richard II.

 

 

 

 

Also in the Luttrell psalter is another image. A rather grumpy women having her hair done by her servant. What’s wrong to you think? Is she just generally grumpy? Has her servant just pulled out a tangle? You can see the comb she’s been using; it looks exactly the same as the two-sided ivory comb here which could possibly have been a love token as it shows scenes of romance.

One of the most unusual ‘artefacts’, beautifully photographed in the book, is the skull of a lion, but not just any lion. The Tower of London was famous for its menagerie and it housed over the years many exotic animals. This skull is that of a Barbary lion and was found in the moat at the Tower. It’s been dated to 1420–1480; that would cover the time that Margaret of Anjou who, when she travelled from France to England to marry Henry VI actually brought with her a lion. Could this be the skull of the very one?

But in a book about an exhibition in the British Library, manuscripts are obviously featured well. And there is nothing better than this absolute tour-de-force of an illuminated letter B. Look at the gold shining on that – another instance of the fantastic photographs in this book. It was created by Sister ‘Modesta’ in Germany in the 15th century. Feast your eyes on that – what a treat!

So is the book worth getting if you’re not able to visit the exhibition? Absolutely, without a doubt! First, the information is all inclusive, it is an amazing and informative read with contributions by many eminent scholars, but written in a very user-friendly way. Then the images are just outstanding – whole pages of colour wonderfully photographed by Jonathan Vines from the British Library. This is a book to buy soon, read it thoroughly and enjoy studying the photographs. You won’t regret it!

‘Maidens and Monsters’ by Chantry Westwell

How wonderful to have a whole book that focuses on women in mediæval manuscripts, but also in it being such an informative and comprehensive book. In the Middle Ages women were often put into very restrictive categories of virgin, saint, temptress and crone. Chantry enlarges these categories to Warriors, Murderesses and Femmes Fatales; Holy Women; Powerful Women; Tragic Heroines; Partners and Lovers; Mystical, Magical and Allegorical Women.

 

 

The research done by Chantry is really impressive, for example that on Salome considers that, in the Herodian dynasty, there were three women named Salome – which one was she? Intriguingly, Salome, despite her connection to John the Baptist, here holding his head on a platter, is not named in the New Testament, this happening only in the latter part of the first century by Flavius Josephus. There is, though, no mention of her suggestive or acrobatic dancing as in some stories and it is thought more likely that Herod executed John for political reasons rather than rewarding Salome for her cool moves!

 

Margaret of Antioch appears in the Holy Women section. In manuscripts she is often shown with a dragon, either with a foot on the dead body in victory or climbing out of its stomach. In fact Margaret had quite a tortuous journey before she got to this point, refusing the Roman governor of the province in which she was living resulted in her being put on the rack, beaten and raked with iron combs until her bones were exposed, attacked by this dragon and then a black demon, and also boiled in a cauldron as here – not the luckiest woman!

 

Hairy Mary, or St Mary of Egypt, enjoyed life to the full as it were until she joined a group of pilgrims, ‘servicing’ them along the way, until she had a sudden conversion. She then went into the desert with little food and eventually her skin became black, her hair white, and, in some versions, grown all over her body for modesty. In this image she really is miraculous being in the desert with monkeys!

This is such a marvellous and enjoyable book, full of information with the results of Chantry’s extensive research presented in the most user-friendly way. It is very highly recommended and not just for those interested in women, but also those who love stories, who are interested in manuscripts, and those who just like a good read!

Stanford University Calligraphy Collection – Susie Leiper

From ‘Bheinn Naomh’ by Kathleen Raine, Chinese ink and graphite on Chinese paper, 45 x 30 cm, £750 $1000

Entries are coming in for the Stanford University Calligraphy Collection, so if you’re a calligrapher or hand letterer at the top of your game, don’t miss out on being part of this amazing new collection of the best of the world’s calligraphy (in the western alphabet style – at the moment!). You can apply here. The latest work that’s been received has been from UK artist and calligrapher Susie Leiper. Her style is free, creative and precise, and her work has an energy and vitality to it as can be seen here.

 

 

And here:

Dry lightning

From ‘Demons and Men’ by Robert Bringhurst

Ink and resist on Chinese paper, 30 x 17.5 cm

 

 

 

Susie makes the most delightful books, full of invention and surprise. Here the use of colour, shapes and lettering are not only fascinating and intriguing but beautifully executed.

Vision of a city

Text from Ezekiel 40 – 48, King James Bible

Artist book: oil, graphite and casein paint on card; silk covers,

21 x 9 cm closed

Close up here:

 

 

 

 

 

 

And then this is:

A sense sublime

From ‘Tintern Abbey’ by William Wordsworth

Oil, casein paint and ink on board, 66 x 67 cm

 

 

With a detail here:

 

 

 

 

 

 

 

It is wonderful that supreme artists such as Susie are part of this incredible Collection and the plan is that all will be online. But, again, if you’re at Susie’s standard, make sure you don’t miss out in being included.

