September in The Très Riches Heures of the Duc de Berry

September, © 2025 Patricia Lovett MBE

September is the month for harvesting fruit, and this is shown as the Labour of the Month in The Très Riches Heures of the Duc de Berry. Here workers are bending over picking grapes from vines and loading them on to barrels on a cart drawn by oxen on the right of the picture, and on to a donkey with panniers in the middle, both to be taken to the press. As always the scene is set with a brilliant ultramarine sky and topped by an arch showing the appropriate signs of the Zodiac.

 

September signs of the Zodiac. © 2025 Patricia Lovett MBE

As would be expected at this time of the year, the Zodiac signs are Virgo followed by Libra, encircling the sun in its wingèd chariot rolling ever onwards. Two shades of ultramarine have been used – a paler one for Virgo and a darker one for Libra, and the signs are painted painted subtly in similar colours highlighted with gold, but are still easily visible. The semi-circles are inscribed by shell gold lines drawn with compasses, and these are divided into smaller sections such as days and phases of the moon.

Château de Samour
© 2025 Patricia Lovett MBE

In each calendar page the Van Lymborch Brothers depict a castle, château or palace owned by the Duc de Berry and this page is no exception. The building shown is the Château de Saumur in the Loire Valley. It seems as if the architect has had a field day on turrets, towers and chimneys as these totally dominate the skyline. There are also crenelations under and on top of many of the towers adding to the decoration of the building. The access to the Château is by a high bridge, separated from the building itself by a wooden drawbridge for defence, which can be easily raised if the building is attacked.

Harvesting grapes
© 2025 Patricia Lovett MBE

In the foreground workers are busy bending over to harvest grapes – it is interesting that the vines are so low requiring such stooping; not being a viticulture specialist, this may have been the way of growing grapes at the time and it was only later when the vines were trained on wires. Two of them are standing up, a woman, who looks pregnant, is adjusting her headgear which has a long length of cloth trailing down her back, and the other, looking rather young, is eating probably a bunch of grapes. The donkey with almost full panniers is waiting patiently for more bunches to be loaded on to his back.

Grapes loaded into barrels on a cart drawn by oxen are being taken off to the winery
© 2025 Patricia Lovett MBE

On the right of the image, grapes are harvested by one man bending over. He’s wearing jaunty blue socks and a short brown tunic – it’s a good thing he’s also wearing white pants! Oxen are waiting patiently ready to pull the cart of grapes loaded into barrels off to be made into wine.

 

September in The Très Riches Heures
© 2025 Patricia Lovett MBE

As with every image in The Très Riches Heures painted by the Van Lymborch Brothers, the imagination in design, exquisite execution at such a small scale and exuberance is wonderful and truly admirable (yes, and enviable!).

Mediaeval decorated letters to colour

I’ve been lucky enough to have worked closely with the British Library for what is now decades. Many years ago I was helping the Education Department which had a lot of school visits. The problem always with such visits is how to occupy those who finish any set tasks quickly before the rest of the class. I suggested producing a series of outline drawings taken from illuminated and decorated mediæval manuscripts that could be coloured in, and then produced six of them.

Having a clear-out recently, I came across them again, and thought that they could be shared with a wider audience, hence this blogpost. They are copyright, but free for personal and educational use, simply click on the picture/link below for a high resolution pdf to print out; they’re sized for A4.

I’ve copyrighted them because they mustn’t be used by anyone or an institution to print out or use in a publication and make money from them.

Please, though, feel free to print these outline letters for your own use, for children and grandchildren, for courses, and for classes.

As the British Library’s website, including the digitised manuscripts, is still not completely available, colour images are here if possible, otherwise black and white photos or similar images are posted.

Copy the original colours if you wish, or go freestyle – they’re your letters to colour, so your choice.

The first is the magnificent letter B from the Ramsey Psalter (BL Harley 2904).

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 1

David and Goliath, mediaeval manuscriptI wasn’t able to get a coloured image of the miniature from BL Harley MS 2895, but this is from a similar period and indicates the colours that would be used.

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 2

Again, no colour copy copy of the letter ‘N’ from the actual manuscript, but a black and white image is here, and below it a similar letter in colour:

 

 

 

 

 

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 3

Yet again there are no colour images available for the York Psalter; here it is in black and white:

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 4

Hosea from the Worms Bible:

 

 

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

 Worksheet 5

Finally, this magnificent lettering and decoration from the Lindisfarne Gospels:

 

 

 

 

And the outline letter is here, click on it to download the high-resolution PDF:

Worksheet 6

‘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.

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.

