1
00:00:20,580 --> 00:00:22,710
Ladies and gentlemen, my name is Richard Ovenden,

2
00:00:22,710 --> 00:00:29,140
and I have the privilege of being Bodleian librarian and the chair of the electors to the large readership.

3
00:00:29,140 --> 00:00:35,580
So therefore, my pleasure to welcome you this evening for the 2020 Lyell Lectures on behalf

4
00:00:35,580 --> 00:00:41,960
both of the Bodleian libraries and of the electors to the large readership.

5
00:00:41,960 --> 00:00:46,490
These lectures were, of course, originally intended to be delivered

6
00:00:46,490 --> 00:00:52,970
In the beginning of Trinity Church here in Oxford, in the Bodleian library.

7
00:00:52,970 --> 00:00:57,980
But due to the coronavirus, of course, we've had to make alternative arrangements.

8
00:00:57,980 --> 00:01:02,450
And that's why these lectures aren't being delivered online tonight.

9
00:01:02,450 --> 00:01:12,770
And in the subsequent two weeks. We wanted to continue to honour the tradition, the founder and benefactor,

10
00:01:12,770 --> 00:01:19,970
James Lyell established a series of annual lectures in bibliography and related topics.

11
00:01:19,970 --> 00:01:25,100
And we wanted to ensure that we continued this tradition by delivering these lectures.

12
00:01:25,100 --> 00:01:41,470
This year. You can log on to the Website and follow the subsequent lectures not only this evening, but on the 1st, 6th and 8th of October.

13
00:01:41,470 --> 00:01:46,150
The first of these lectures would normally include an invitation to those in the audience

14
00:01:46,150 --> 00:01:51,580
to come and join us for a drink in the Bodleian library following the lecture.

15
00:01:51,580 --> 00:01:57,370
It pains me very greatly indeed that I cannot offer an invitation this evening.

16
00:01:57,370 --> 00:02:10,810
I can, however, postpone it until the 25th of February 2021, where we hope the public health situation, not withstanding that professor,

17
00:02:10,810 --> 00:02:17,110
that this year's lecturer's final lecture will be delivered in person, in the Bodleian

18
00:02:17,110 --> 00:02:28,140
library, after which there will be a drinks reception to celebrate the 2020 lectures.

19
00:02:28,140 --> 00:02:38,040
Before we move to the specifics of this lecture, I thought I would give you a little background to the history of the lectures themselves.

20
00:02:38,040 --> 00:02:43,770
James Pyar Lyell was a lawyer. But also a great book collector.

21
00:02:43,770 --> 00:02:48,480
And he lived in Oxford and in Abingdon on his retirement.

22
00:02:48,480 --> 00:02:59,760
And he collected not only books in a serious way, but also studied them closely, publishing his research on early book illustration in Spain in 1925,

23
00:02:59,760 --> 00:03:06,440
over 100 of his best mediaeval manuscripts were bequeathed to the Bodleian on his death in 1948.

24
00:03:06,440 --> 00:03:15,050
And the library subsequently purchased another 60 manuscripts, many early printed books from his executor's.

25
00:03:15,050 --> 00:03:17,930
Tili Dollar Man, then on the staff of the Bodleian,

26
00:03:17,930 --> 00:03:25,040
published a scholarly catalogue of the mediaeval manuscripts, then in Bodley in nineteen seventy one.

27
00:03:25,040 --> 00:03:33,410
In addition to this great generosity to the Bodleian, JPR Lyell  also left a bequest to establish a series of lectures in bibliography

28
00:03:33,410 --> 00:03:38,650
to be delivered by invitation by leading scholars working in the fields.

29
00:03:38,650 --> 00:03:39,960
To this end, the universe,

30
00:03:39,960 --> 00:03:50,100
the university established a board of electors to review the state of scholarship and to invite the leading proponents to hold the readership.

31
00:03:50,100 --> 00:04:01,160
It is this body that I've charged since 2013 that has invited the current reader to live it to deliver this year's lecture.

32
00:04:01,160 --> 00:04:06,090
The Lyell lectures have more than fulfilled the expectations of their benefactor.

33
00:04:06,090 --> 00:04:10,690
The lectures have made a substantial contribution to the field of bibliography.

34
00:04:10,690 --> 00:04:17,640
Book history in its broadest interpretation, a high proportion of the lectures have been published.

35
00:04:17,640 --> 00:04:26,570
Many of these have become heavily cited works of scholarship and not a few known internationally as groundbreaking in their field.

36
00:04:26,570 --> 00:04:35,120
The lectures were first delivered in 1950 to three by Neil Care reader in bibliography at the University of Oxford

37
00:04:35,120 --> 00:04:43,940
and published by Oxford University Press in 1960 as English manuscripts in the century after the Norman Conquest.

38
00:04:43,940 --> 00:04:51,390
Since then, many distinguished readers have delivered lectures which have produced scholarship of enduring quality.

39
00:04:51,390 --> 00:05:01,310
Walter Greg in 1954 to five published his as some aspects and problems of London publishing between 15 50 and 60 50.

40
00:05:01,310 --> 00:05:09,870
Fred symbiotes soon after gave his in 1958 nine published later as bibliography and textual criticism.

41
00:05:09,870 --> 00:05:20,500
David Foxon was the reader in 1975 to six deliver the lectures, which were eventually published in 1991 as pope in the early 18th century book trade.

42
00:05:20,500 --> 00:05:28,450
In 1978 to nine, the reader was Howard Nixon. He did it, delivered lectures as a decorated English decorated book Bindings,

43
00:05:28,450 --> 00:05:35,680
which ODP eventually published as the history of decorated bookbinding in England in 1992.

44
00:05:35,680 --> 00:05:41,080
Jonathan Alexander published maybe mediaeval illuminators and their methods of work.

45
00:05:41,080 --> 00:05:45,030
In 1993, from his Lyell's of a decade earlier,

46
00:05:45,030 --> 00:05:55,540
and Don McKenzie gave them in 1997 to eight as bibliography and history 17th century England, though sadly they have never been published.

47
00:05:55,540 --> 00:06:01,030
Most recently, Richard Shop in twenty nine, twenty nineteen twenty,

48
00:06:01,030 --> 00:06:06,100
gave us a groundbreaking series of lectures on the mediaeval libraries of Great Britain.

49
00:06:06,100 --> 00:06:07,780
I'm sure that all of you know.

50
00:06:07,780 --> 00:06:16,610
But in case you do not, it is my sad duty to record that Professor Sharpe died this week in March this year, 2020.

51
00:06:16,610 --> 00:06:19,810
What do we know? Back in April or May of twenty nineteen.

52
00:06:19,810 --> 00:06:29,450
That hsi Lyell lectures would in some sense be the culmination of his outstanding scholarship in this field.

53
00:06:29,450 --> 00:06:35,990
His friends are urgently completing the manuscript of his lectures for publication by the Bolian Library.

54
00:06:35,990 --> 00:06:42,530
And of course, an LGB three online and the published Corpus of mediæval library catalogues will

55
00:06:42,530 --> 00:06:48,630
continue to give access to his work on mediæval libraries long into the future.

56
00:06:48,630 --> 00:06:59,500
And the electors of the LA readership join me in expressing our sincere sorrow at his passing.

57
00:06:59,500 --> 00:07:06,960
Professor Sharp was a member of the electors for many years.

58
00:07:06,960 --> 00:07:12,990
I read it this year, more than lives up to the standards of eminent set by the best of his predecessors.

59
00:07:12,990 --> 00:07:14,550
He's, um, he's a scholar.

60
00:07:14,550 --> 00:07:24,190
His work has been influential in more one field, and his work brings the role of script into the foreground of humanistic study.

61
00:07:24,190 --> 00:07:30,720
James, I will certainly have approved of the choice of our lecturer. Professor Mark Smith.