The Stanford University Calligraphy Collection and Gemma Black

The Stanford University Calligraphy Collection is a remarkable initiative by Dr Benjamin Albritton in creating a unique collection of the calligraphy and lettering of the best calligraphers in the world. This collection is particularly significant because it is at one of the most prestigious universities already known for its focus on letters and lettering in all forms. This is truly an amazing project and all calligraphers and letterers at the top of their game are invited to take part; details here. One of those who has completely embraced this project is one of the prestigious judges, Gemma Black from Australia.

One of her ambitions since early days has been to write out the United Nations Declaration of Human Rights. This was a daunting task, but in her characteristic inspiring manner Gemma produced a series of stunning separate pages, each page devoted to one declaration.

 

 

 

 

She devised a particular and unique style of letterforms, majuscules, or capital letters, with elements of Uncials, producing a rhythm and flow to the written sections. The text is remarkably legible despite the lines touching with no space between them and with letters nested or sharing strokes.

 

 

 

 

The illustrations consist of ‘figures’ of differing heights and shapes in various subtle colours placed on a straight line with a delicate wavy shape below. These tie the whole series of separate sheets together into one harmonious whole. Gemma is shown here; behind her the series of individual declarations have been hung creating what must have been a wonderful exhibition.

To see more of this amazing body of work, click here, and here.

Calligraphy and Illumination Courses 2024

IMG_1953 2I am teaching two one-day courses at Sevenoaks in Kent (35 minutes by train from Charing Cross in London, and about 10 minutes from Junction 5 of the M25) in autumn 2024. The course on Saturday 21st September is ‘Quills and Calligraphy‘ and will be for both beginners – those just starting calligraphy – as well as improvers – those with some experience. The day will focus on Gothic Black Letter/Gothic Textura script. The course includes cutting a quill from a feather, and preparing a piece of vellum for writing and then writing a name on it with the quill.

DSCF0827Sets of 9–10 printed A3 sheets are provided for everyone on the ‘Quills and Calligraphy‘ course; these include the background and history of the script as well as principles of calligraphy, with exemplar letters and also ready ruled sheets showing the letters with individual strokes and direction arrows for construction, and then space to practise them (see image here). The handouts can be taken home as an aide memoir and also to continue practice.

IMG_1954The afternoon starts with cutting quills from feathers. This is carefully explained and demonstrated with everyone then cutting their own quill to use on the course and take home. A small piece of vellum will then be prepared for writing and a name written on it.

IMG_3425The ‘Illumination Masterclass‘ is on Saturday 5th October, and again is for complete beginners as well as those with some experience. Participants can choose from a limited selection of animals from bestiaries; this choice is restricted because the aim is to finish the painting in one day and that won’t be possible with complicated miniatures, however, there is some flexibility. Vellum is prepared for painting, and a tracing of the miniature transferred using traditional materials. A modern adhesive is used as there is not time on one day to use gesso; this is used on the three-day courses each May (see here). Real 23·5 carat gold leaf is applied to the adhesive to make it glisten.

IMG_4986Techniques of mediæval manuscript painting are explained carefully, and gouache paint with fine sable brushes are used to complete the image.

For both courses, demonstrations are live streamed to a large TV screen so everyone can see and there is no crowding round the demonstrations. Classes are limited to six participants allowing plenty of time for individual tuition.

 

 

 

IMG_4968Courses take place in a large bright room with plenty of light and individual adjustable table lamps for each person.

All refreshments throughout the day are provided including tea, coffee, home-made biscuits, and a light lunch.

The courses are held just outside Sevenoaks in Kent (UK). There is plenty of onsite parking, and for those travelling by train there are taxis at Sevenoaks station; we can pick up and take back four people.

To apply and details of cost etc please contact me through my website.

The Glitterati of 2024

IMG_4977What a lovely three days we had in May when eight keen illuminators-to-be got together and produced amazing results in just three days. The courses are held in mid-May each year and are limited to eight people. This year there were two participants from Canada, an American and one participant from Hong Kong, as well as four British. It made for a very jolly and very keen group.

IMG_4980The course focuses on the traditional materials, tools and techniques of mediæval manuscript illumination, including vellum preparation for painting, making, laying and using gesso, cutting quills from feathers, using 23·5 carat gold leaf, using burnishers, the processes of painting miniatures and much more.

IMG_4988It’s a huge amount to get through even with three days, but everyone set to with great enthusiasm. Despite all the best conditions, careful measuring and making, gesso can still be rather temperamental and so it proved on this course! Various approaches were tried, but it wasn’t possible even at the end of the course to burnish the gold to the shine that we all would have liked. The gesso needed to ‘settle’ for that; however, it was a very good experience for everyone on the course to have practical ideas to consider for what to do when it doesn’t work! So often it can be perfect on a course with the tutor there for quick answers, and then not so good at home when there’s no one at hand to advise.