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.

 

 

 

 

The Benedictional of St Æthelwold

6a00d8341c464853ef01a3fcaecb6f970b-500wiA benedictional is a book of blessings given by a bishop; some manuscripts, such as the Benedictional of St Æthelwold (904/9–984), are richly decorated with gold and colour. Unusually we actually know who wrote this particular benedictional – the scribe Godeman as he included his name in a poem, probably in shell gold, placed at the beginning of the book. The poem includes the fact that the book should be richly decorated in gold and colour, as below, as instructions were given:

 

 

 

6a00d8341c464853ef01a3fcaecb8b970b-500wi-1‘A bishop, the great Æthelwold, whom the Lord had made patron of Winchester, ordered a certain monk subject to him to write the present book … He commanded also to be made in this book many frames well adorned and filled with various figures decorated with many beautiful colours and with gold … Let all who look upon this book pray always that after the term of the flesh I may abide in heaven – Godeman the scribe, as a suppliant, earnestly asks this.’

 

 

 

CIMG3078The manuscript, written in Winchester, which was where St Æthelwold was bishop, is decorated in the  ‘Winchester style’. This includes borders of acanthus leaves intertwining around circles and vertical and horizontal lines. There is much modelling and the appearance sometimes is almost 3-D. There is lavish use of gold and pages are most striking, although it could be said that the illumination on occasion almost overpowers the text. This style is seen clearly here, a copy of the beginning of the Eadui Psalter written a little later than as the Benedictional but decorated in a similar manner. This page was prepared for the Anglo-Saxon Kingdoms exhibition at the British Library, 2018–2019. There’s more about the creation of this page on my website here. And a blogpost with short films on how manuscripts were made here, including a film of gilding and painting this page.

6a00d8341c464853ef01a73d69da35970d-500wiThe potentially rather overwhelming aspect of the Winchester style is shown well on this folio. This full page miniature shows St Benedict and is placed in the book just before the benediction for his feast day. It is rather difficult to identify the central figure surrounded as it is by the gold and colour, with heavy and elaborate decoration at each corner, looking a little like shield bosses, and ones almost as elaborate halfway down the side. There are, though, as instructed by St Æthelwold, many arches in the book!

 

 

 

Screenshot 2024-05-14 at 17.43.51The lettering in the manuscript is very similar to, but not exactly the same as the Ramsey Psalter (shelfmark: BL, Harley 2904). The latter was written around the same time, and both in Winchester; the Psalter was the key manuscript used by Edward Johnston for his Foundational Hand. It is rather intriguing to think that both scribes may have been sitting next to one another in the scriptorium, and writing the letters slightly differently, perhaps even comparing notes!

There’s more information on a British Library blogpost here and it will certainly be worth looking at each page when the British Library website is up and running (this blogpost written May 2024).

 

 

Vespasiano da Bisticci – ‘cartolaio’ of Florence

Vespasiano_da_Bisticci_portraitIt must have been a very exciting time in Florence in the fifteenth century. The Humanists favoured Greek and Roman texts, rather than religious ones, and wanted them written out in luxury books. But who could procure the fine vellum needed, or the scribes to write the books in the new/old style of Humanistic Minuscule, artists to decorate them with white vine-scroll ornament, and skilled craftspeople to bind them in velvet or supple leather? Enter one Vespasiano da Bisticci (1421–1498) as shown here. He started working at a libreria along a street of similar shops when he was only 11 years of age but he learnt quickly and, when still a young man, became a member of the stationers’ guild and thus a fully fledged ‘cartolaio’.

Bartolomeo_Sanvito_-_Portrait_of_Petrarch_in_the_Incipit_Letter_“N”_-_Google_Art_ProjectThe Humanists wanted their ancient texts written in an ancient script. They thought Gothic scripts were too modern (though they look very old-fashioned to us!), and called them lettera/littera antica/antiqua. Looking back in history at various writing styles they were keen to get as close to the scripts of Rome and Greece, but they didn’t go back quite far enough. They settled instead on the clear and precise style developed during the reign of Charlemagne, another lover of all things classical. Charlemagne wanted a clear, easily readable script, that could be used throughout his empire, and this was it.

 

Screenshot 2023-12-13 at 17.00.31

The Humanists adapted it – they made the script more upright, they added feet to the  minims (sometimes emphasised too much!) and used classical Roman Capitals to complete the impressive look. The appearance on the page is almost of printed text when it is written as clearly and precisely as this. It is extremely difficult to justify text when it is hand-written – it is certainly not as simple and easy as highlighting a paragraph and clicking on a button to align left and right margins! Yet in this manuscript now in the British Library, written by Rodolpho Brancalupo, it is precisely what he has achieved.