62
00:07:30,720 --> 00:07:38,940
Frances Smith has been since 2013. Professor of mediaeval Martin Kelly Oubre fee at the coldness you know, they showed.

63
00:07:38,940 --> 00:07:46,860
And director of studies at the called PTC deserved a huge section of historical and philological responses.

64
00:07:46,860 --> 00:07:54,060
Professor Smith was educated at the year called The Chart with a thesis entitled LaFrance is a Civil Resource.

65
00:07:54,060 --> 00:07:58,980
Your view a par lazy italiana oh caesium s.E.C.

66
00:07:58,980 --> 00:08:07,710
In 1988. He then worked with our chief national now from 1988 to 1994.

67
00:08:07,710 --> 00:08:09,360
He then read for his doctorate.

68
00:08:09,360 --> 00:08:22,410
The cold, petite, deserted dude with a thesis on lazy Italian, a convert to LaFrance OCZ, NCAA geography Voie RJ represents assume the less sparse.

69
00:08:22,410 --> 00:08:29,580
Published in nineteen ninety three from 1995 to 1998 became General Secretary of the Cold.

70
00:08:29,580 --> 00:08:35,880
Not seen on the chart before taking up the chair, which he now holds.

71
00:08:35,880 --> 00:08:44,200
He's also taught at the University of Paris-Sorbonne, Columbia University and his head to the Melanson Institute in Vernacular Pendley

72
00:08:44,200 --> 00:08:49,620
over a fee at the Newberry Library and at the Getty Research Institute.

73
00:08:49,620 --> 00:08:54,720
Frezza Smith serves his profession more than simply, he's an academic appointments.

74
00:08:54,720 --> 00:09:02,490
He's president of the Committee Internationale de Palaeo Griffin Love Team and a member of the Committee on Heber Penny Overfeed and a

75
00:09:02,490 --> 00:09:13,230
former president of the Societe Delis tried to force a member of the editorial boards of Scriptorium End of the Gazette to leave media.

76
00:09:13,230 --> 00:09:21,120
Ladies and gentlemen, a great pleasure in inviting press Mark Smith to deliver the twenty nineteen, twenty twenty law lectures,

77
00:09:21,120 --> 00:09:33,390
writing models from manuscript to print France, England and Europe circa fourteen hundred to eighteen.

78
00:09:33,390 --> 00:09:44,630
Ladies and gentlemen, dear friends and colleagues, good afternoon and thank you for tuning into this first 20 twenty all digital Lyle lecture.

79
00:09:44,630 --> 00:09:51,530
The local readership in bibliography is a great honour and I am particularly grateful to the Bob Dylan Library,

80
00:09:51,530 --> 00:09:59,430
its director and staff, for successfully organising the lectures despite this year's unusual circumstances.

81
00:09:59,430 --> 00:10:07,410
What should be a happy occasion is also saddened by the sudden and unexpected loss of Professor Richard Sharpe,

82
00:10:07,410 --> 00:10:18,980
who delivered last year's splendid lectures. He is and will be sorely missed by all those who knew him and his work.

83
00:10:18,980 --> 00:10:27,830
I suspect the invitation was sent to me in the hope of lectures on some area of Latin palaeo graphy, possibly mediaeval.

84
00:10:27,830 --> 00:10:33,410
But for the past few years, with generous support from the Socially Putting NIAC Foundation,

85
00:10:33,410 --> 00:10:38,750
I have been working on a much needed descriptive bibliography of writing books

86
00:10:38,750 --> 00:10:44,900
published in France that is printed books from the 16th to the early 19th century.

87
00:10:44,900 --> 00:10:52,670
And I have also become interested in the place of French writing masters and calligraphy within a wider European context,

88
00:10:52,670 --> 00:10:58,220
particularly in the repeated interaction between France and England.

89
00:10:58,220 --> 00:11:09,230
I have offered to provide an overview of that field of the material and of the methodological issues rade raised sorry, by making a catalogue.

90
00:11:09,230 --> 00:11:19,310
But first, I would like to take a step back into the previous century before the advent of print and to examine mediaeval writing models by looking

91
00:11:19,310 --> 00:11:27,980
at the earliest writing manuals printed in Italy in the first decades of the 16th century as the matrix of all later developments.

92
00:11:27,980 --> 00:11:33,680
We risk losing sight of the strong mediaeval roots of the Tsara.

93
00:11:33,680 --> 00:11:36,350
The connexion is rather obvious.

94
00:11:36,350 --> 00:11:47,210
I would say for German scholars, since most of the mediaeval material is German and also because of the stylistic continuity of German Gothic scripts.

95
00:11:47,210 --> 00:11:59,300
But that continuity is no less true for France, where most of the non German mediaeval material originated in the history of writing,

96
00:11:59,300 --> 00:12:04,280
the later Middle Ages were a time of expansion and fragmentation.

97
00:12:04,280 --> 00:12:12,480
At the same time, the number of writers and the quantity of writing had increased dramatically since the 12th century,

98
00:12:12,480 --> 00:12:16,970
the term dramatically being deliberately as vague as possible.

99
00:12:16,970 --> 00:12:23,540
So had the social and functional scope of writing this in terms of palaeo graphy is reflected

100
00:12:23,540 --> 00:12:32,840
in the great diversity of scripts that were in use during the so-called Gothic period.

101
00:12:32,840 --> 00:12:38,450
Scripts varied according to place, profession or expense.

102
00:12:38,450 --> 00:12:45,740
They vary between books and documents, between books or documents made for oneself or for the market,

103
00:12:45,740 --> 00:12:51,590
and between multiple categories of books or documents based on their intended uses,

104
00:12:51,590 --> 00:12:58,550
on the textual meaning, and on the visual impression that the writer was to convey to the reader.

105
00:12:58,550 --> 00:13:04,520
The typology of scripts is not only a thorny matter of classification and expertise,

106
00:13:04,520 --> 00:13:11,450
it also raises serious or at least interesting historical issues first and foremost.

107
00:13:11,450 --> 00:13:20,780
The general question of learning to write, especially for professional scribes of the later Middle Ages, who could often master several scripts.

108
00:13:20,780 --> 00:13:30,300
Then, within half a century of the advent of printing, scribes employed in copying books became largely eroded as a profession.

109
00:13:30,300 --> 00:13:39,410
There were more and more opportunities for clerks and secretaries in private or official employment.

110
00:13:39,410 --> 00:13:43,730
Private individuals could also strive to reach varying levels of adequacy,

111
00:13:43,730 --> 00:13:52,970
fluency or even sophistication according to the needs of their social or professional professional life merchants.

112
00:13:52,970 --> 00:13:57,350
Even those who had their own clerks needed to write too much themselves.

113
00:13:57,350 --> 00:14:02,420
The nobility usually dictated their correspondence, but added the occasional postscript,

114
00:14:02,420 --> 00:14:11,300
often in large crude hand and phonetic spellings, particularly in France, not unlike those of well-to-do peasants.

115
00:14:11,300 --> 00:14:16,190
Where and how those skills were acquired remains largely unclear.

116
00:14:16,190 --> 00:14:23,330
And despite the efforts of historians, including the 2008 London Colloquium, the Committee Internationale,

117
00:14:23,330 --> 00:14:31,430
the Pentagon field team, our sources tell us less about learning to write than about learning to read.

118
00:14:31,430 --> 00:14:37,430
What we do see from the early 15th century is the rise of a new profession

119
00:14:37,430 --> 00:14:43,190
writing master separate from the common schoolmaster and instructing his pupils,

120
00:14:43,190 --> 00:14:47,710
especially in handwriting. Often together with arithmetic,

121
00:14:47,710 --> 00:14:59,000
the few documents produced by those masters as they often wandered from town to town are the main archaeological traces of their activity.