Here are the results and the reason why the images are rather wonky is that I was trying to get the gold to glisten as best it could!

These are the comments from those on the course, but not necessarily next to their wonderful results:

IMG_5021Wonderful. I had an absolutely fabulous time and can’t wait to start working on projects at home. I’ll be telling my friends that if they ever get the chance to take this course they should absolutely do it.

 

 

IMG_5014Absolutely fabulous!! Well worth coming from Canada. I am so very glad to have made the journey and truly value the gift of the skills shared and encouraged. THANK YOU FROM MYSELF and all of our friends with whom we will share what we have learned (and will encourage to come). It was a privilege to learn from a master craftsperson such as you.

IMG_5015Absolutely fabulous – everything you could wish for on the subject. Great camaraderie, great facilities, lots of historical information. Loved every minute.

 

 

 

IMG_5024I truly enjoyed listening to your stories and demonstrations. I love how you’ve turned everything surrounded by mystery into something everyone can do. I loved it and wouldn’t change a thing.

 

 

 

IMG_5013Patricia really is the master of illumination. She is clear, knowledgable, even students without anything about illumination can get it done. Excellent and enjoyable. I would definitely recommend to anyone who is interested in illumination.

 

IMG_5017Very good combination and helpful to have an in-person teacher who could give comments and observe to fix mistakes and technique. Would recommend to any serious student of mediæval illuminated manuscripts.

 

IMG_5012Excellent! Everything is well explained.

 

 

 

 

 

 

IMG_5018I had a great time and learned a lot. Lovely setting and facilities.

Trajan’s Column II

IMG_0281Trajan’s Column in Rome, completed in 113 AD, commemorates the victory of the Emperor Trajan over the Dacians. It is stunning when viewed in real life as it towers over the ruins of Trajan’s Forum and Market, being 98 feet (30 metres) high. The main part of the column consists of a frieze in bas relief which shows in great detail the preparations, movement of troops and battles that took place before the final victory, with Trajan, not surprisingly, being the tallest of all the figures in the column. There are 20 drums in all around which the figures wind, each drum weighing about 32 tons. It truly is a magnificent example of Roman engineering.

 

 

IMG_0262It is the base of the column, though, which is most interesting to calligraphers and letterers because it shows exquisitely carved Roman Capitals, regarded by many as the purest examples. It has been only recently (post written May 2024) that it has been possible to get anywhere near this part of the column to view the lettering.

 

 

IMG_4762An exhibition in spring 2024 at the Coliseum detailed how the column was constructed. Huge blocks of Carrara marble were moved from the quarries in Lunigiana sliding on wooden poles and being pulled by a team of oxen.

 

 

 

 

 

 

IMG_4764The stone drums were shaped into circles and the inner staircase cut as well. What is amazing is the accuracy of each block which had to fit on the next. The masons also had to allow for the fact that to make the columns look straight, there needed to be a swelling just below half way. This is explained in a blogpost on this website here. The huge round blocks were then loaded on to ships using a system of pulleys and a lot of labour as shown here.

 

 

 

 

IMG_4767 2Once at the forum, they needed to be put into position. The stone blocks were far too heavy to use a simple system of pulleys, and so a tower was built as here.

Either side of the column were two libraries, one for Greek texts and one for Roman, with bookshelves to store the scrolls. It was possible from balconies on these buildings to view the carvings spiralling round the column close up.

 

 

 

 

IMG_4771At the base of the column during construction was a huge wooden treadwheel. A similar one is shown carved into the family tomb of the Haterii. During the reign of Domitian (81–96 AD) Haterius was working on the construction of buildings and would have used a treadmill as the one carved on his tomb. The treadwheel had 5 men inside and ropes held by more men outside acted as brakes. There were two parallel wide poles creating the crane’s mast between which was the wheel’s axle; this all made up a strong block and tackle system.

 

IMG_4768 2This is shown more clearly here. The sheer mass of the wood being used for construction is amazing, and also the strength of the men using this machinery.

 

 

 

 

 

 

IMG_4737The spiral stone staircase carved inside the blocks led to the top of the column where there was a viewing platform. It must have been quite a sight, climbing the stairs and reaching the top for a view over Trajan’s Forum and the main Forum itself!

 

 

 

 

 

IMG_4812But, of course, it is the carvings on the outside of the column that are the true stars! Twisting round the column, with no allowance given from one stone drum to the next, a narrow carved line stands proud and separates the scenes one from another.

 

 

 

 

 

IMG_4823Here preparations are being made for the battles, with Neptune looking on benignly, no doubt giving his blessing to the campaign. The detail on the clothing, the wooden ships, the horses, a wooden bridge and building walls is really wonderful.

 

 

 

 

 

IMG_4821And even the base has the same care and attention to detail, with enviable precision of carving. Note the carefully carved garland of individuals leaves, and the metal ‘scales’ on the cuirass in the middle.

It truly is one of the wonders of the ancient world, and still astounds today.