Screenshot 2023-12-13 at 17.00.14Many of the pages of books at this time also reflected Classical influences. Those associated with the great Paduan scribe Bartolomeo San Vito and others often had decorations of swags and foliage, cherubs and acanthus leaves, vases and jewels, sea creatures and pearls – as can be seen in the manuscript page in the second paragraph. Others were decorated with bianchi girari (white twists), which worked well with the lighter and more delicate script. This is shown in this manuscript from the Fitzwilliam Museum which was supervised by Vespasiano da Bisticci and produced in about two months – an amazing feat!

IMG_3778Vespasiano’s shop can still be seen in Florence. It was on the corner of the Via del Proconsolo and Via de’ Pandolfini. Close by is another shop as here. This is a magnificent building with a most impressive doorway.

 

IMG_3780Above the rounded and decorated arch, between two horizontal swags of leaves and foliage, is a small carved open book. Those a little carried away by the romance of the bookshop of the famous bookseller thought that a book carved above the entrance indicated that this is the very shop.

 

IMG_3783This ‘book’ shop, though, is on the wrong corner, and in some ways sadly, although amazing that it’s still there, Vespasiano’s old shop is much more mundane now – at the time of writing it was a pizzeria. This is on here the correct corner and it was from where the bookseller traded.

There is much more about the Humanists, their manuscripts, and Vespasiano and his clients in ‘The Art of the Scribe’, published by the British Library, summer 2024.

‘A Word for Autumn’

Layout 1The changing of the seasons can be one of delight or one of apprehension. Winter to spring promises fewer cold days, the singing of birds and the appearance and flowering of bulbs. Spring to summer indicates the lengthening of days, increased warmth and new growth. Summer to autumn can be a change that heralds colder, wind, rain, and shorter, darker days. The ‘season of mists and mellow fruitfulness’ then quickly becomes a season of shivering, endless rain and drizzle, even snow and ice, and closing curtains in the late afternoon against the gloom as well as battening down the hatches. However, A. A. Milne had it correct in ‘A Word for Autumn’ – it can be a time to fear, or a time for looking forward with some pleasure.

 

IMG_4169I wanted to create an artwork that I could use for an A5 greetings card for winter and Christmas. I loved the words (taken from a longer extract), and at the time of producing it the leaves on the trees were changing to a riot of autumn colours. First I experimented writing the text with a warm brown that I thought would echo that of many of the leaves. It seemed a bit dull and ‘samey’, but this first effort confirmed the chosen nib size (a Mitchell 5), and the line spacing and layout. I was on my way!

 

 

IMG_4167One of my favourite interpretations of words is to use a limited range of colours fed into the nib whilst writing (see blogpost here for how to do this). To some extent it is random, but it is also very controlled, assessing each individual stroke as it is written and also looking at the line above as to whether a different colour needs to be fed in. It’s not exactly conducive to a good rhythm and flow, but the end result, in my view, can be very pleasing. The key is not to use one colour or one colour combination for more than two strokes and to wash the nib out frequently. At this stage it doesn’t matter if mistakes are made. The letters or words should simply be re-written as here. I had the idea of a landscape-shaped card and experimented with a rough indication with coloured pencils of what it would look like if a representation of autumn leaves was falling and gathering at the bottom of the text in a layer of leaves. This didn’t give the impression enough of the leaves falling, so I decided on a portrait-shape.

 

IMG_4170Next I experimented with painting the leaves on vellum (calfskin). In my opinion this really is the best surface for painting and writing. The darker colours in this photo are not at all representative of the actual painting! I used yellow, brown and green gouache, and painted leaves from different types of trees that I noted on walks in the countryside. I wanted to give the impression of the leaves falling from the trees and being tossed and turned in a slight breeze so they didn’t all fall in the same direction. These then collected in a bed of leaves on the ground.

 

 

 

IMG_4168I always photocopy the text and use this as a guide for writing the finished piece. This means that the rough is then available for reference and for future use. As there was no centring or design to consider – the lines were aligned left with some indented – there was no cutting lines in to strips and working out the best arrangement. To ensure that there were no mistakes on letters, words or spacing, I folded the photocopy horizontally into the separate lines and placed these on the vellum just above where I was going to write, attaching the paper with masking tape as I did so.

Layout 1The text was written in the same colour combination as the leaves creating a coherent whole, with the dropping leaves emphasising the left aligned text, and the bed of leaves at the base creating a firm ending for the piece.