122
00:14:59,000 --> 00:15:07,460
A general periodisation and geography of late mediaeval writing is now available, at least for Gothic books scripts.

123
00:15:07,460 --> 00:15:12,350
Thanks to the 2003 handbook by Albelda of late.

124
00:15:12,350 --> 00:15:16,100
But much remains to be done on documentary scripts.

125
00:15:16,100 --> 00:15:27,330
The correlation of dates, places and scripts reveals complex developments, which again raise questions on places and modes of instruction.

126
00:15:27,330 --> 00:15:32,720
Now a five minute crash course, if you will, in the history of scripts, especially in documents.

127
00:15:32,720 --> 00:15:41,420
With apologies to all viewers already familiar with the topic. The 12th century, at least in England, and to a greater degree.

128
00:15:41,420 --> 00:15:48,770
The 13th century witnessed remarkable creativity with the development of more or less cursive scripts,

129
00:15:48,770 --> 00:15:56,540
formal and informal, in charters, in letters and books of a documentary, Nature.

130
00:15:56,540 --> 00:16:03,230
And these new scripts varied in style and with the tendency to change rapidly over time.

131
00:16:03,230 --> 00:16:06,260
Nevertheless, appeared in many places in similar forms,

132
00:16:06,260 --> 00:16:14,440
presumably as an effect of long distance communication between chanceries, networks of writers, written material.

133
00:16:14,440 --> 00:16:25,280
The writing style of the papal chancery, for one, clearly influenced those of emperors, kings and bishops in the first half of the 14th century.

134
00:16:25,280 --> 00:16:35,570
The landscape changes considerably. The main chanceries of the West, Imperial and Royal tended to define their own peculiar house styles,

135
00:16:35,570 --> 00:16:41,330
which in turn were imitated in their institutional environments around thirteen

136
00:16:41,330 --> 00:16:45,650
hundred at the height of French political power and cultural influence.

137
00:16:45,650 --> 00:16:48,980
Just decades before the Hundred Years War,

138
00:16:48,980 --> 00:16:58,730
the chancery of Philip the Fair created a new documentary style stripped of fancy diplomatic ornaments, regular, fast and elegant,

139
00:16:58,730 --> 00:17:00,800
based on Italian notarial scripts,

140
00:17:00,800 --> 00:17:13,310
but distinctly French in style and technique that is written with a broad named Quill and angular rather than rounded by the mid 14th century.

141
00:17:13,310 --> 00:17:21,830
That script had become the standard for all documentary writing in France and had spread north to the low countries.

142
00:17:21,830 --> 00:17:25,430
It had also been adopted in Bohemia by the Imperial Chancery,

143
00:17:25,430 --> 00:17:32,540
subsequently altering the course of writing in Germany, in Central Europe in the last quarter of the century.

144
00:17:32,540 --> 00:17:35,050
It started appearing in English documents.

145
00:17:35,050 --> 00:17:44,720
The imported script became known in England as the secretary hand and remained in use alongside the more traditional varieties of Anglican.

146
00:17:44,720 --> 00:17:51,170
By the end of the century, as the predominant style of Western documentary writing, it had become,

147
00:17:51,170 --> 00:18:00,800
this style had become what the international Gothic style was in art and architecture.

148
00:18:00,800 --> 00:18:06,560
This relative uniformity began to disintegrate in the following century.

149
00:18:06,560 --> 00:18:19,010
The pressure of business once again urged professionals to sacrifice clarity for speed, at least for internal documents.

150
00:18:19,010 --> 00:18:26,720
Writing with ever fewer pen lifts or even totally flattening their minims changes were not only stylistic.

151
00:18:26,720 --> 00:18:31,250
They tended to affect the very structure of letterforms.

152
00:18:31,250 --> 00:18:40,920
By the early 16th century, the most cursive documentary scripts were becoming illegible outside their original contexts.

153
00:18:40,920 --> 00:18:51,660
Painstakingly broken strokes came to be the signature of German Gothic scripts, effectively probably reining in the effects of passivity.

154
00:18:51,660 --> 00:18:55,140
The writing of Spanish notaries and courts of Justice, on the contrary,

155
00:18:55,140 --> 00:19:04,350
became more curves and loops written with ample movements abroad named Quill and French scripts were noted for extreme conservatism.

156
00:19:04,350 --> 00:19:11,610
All had at least a few letterforms that were totally different from those of any other country.

157
00:19:11,610 --> 00:19:12,810
Meanwhile, in Italy,

158
00:19:12,810 --> 00:19:24,030
from around fourteen hundred Florentine humanists had revived Karoline miniscule book script of Carolingian and priede Gothic times and all at once

159
00:19:24,030 --> 00:19:36,150
created a new cursive script that combined the same basic set of letterforms with late mediaeval techniques for producing swift connected writing.

160
00:19:36,150 --> 00:19:45,210
By the mid 15th century, these were becoming widespread in Italy for books, correspondence and documents of all sorts.

161
00:19:45,210 --> 00:19:59,130
In print, humanistic writing was rendered as Roman and italic type perfected respectively in 14 70 by an equal national soul and italic in 15, no.

162
00:19:59,130 --> 00:20:09,390
One by Aldus Minuteness and Frenchy's Cosgriff. The subsequent spread of humanistic handwriting across Italy and then across Europe,

163
00:20:09,390 --> 00:20:20,670
together with the persistence of many local aspects of the Gothic tradition, defined the geography of Western writing for centuries.

164
00:20:20,670 --> 00:20:24,820
So from the 15th century, even more clearly in the 16th.

165
00:20:24,820 --> 00:20:29,250
There is plenty of reason to use the term national scripts.

166
00:20:29,250 --> 00:20:36,900
On the whole, the geographical distribution of such scripts matches that of the emerging nations of Europe,

167
00:20:36,900 --> 00:20:42,900
whether they are defined in political, linguistic or more generally cultural terms.

168
00:20:42,900 --> 00:20:48,330
Chanceries and the wider institutional framework set the standards of writing within

169
00:20:48,330 --> 00:20:54,240
the boundaries of a single nation states with the rise of vernacular writing,

170
00:20:54,240 --> 00:21:03,390
despite differences in chronology, and even in nations that were still a long way from political unity, namely Italy and Germany.

171
00:21:03,390 --> 00:21:08,430
Forms of writing also became correlated with languages.

172
00:21:08,430 --> 00:21:19,020
Vastly, styles of writing should also be seen as part of the more general stylistic trends that define the art and culture of nations.

173
00:21:19,020 --> 00:21:27,240
International communication, whether diplomatic, scholarly or commercial, needed to rely on a common language or languages.

174
00:21:27,240 --> 00:21:33,330
Latin first, obviously, then also Italian in the Renaissance and later French.

175
00:21:33,330 --> 00:21:41,720
The dissemination of manuscripts and educational models from Italy, both in Latin and in the Italian vernacular,

176
00:21:41,720 --> 00:21:47,670
ensured the international success of Italian writing the 16th century country.

177
00:21:47,670 --> 00:21:57,110
Larry, you Talika was not only the national business script in Italy, but an international medium of communication.

178
00:21:57,110 --> 00:22:06,170
Foreign scribes either imitated it meticulously or modified it according to their own habits and tastes,

179
00:22:06,170 --> 00:22:15,560
mixing in local letterforms and elements of style, or just cutting their quills in ways that Italian scribes would not have approved of.

180
00:22:15,560 --> 00:22:25,460
On the whole, I would argue the distribution of scripts and their levels of legibility reflect their potential ranges of circulation.

181
00:22:25,460 --> 00:22:36,860
The most idiosyncratic forms are used when the writer coincides with the potential reader at the level of an individual,

182
00:22:36,860 --> 00:22:44,450
a profession or an institution. The more commonly shared forms are meant for wider circulation.

183
00:22:44,450 --> 00:22:51,350
Books are mostly destined to travel further and to reach more unpredictable audiences than documents.

184
00:22:51,350 --> 00:23:01,310
The printing press fits the needs of wide circulation not only by easily making multiple copies, but also by using common letterforms.

185
00:23:01,310 --> 00:23:12,890
Still, the typeface is used in used in vernacular texts, maintained distinctly national accents until they were dropped in favour of Roman type.

186
00:23:12,890 --> 00:23:18,410
This is true of French Batard in the first half of the 16th century of English black letters still

187
00:23:18,410 --> 00:23:28,160
going strong in the 17th and of Drub in fact were Farber types which were only abolished in 1941.

188
00:23:28,160 --> 00:23:36,420
Of course, national preferences in the design and use of type is still clearly visible in the 21st century,

189
00:23:36,420 --> 00:23:41,990
just as as the writing models of our primary schools also remain different.

190
00:23:41,990 --> 00:23:50,320
But on a more subtle stylistic level, no longer to the point of neutral intangibility.

191
00:23:50,320 --> 00:23:59,020
Scripts were an important and explicit aspect of national identity in early modern Europe.

192
00:23:59,020 --> 00:24:11,080
The case of Germany illustrates the fact most obviously, fatwa was a script rooted in the chancery tradition promoted by Emperor Maximilian.

193
00:24:11,080 --> 00:24:19,750
It was used for writing German and humanistic scripts. Italian scripts were applied to Latin and romance languages.

194
00:24:19,750 --> 00:24:27,340
The Protestant reform certainly accentuated the tendency to contrast the Germanic and the Latin single Latin,

195
00:24:27,340 --> 00:24:39,880
French or Italian words or even elements within words were thus made to stand out in German texts, both in manuscript and in print.

196
00:24:39,880 --> 00:24:47,380
By a different script. The ultimate unexpected suppression of the Deutscher shift by the Nazis for

197
00:24:47,380 --> 00:24:53,920
essentially practical reasons came after half a century of political controversy.

198
00:24:53,920 --> 00:25:00,370
The 1941 order signed by Martin Bollman carefully avoided mentioning the name Daichi shift,

199
00:25:00,370 --> 00:25:09,470
using instead the name of the father typeface and arguing based on the day that it was a Jewish invention.

200
00:25:09,470 --> 00:25:19,520
In France, the adoption of Roman type for the vernacular came much sooner in the early years of the reign of Francis, the first fifteen.

201
00:25:19,520 --> 00:25:23,430
Nineteen. It has been argued by oficial Madonna.

202
00:25:23,430 --> 00:25:31,400
The change was prompted by the king himself, not only as the new Duke of Milan in love with everything Italian,

203
00:25:31,400 --> 00:25:41,690
but also in the context of the campaign for the 15 19 imperial election as a means of contrasting a Latin concept of empire.

204
00:25:41,690 --> 00:25:45,590
With the dramatic tradition embodied by the late Maximilien,

205
00:25:45,590 --> 00:25:53,600
the promoter of a change in handwriting was a much longer and more complex business than change in print.

206
00:25:53,600 --> 00:26:00,980
And we will return to that in the following lecture's.

207
00:26:00,980 --> 00:26:06,770
Languages and cultures do not fit strictly within political divisions, of course.

208
00:26:06,770 --> 00:26:13,430
Nor do scripts in border regions. One finds the national scripts influenced by neighbouring areas.

209
00:26:13,430 --> 00:26:17,220
Italian traits in the southeast of France and Germany.

210
00:26:17,220 --> 00:26:23,990
Flemish elements in the north and east. Some areas of Europe, geographically,

211
00:26:23,990 --> 00:26:33,590
linguistically or politically or commercially at the crossroads of larger reasons were open to contrasting influences.

212
00:26:33,590 --> 00:26:39,950
That is, this is true mainly of the low countries, but also Switzerland.

213
00:26:39,950 --> 00:26:44,630
Britain received much from its closest neighbours, France and the low countries,

214
00:26:44,630 --> 00:26:52,090
notably in matters of book production, importing continental paper typefaces and so on.

215
00:26:52,090 --> 00:27:03,880
And the history of English handwriting from the 16th to the 18th century also owes much to French and Dutch influences.

216
00:27:03,880 --> 00:27:12,460
Lastly, the adoption of scripts like that of languages, not to mention clothing or patterns of behaviour,

217
00:27:12,460 --> 00:27:18,160
also depends on the changing balance of power, political or economic.

218
00:27:18,160 --> 00:27:26,920
And on the cultural prestige that comes with wealth. And might that is true of any civilisation, period.

219
00:27:26,920 --> 00:27:38,230
To be sure. But particularly of early modern Europe, because of the very fact the different languages were written using different scripts,

220
00:27:38,230 --> 00:27:43,360
receiving formal instruction in foreign language also entails learning the relevant script.

221
00:27:43,360 --> 00:27:53,110
All scripts French had been an international lingua franca, literary as well as practical in the 13th century,

222
00:27:53,110 --> 00:27:59,020
and rose to prominence again in the late 17th and 18th centuries.

223
00:27:59,020 --> 00:28:00,450
But by eighteen hundred.

224
00:28:00,450 --> 00:28:08,920
The weight of British commerce and finance, together with the intellectual prestige of England, was seriously tipping the scales.

225
00:28:08,920 --> 00:28:13,520
And the story of English handwriting on the continent.

226
00:28:13,520 --> 00:28:23,030
From the late 18th century clearly deserves to be included amongst the many facets of that period of Anglophilia Anglo mania.

227
00:28:23,030 --> 00:28:29,000
In many cases, Anglo phobia, that will be the subject of my fifth lecture to be held.

228
00:28:29,000 --> 00:28:37,050
It is hoped in the lecture hall of the public library next spring.

229
00:28:37,050 --> 00:28:43,440
This somewhat roundabout introduction is mainly for context, the context of the bibliographical material.

230
00:28:43,440 --> 00:28:49,650
I plan to discuss later on. And first of all, the context of my research.

231
00:28:49,650 --> 00:28:58,470
The historiographical rift between the mediæval early modern periods is particularly clear and regrettable in the field of palaeo graphy,

232
00:28:58,470 --> 00:29:02,160
as if the printing press had put an end to handwriting.

233
00:29:02,160 --> 00:29:12,390
Ancient and mediaeval palaeo graphy is one hopes of fully fledged historical discipline with a long tradition of scholarship, expertise and theory.

234
00:29:12,390 --> 00:29:20,700
But early modern palaeo graphy is essentially restricted to the practical skill of reading difficult documents, difficult,

235
00:29:20,700 --> 00:29:29,190
difficult hands and still lacks a general outline of the typology and development of scripts from fifteen hundred to the present.

236
00:29:29,190 --> 00:29:33,420
Not to say that there has been no study of post mediaeval writing as such,

237
00:29:33,420 --> 00:29:42,450
but that branch of history is in large part dedicated to the social and cultural dimensions of literacy.

238
00:29:42,450 --> 00:29:45,690
Early, modern handwritten sources, mostly documentary,

239
00:29:45,690 --> 00:29:55,110
are approached as textual data rather than as archaeological artefacts with their own material and visual features.

240
00:29:55,110 --> 00:29:57,600
The study of printed books is a different matter, of course,

241
00:29:57,600 --> 00:30:04,330
and we all know the essential contribution of material bibliography to the analysis of texts as well.

242
00:30:04,330 --> 00:30:08,400
To the history of the printing and publishing trades.

243
00:30:08,400 --> 00:30:17,190
The only attempt I can mention at a general overview is the relevant chapter in Georgia, Jane Gytis 1954 Denia.

244
00:30:17,190 --> 00:30:22,530
I mean, did you storia the Leskie Latina, a courageous effort indeed,

245
00:30:22,530 --> 00:30:29,870
based on the limited visual material available at the time in the form of printed facsimiles.

246
00:30:29,870 --> 00:30:42,140
It inevitably remained impressionistic and focussed on the adoption of Italian cursive scripts north of the Alps, which is at least something.

247
00:30:42,140 --> 00:30:46,790
Otherwise, scholars have concentrated on national or regional Palios graphy,

248
00:30:46,790 --> 00:30:53,480
showing little interest in the broader picture or in the transfer of writing styles across borders.

249
00:30:53,480 --> 00:30:59,270
Similar scripts have been called different names and different national contexts, so that, for instance,

250
00:30:59,270 --> 00:31:05,870
the continental expansion of the Italian French chanceries script, the 14th century passed almost unobserved.

251
00:31:05,870 --> 00:31:17,410
Until recently. French pornography is no exception, I'm afraid, the desert state of scholarship on the period beyond practical handbooks,

252
00:31:17,410 --> 00:31:23,140
there has been no effort to establish a general typology of the baffling variety

253
00:31:23,140 --> 00:31:29,110
of hands found in our archives or to describe their evolution over time.

254
00:31:29,110 --> 00:31:37,690
But where to start? One way of trying to sort out what seems at first utter chaos is to ask what the models were that

255
00:31:37,690 --> 00:31:46,210
those scribes had imitated before giving in to the urge of speed and to idiosyncratic creativity.

256
00:31:46,210 --> 00:31:52,060
Even today, all of us promptly relinquish the models we are taught in school.

257
00:31:52,060 --> 00:32:00,520
But there remains sufficient genetic traces in our writing to tell French, English, Italian or other hands apart easily enough.

258
00:32:00,520 --> 00:32:09,140
In earlier centuries, discipline in writing was not quite as lax yet for reasons ideal, ideological but also technical.

259
00:32:09,140 --> 00:32:13,480
A quill was terribly responsive and never safe to misuse.

260
00:32:13,480 --> 00:32:25,570
As a modern mechanical pen, formal models, especially printed models, were also the primary vector for importing and exporting scripts across Europe.

261
00:32:25,570 --> 00:32:30,370
Hence my interest in writing models,

262
00:32:30,370 --> 00:32:35,740
which over the years has gradually shifted or expanded from the original Panio

263
00:32:35,740 --> 00:32:40,870
graphical question to issues of bibliography from the history of writing books.

264
00:32:40,870 --> 00:32:51,190
As an editorial draw to the peculiar peculiarities of every single accessible copy, writing books are curious objects,

265
00:32:51,190 --> 00:32:59,010
indeed, straddling the conceptual line between writing as texts and writing as image.

266
00:32:59,010 --> 00:33:06,190
Eric Gill famously wrote about typography. Letters are themes, not pictures of things.

267
00:33:06,190 --> 00:33:18,460
But writing models are pictures of letters. The texts used there in art accessory, often even nonsensical as we would see.

268
00:33:18,460 --> 00:33:24,610
Writing books are also hybrid in a technical sense as editorial products, not books,

269
00:33:24,610 --> 00:33:35,030
but sets of plates produced essentially by engravers, not typography is and marketed by print sellers, not booksellers.

270
00:33:35,030 --> 00:33:42,820
We tend to think of them as books, mainly because the images they contain are images of texts.

271
00:33:42,820 --> 00:33:53,620
No more for now on the technical history of printed writing books, since their production and use will be the subject of the next lecture.

272
00:33:53,620 --> 00:33:58,120
I have deliberately avoided the term writing books in the title.

273
00:33:58,120 --> 00:34:07,360
These lectures, not only for the conceptual reason I just mentioned, but also because of the diverse material forms in which writing models occur.

274
00:34:07,360 --> 00:34:16,900
The book for being the latest development in a long history as far back as are sources extend all the way to antiquity.

275
00:34:16,900 --> 00:34:28,180
Elementary writing instruction has been based on the repeated copying of letters than syllables, words, dynes and short texts often in verse.

276
00:34:28,180 --> 00:34:36,190
In the 7th century B.C., the Etruscan tablet of Nasty Jeanna is an early witness to the most elementary stage,

277
00:34:36,190 --> 00:34:46,320
with the full alphabet incised on the frame, quintillion recommended making toy letters to teach children their shapes.

278
00:34:46,320 --> 00:34:51,160
The Greek wax tablets from Egypt offer a number of writing exercises,

279
00:34:51,160 --> 00:35:01,630
often copies of lines from Homer and other poets in which the teacher's hand may appear at the top above the students efforts.

280
00:35:01,630 --> 00:35:06,710
Original classroom material is far scarcer for the mediaeval period.

281
00:35:06,710 --> 00:35:10,870
But we do have some traces in Carolingian monasteries. For instance,

282
00:35:10,870 --> 00:35:16,420
young monks who had become sufficiently proficient would collaborate in the production of

283
00:35:16,420 --> 00:35:23,770
manuscripts under the direction of a master whose hand appears now and then at the top of the page,

284
00:35:23,770 --> 00:35:28,450
initially setting the style and size of the script to be used and then reiterating

285
00:35:28,450 --> 00:35:34,990
the same model once the copyists had lost sight of it and gone too far astray.

286
00:35:34,990 --> 00:35:45,640
The fly leaves and margins of manuscripts of all sorts also preserve many pen trials from simple alphabets to lines of verse or pan grams.

287
00:35:45,640 --> 00:35:55,530
That is, sentences using all the letters of the alphabet or illegible phrases containing only minims or nonsense words such as,

288
00:35:55,530 --> 00:35:59,950
you know, naughty feet kabita to Disney tarty use.

289
00:35:59,950 --> 00:36:12,790
Those pen trials, as Bernard Bischof has convincing, convincingly argued, were clearly reminiscent of writing exercises from the scribes school days.

290
00:36:12,790 --> 00:36:17,050
From the 14th century, the 14th century, and more frequently in the 15th.

291
00:36:17,050 --> 00:36:22,460
At last we find specific materials produced by teachers of handwriting.

292
00:36:22,460 --> 00:36:28,840
Essentially into different forms. On the one hand, writing models as such.

293
00:36:28,840 --> 00:36:37,820
Illustrating letterforms, but for new and different uses, not only as ephemeral models for a single student.

294
00:36:37,820 --> 00:36:49,000
In a number of cases, these are large format broadsides made to be nailed outside their doors by writing masters to advertise their lessons.

295
00:36:49,000 --> 00:36:56,230
Others instead are booklets of several pages. On the other hand, sometimes many pages.

296
00:36:56,230 --> 00:37:07,130
On the other hand, there are technical instructions in verbal form, usually called tracts, some inverse so as to be easily memorised.

297
00:37:07,130 --> 00:37:19,190
And both salts, wobbles and tracts are clearly not aimed at beginners, but rather at more advanced students who wish to acquire specific scripts.

298
00:37:19,190 --> 00:37:23,270
These are on the whole. Extremely rare documents.

299
00:37:23,270 --> 00:37:32,000
And most have come to light in the past century. In 1896, Bill Hayden Vatan Bar was able to cite only three prae.

300
00:37:32,000 --> 00:37:38,440
Fifteen hundred German items. Two sheets. One tracked a few specimens in booklet form.

301
00:37:38,440 --> 00:37:48,800
Were also spotted at the time by Leopold Doolittle. Little has been added to the hand list of specimens published in 1943 by Steinberg.

302
00:37:48,800 --> 00:37:55,640
A total of four tracts and 15 sheets and booklets to approximately fifteen hundred.

303
00:37:55,640 --> 00:38:05,450
A couple of fragments in there have never been mentioned again and may no longer exist, or at least difficult to identify at least one,

304
00:38:05,450 --> 00:38:11,960
since both Steinberg had lost his notes and photographs on the subject during the Blitz.

305
00:38:11,960 --> 00:38:18,590
Carl Weimar in 1946. You have five sheets and published ones published one more.

306
00:38:18,590 --> 00:38:24,560
He was apparently not aware of Steinberg's article, articles and list.

307
00:38:24,560 --> 00:38:32,450
Strangely enough, considering that both were in contact with Stanley Morris on the subject.

308
00:38:32,450 --> 00:38:36,040
Single editions have been made since.

309
00:38:36,040 --> 00:38:46,520
In 1978 at HOJ, Billing produced an important and detailed survey with two more sheets and a detailed discussion of script names.

310
00:38:46,520 --> 00:38:56,570
The latest overview, an article by Barbara SCOP in Scriptorium 2005, is a brief catalogue of eleven sheets and five tracts,

311
00:38:56,570 --> 00:39:02,240
which conveniently compiles previous literature but does miss a few previously published

312
00:39:02,240 --> 00:39:10,010
items and a couple of opportunities for updating older information on shelf box and such.

313
00:39:10,010 --> 00:39:15,080
The sheets, many rescued from bindings are mostly fragments.

314
00:39:15,080 --> 00:39:18,050
More or less severely trimmed.

315
00:39:18,050 --> 00:39:27,530
The majority are from Germany to such a degree that it may reflect the reality of 15th century production rather than chance of survival.

316
00:39:27,530 --> 00:39:37,040
Their sizes seem to have been seemed to have ranged from approximately half a metre to four metre in height.

317
00:39:37,040 --> 00:39:43,730
The corpus has grown not only in numbers but also in variety of form, function and origin.

318
00:39:43,730 --> 00:39:48,460
Blanket terms such as writing marsters sheets or specimens height.

319
00:39:48,460 --> 00:39:54,350
My subletter or Qype couldn't have somewhat obscured the fact,

320
00:39:54,350 --> 00:40:02,180
just as Robert Shiller has recently shed new light on the variety of the forms and uses of model books for artists.

321
00:40:02,180 --> 00:40:12,130
Mediaeval writing models should be examined as specific objects made in specific social and professional circumstances.

322
00:40:12,130 --> 00:40:20,030
Their use as binding materials occasionally provides some information on that date and geographical origin.

323
00:40:20,030 --> 00:40:25,550
But little is known about the authors and context of production.

324
00:40:25,550 --> 00:40:31,370
More explicit evidence is to be found in the sample texts and above all, in the short paragraph,

325
00:40:31,370 --> 00:40:38,450
usually at the bottom of the poster, but often lost where a master announces his lessons.

326
00:40:38,450 --> 00:40:44,900
Broadsides posted on his door or in some other public place to attract customers showed

327
00:40:44,900 --> 00:40:52,910
telltale signs of wear and tear and help understand why so few have been handed down to us.

328
00:40:52,910 --> 00:41:01,580
In some cases, where there is no explicit advertisement, it may be difficult to prove that the sheet was made for such publicity.

329
00:41:01,580 --> 00:41:04,460
It could also be a showpiece of the master's skill,

330
00:41:04,460 --> 00:41:13,700
maybe a means of introducing himself to local authorities or any other potential employer or gift patron.

331
00:41:13,700 --> 00:41:18,020
One major example of such a masterpiece was the monumental script specimen.

332
00:41:18,020 --> 00:41:25,580
The shape and size of an altarpiece produced that in fifteen ninety one by one, your hands cuffed.

333
00:41:25,580 --> 00:41:30,230
That was set up for centuries against a pillar of the cathedral.

334
00:41:30,230 --> 00:41:41,870
Another possibility is a copyists sampler of scripts to show a customer when he or she walked into a workshop to order a new book.

335
00:41:41,870 --> 00:41:47,210
The sheets have proved particularly useful in discussing the names of late mediaeval scripts,

336
00:41:47,210 --> 00:41:58,910
Vatan Bar and others after him considered writing masters to have invented any number of scripts for showing off and giving them arbitrary names.

337
00:41:58,910 --> 00:42:06,680
But as several more have emerged, it has become clear that Masters actually shared many scripts and names as HOJ building.

338
00:42:06,680 --> 00:42:14,010
And he demonstrated the practical use of all those scripts in everyday practise.

339
00:42:14,010 --> 00:42:17,210
Sorry for the repetition is a different question.

340
00:42:17,210 --> 00:42:28,110
Beyond the question of the names uses labels, a closer examination of the writing style also leads to.

341
00:42:28,110 --> 00:42:35,460
Questioning the basic data on some items, especially chronological data scripts,

342
00:42:35,460 --> 00:42:45,480
can also say something of the original setting a fancy sheet with alternating book of book and documents scripts is typical of a writing master.

343
00:42:45,480 --> 00:42:53,310
But book scripts or documents scripts show alone might come from a monastic scriptorium,

344
00:42:53,310 --> 00:43:04,770
a commercial workshop or a chancery or a writing master catering especially to customers who wish to trade for jobs in one of those directions.

345
00:43:04,770 --> 00:43:15,660
Mediaeval scholars have not looked far beyond mediaeval writing models and have said little about their continuation into the following period.

346
00:43:15,660 --> 00:43:17,600
The Unfinished Sheet by one.

347
00:43:17,600 --> 00:43:27,150
Your hung note of Virts book written in effort around fifteen hundred, has been mentioned more than once as the last of its kind.

348
00:43:27,150 --> 00:43:34,530
Just because it's. Around fifteen hundred, especially since it was fittingly left unfinished.

349
00:43:34,530 --> 00:43:39,510
Nevertheless, not only will we be looking at further items from the 16th century,

350
00:43:39,510 --> 00:43:45,990
but as late as the 19th century, professors of calligraphy were still posting sample sheets,

351
00:43:45,990 --> 00:43:56,880
handwritten or engraved, to advertise their lessons and producing sheets or books of handwritten models for their students or as gifts to patrons,

352
00:43:56,880 --> 00:44:05,070
friends and colleagues. But evil tracts were also followed by early modern instructions for handwriting.

353
00:44:05,070 --> 00:44:10,470
It made, it might seem, an important change that by the 16th century,

354
00:44:10,470 --> 00:44:18,420
verbal instructions were no longer standalone texts but published together with actual writing models.

355
00:44:18,420 --> 00:44:27,660
Except that in mediaeval script toria or classrooms to instructions and models would necessarily used in combination,

356
00:44:27,660 --> 00:44:34,440
although apparently not often combined. As material objects.

357
00:44:34,440 --> 00:44:45,150
So here is a list of writing models, excluding tracts in sheet form in approximate chronological order.

358
00:44:45,150 --> 00:44:54,930
Those with an asterisks are the sheets listed in Swap 2005.

359
00:44:54,930 --> 00:44:59,370
I would not read out the lists, but I will describe a few of the items.

360
00:44:59,370 --> 00:45:13,170
If you are watching this video, you can you can pause on this image if you want to read the whole list.

361
00:45:13,170 --> 00:45:22,140
I would love to have something new to add to the literature about the very earliest fragments those in the Bodleian.

362
00:45:22,140 --> 00:45:30,450
But the 1956 article by Van [INAUDIBLE] and Daken, these fragments with musical notation is really very well done,

363
00:45:30,450 --> 00:45:38,130
especially in assessing the pellow graphical and musical evidence, as one would expect of him.

364
00:45:38,130 --> 00:45:43,500
The fragments recovered from mediæval from the mediaeval binding of a miscellaneous

365
00:45:43,500 --> 00:45:50,250
volume on it are not only the earliest example of a writing Marsters poster,

366
00:45:50,250 --> 00:45:56,130
but also the only English one yet discovered they are exceptional.

367
00:45:56,130 --> 00:46:02,100
Also in that the texts and scripts are limited to the liturgy and chant.

368
00:46:02,100 --> 00:46:10,350
In the absence of any explicit offer of the Masters services, which might have been might have been lost,

369
00:46:10,350 --> 00:46:16,860
the poster could well have advertised the production of books rather than writing lessons.

370
00:46:16,860 --> 00:46:26,130
The writer apparently specialised in liturgical manuscripts, and even so, his hand was generally mediocre.

371
00:46:26,130 --> 00:46:29,990
If he was established at Oxford, as it seems,

372
00:46:29,990 --> 00:46:41,130
what might also have expected his business to extend to university texts for students and the relevant scripts at the bottom of the hierarchy.

373
00:46:41,130 --> 00:46:47,340
And that could have been illustrated in parts of the sheets that are now lost.

374
00:46:47,340 --> 00:46:56,760
As it is, the poster illustrates a hierarchy based essentially on size and on the more or less elaborate.

375
00:46:56,760 --> 00:47:01,410
Treatment of foot strokes. All right.

376
00:47:01,410 --> 00:47:07,710
Similarly to the differences that we will find clearly labelled in later German examples,

377
00:47:07,710 --> 00:47:17,010
although unusual by comparison with later posters, VanDyke argued convincingly that this was the poster.

378
00:47:17,010 --> 00:47:19,500
Since it was written on one side only.

379
00:47:19,500 --> 00:47:37,300
And even more typically, the parchment is now quite brown from weathering, which also can be observed on other posters of the same kind.

380
00:47:37,300 --> 00:47:48,040
I must resist the lure of these superabundant corpus of German material and will not indulge in any detail on all those writing sheets at all.

381
00:47:48,040 --> 00:47:59,800
Already well-known. Just a short look at the best preserved and most famous one, the poster of your highness from Hagen.

382
00:47:59,800 --> 00:48:09,110
From the early 15th century. It seems it illustrates a common set of scripts, alternating book and documents styles.

383
00:48:09,110 --> 00:48:21,850
The book scripts in hierarchical order show the largest, most solemn and expensive ones at the top, which are Texture's Quadratus.

384
00:48:21,850 --> 00:48:26,320
On the left text was pesky source, very senior Pindi Boose,

385
00:48:26,320 --> 00:48:34,000
no feet Semien Quadratus further down on the left and text to to the tomb doors on the right.

386
00:48:34,000 --> 00:48:41,480
The defining criterion here again is the names explicitly say, is the treatment of the feet.

387
00:48:41,480 --> 00:48:47,590
The documentary scripts are not thula simplex, not thula.

388
00:48:47,590 --> 00:48:59,650
A couteur not to refract haraam best Stardust's and not your last conclave arter and the strange names separatists,

389
00:48:59,650 --> 00:49:05,890
which other sources suggest should be corrected to separatists or say Parta.

390
00:49:05,890 --> 00:49:11,140
That is Hej or fense writing.

391
00:49:11,140 --> 00:49:23,530
A number of fragments come from posters that were more or less similar to other items are more unusual and some surely deserve further study.

392
00:49:23,530 --> 00:49:27,700
The fragments of the University Library of Virts book, Now Lost,

393
00:49:27,700 --> 00:49:37,570
were dated in 1915 by better court to around fourteen hundred based on a very unhelpful comparison,

394
00:49:37,570 --> 00:49:44,590
to say the least, with this thirteen sixty eight gospels of John of Toppo in Vienna.

395
00:49:44,590 --> 00:49:51,040
VEMA agreed with her on the date, but pointed out that she was mistaken,

396
00:49:51,040 --> 00:49:58,120
at least in describing them as part of an artist's model book rather than of writing Marsters poster.

397
00:49:58,120 --> 00:50:09,790
Both the decoration lavish, albeit awkward, and the scripts, which bear some resemblance to Hagen's larger book scripts only heavier,

398
00:50:09,790 --> 00:50:18,220
more angular and quirkier, suggests shifting that date to maybe the second half of the 15th century.

399
00:50:18,220 --> 00:50:26,860
One last question about the German masters on a fourteen eighty one fragment from orks bug,

400
00:50:26,860 --> 00:50:34,720
which is presumably still in existence but is known in the literature based on another little old photograph.

401
00:50:34,720 --> 00:50:46,420
Unless it is an undesirable effect of the reproduction process itself, the image looks strikingly like the woodcut until the original can be examined.

402
00:50:46,420 --> 00:50:51,430
The question will remain just a question, but could it not be an early example?

403
00:50:51,430 --> 00:50:58,310
The earliest example of a writing model in print.

404
00:50:58,310 --> 00:51:08,240
This is probably just a coincidence, but as many of you know, the earliest known type specimen was produced in the same city just five years later.

405
00:51:08,240 --> 00:51:18,260
On April the first 14, 86 by heart had told what is not accidental is the layout and structure of the page.

406
00:51:18,260 --> 00:51:24,620
The printer did not need to look far for a familiar way of presenting samples of writing to his customers.

407
00:51:24,620 --> 00:51:31,670
Even the printers. Colourful is placed in the same position used as a writing masters advertisement.

408
00:51:31,670 --> 00:51:40,970
Bottom right. A last fragment of the same period seemingly German mentioned in passing by Martin Steinman in 1980,

409
00:51:40,970 --> 00:51:50,060
was spotted on the website of the Free Library of Philadelphia and briefly illustrated as recently as 2015 by Peter Kidd.

410
00:51:50,060 --> 00:51:59,410
Here's an enhanced picture. This one has large puzzle initials and a text containing almost exclusively minims.

411
00:51:59,410 --> 00:52:04,930
You see that last line? So we still don't know what it says.

412
00:52:04,930 --> 00:52:18,570
The kind of device that writing Masters would continue using for centuries as a way of working on the even spacing of strokes.

413
00:52:18,570 --> 00:52:30,210
These few examples I give only to provide a sense of the variety and fall of form and function of so-called writing masters sheets,

414
00:52:30,210 --> 00:52:36,040
especially by comparison with the material that we will examine shortly.

415
00:52:36,040 --> 00:52:41,730
And also to suggest that as more and more catalogues and images become widely

416
00:52:41,730 --> 00:52:48,590
available online and with code ecologists now increasingly interested in fragments,

417
00:52:48,590 --> 00:52:53,610
as such, new specimens are bound to reappear in the near future.

418
00:52:53,610 --> 00:52:59,530
And to give us further clues on their history and use.

419
00:52:59,530 --> 00:53:08,520
So now about specimens in book form. The difference is not only material specimen books appear at a later date.

420
00:53:08,520 --> 00:53:16,170
And further west I know of five up to fifteen hundred and all the French for Italian

421
00:53:16,170 --> 00:53:21,390
books were also listed by Steinbeck as part of the Rickets collection at the time,

422
00:53:21,390 --> 00:53:28,410
but contain containing large decorative alphabets rather than actual writing models.

423
00:53:28,410 --> 00:53:35,490
As the French writing books, form and content point mostly to a chancellory context as,

424
00:53:35,490 --> 00:53:43,410
let's say, the original matrix of the genre and to chancery or court circles as potential uses.

425
00:53:43,410 --> 00:53:51,090
Accordingly, the typology of scripts is also different and focuses on document hands.

426
00:53:51,090 --> 00:54:03,150
Let us begin with this remarkable manuscript in the Bodleian, which is the only dated item dated to fourteen sixty two,

427
00:54:03,150 --> 00:54:08,940
which does not fall into the same categories as the others and is actually quite unique.

428
00:54:08,940 --> 00:54:19,500
It consists of only four leaves, but that the these leaves are of great interest because of their context, because of the volume to which they belong.

429
00:54:19,500 --> 00:54:25,620
Ash ML seven eight nine is a miscellaneous compilation containing material that could

430
00:54:25,620 --> 00:54:30,900
be used for the instruction of chancery clerks as well as for later reference,

431
00:54:30,900 --> 00:54:41,850
maybe in the art of diplomatic style. The district cartoonists in Latin and French, 48 sentences of sages in French,

432
00:54:41,850 --> 00:54:46,200
the filt formulary of letters under the Royal Seale's of France and various

433
00:54:46,200 --> 00:54:54,480
documents relating to French and English affairs in the late 14th and 15th century.

434
00:54:54,480 --> 00:54:59,580
Not to mention an astronomical calendar to fourteen sixty.

435
00:54:59,580 --> 00:55:04,760
Always a useful tool for correctly inscribing the dates documents.

436
00:55:04,760 --> 00:55:08,390
The fall leaves at the front dated. As I've said.

437
00:55:08,390 --> 00:55:17,280
Fourteen sixty two are catalogued as writing exercises, but certain certainly qualify as writing models.

438
00:55:17,280 --> 00:55:23,550
They consist of examples of diplomatic texts with refined flourished initials or

439
00:55:23,550 --> 00:55:31,710
cattle's reminiscent of the famous 15th century prototypes by John Flaminia,

440
00:55:31,710 --> 00:55:37,970
Secretary to Duke Zonda Betty. Then comes a double page spread.

441
00:55:37,970 --> 00:55:51,980
So these first documents, then this double page spread of first names, mostly names of popes, also with cuddling, as you see.

442
00:55:51,980 --> 00:55:55,740
And last but not least, three alphabets.

443
00:55:55,740 --> 00:56:08,460
One of magic kills, one of many skills, including double letter ligatures, an important feature of cursive writing,

444
00:56:08,460 --> 00:56:14,880
and one of the abbreviations, which are another important aspect of documentary cursive.

445
00:56:14,880 --> 00:56:15,960
As far as I know,

446
00:56:15,960 --> 00:56:27,720
this vast page is the earliest example of such a didactic didactic presentation that we frequently find in post mediaeval writing books.

447
00:56:27,720 --> 00:56:35,370
Where this compilation originated is not known. Could it have belonged to a clerk of the Royal Chancery?

448
00:56:35,370 --> 00:56:40,710
All we do know is that it was given by Charles Buth, Bishop of Hereford.

449
00:56:40,710 --> 00:56:46,050
Fifteen, sixteen to 15, thirty five to his dioceses and registry.

450
00:56:46,050 --> 00:56:51,660
So presumably it was still supposed to have some practical value at that point.

451
00:56:51,660 --> 00:56:57,120
The use of formularies of stylistic models in chanceries is well known, of course,

452
00:56:57,120 --> 00:57:04,050
but finding elements of handwriting instruction in the same context is quite exceptional.

453
00:57:04,050 --> 00:57:09,900
Also of interest is the fact that the English clerks who compiled that material over a period,

454
00:57:09,900 --> 00:57:16,960
period of time and the example, the examples of the texts are.

455
00:57:16,960 --> 00:57:21,830
In English, those clerks were looking to France for models.

456
00:57:21,830 --> 00:57:28,720
The handwriting. Just as the text is a fine example of the led to diminished or Secretary Hammond,

457
00:57:28,720 --> 00:57:35,810
as it became known in England, the other four manuscripts have much in common.

458
00:57:35,810 --> 00:57:40,190
That layout is very similar and spectacular,

459
00:57:40,190 --> 00:57:47,140
with size is all roughly 30 by 20 centimetres and pages containing only one or

460
00:57:47,140 --> 00:57:54,970
two examples introduced by gigantic cuddles and framed within ample margins.

461
00:57:54,970 --> 00:58:09,400
The examples in alphabetical order include both Latin and French, mostly prayers, also official documents, notably royal and texts of Courtney Love.

462
00:58:09,400 --> 00:58:12,490
They also use similar nonsense words.

463
00:58:12,490 --> 00:58:24,580
For instance, how many nug hobbits later used by Rabelais as the name of one of his characters and even later applied to cats in general.

464
00:58:24,580 --> 00:58:29,140
The quality of execution is consistently outstanding in these books compared

465
00:58:29,140 --> 00:58:35,860
to the rather uneven quality of writing masters sheets we've seen earlier.

466
00:58:35,860 --> 00:58:43,000
The first two of these books were pointed out and described by Leopold Dillydally in 1899, but remain to be fully studied.

467
00:58:43,000 --> 00:58:53,260
The alphabet of Mary of Burgundy, which we which we will briefly look at later on this alphabet.

468
00:58:53,260 --> 00:58:59,350
The original of which is now in the Louvre and a remarkably faithful 16th century copy at the Royal Library

469
00:58:59,350 --> 00:59:07,120
in Brussels has been reproduced in facsimile and has attracted far more attention than other books.

470
00:59:07,120 --> 00:59:13,390
Most recently in 2015, for the new facsimile of the Brussels manuscript.

471
00:59:13,390 --> 00:59:21,070
Finally, the leaves in the library of bazaar style have barely been catalogued.

472
00:59:21,070 --> 00:59:31,330
Only one item is signed. The last page of this manuscript in the BNF mentions Robeck to date.

473
00:59:31,330 --> 00:59:38,770
Initial T Klarik of the dioceses of not Steinberg suggested Detropia.

474
00:59:38,770 --> 00:59:44,680
But that was just a shot in the dark. VanDyke advocated detailed only.

475
00:59:44,680 --> 00:59:49,960
Robert of tour, which is interesting, but just slightly more plausible.

476
00:59:49,960 --> 01:00:00,040
The book was at least firmly dated by De Lille on textural criteria to the mid 15th century, and it is exceptionally interesting.

477
01:00:00,040 --> 01:00:08,020
It now has 52 leaves, the first and last blank, all others written on both sides.

478
01:00:08,020 --> 01:00:18,550
A 15th or 16th century folie ation which you can just about make out her top right, shows that it previously had up to 70 leaves.

479
01:00:18,550 --> 01:00:23,650
So presumably one hundred and thirty six pages of writing,

480
01:00:23,650 --> 01:00:34,480
far more than any other folio is two to seven are refined decorative alphabet of strap work, minuscule initials of which you see the end here.

481
01:00:34,480 --> 01:00:38,810
The rest of the book is an alphabetical sequence of texts, beginning with A,

482
01:00:38,810 --> 01:00:49,000
then B, etc. in four scripts labelled and ranked by sizes and levels of formality.

483
01:00:49,000 --> 01:00:57,600
Bastante diminished and quat each folio has four examples, two on each side of a single script.

484
01:00:57,600 --> 01:01:03,100
So the script changes on every folia. The number of examples for each letter varies.

485
01:01:03,100 --> 01:01:09,460
And a change of initial does not always coincide with a new page or with a specific script.

486
01:01:09,460 --> 01:01:18,760
The initial A covers the largest number of pages. Now 40 years and originally six.

487
01:01:18,760 --> 01:01:25,300
The first two of which labelled QTL and bestowed respectively contain full lines of single

488
01:01:25,300 --> 01:01:32,950
letters connected by EMS on the Recto and then double letters connected by ends on Diversa,

489
01:01:32,950 --> 01:01:41,950
which is what you see here if you can't see it. The first site, the original structure is obscured by the missing leaves.

490
01:01:41,950 --> 01:01:46,150
This is a case where one needs to understand the internal logic of a book.

491
01:01:46,150 --> 01:01:53,370
How the examples are arranged and whether that arrangement might have been accidentally modified.

492
01:01:53,370 --> 01:01:58,660
The earlier Folio Asian provides us with at least negative evidence about missing leaves.

493
01:01:58,660 --> 01:02:03,730
Further confirmed by a number of visible parchment stubs.

494
01:02:03,730 --> 01:02:09,830
So please bear with me. This is going to be a bit complex to explain in words up to the initial.

495
01:02:09,830 --> 01:02:17,070
Oh, it is possible to reconstruct multiple sequences consisting of Batar.

496
01:02:17,070 --> 01:02:26,820
And me, Newt, with several leaves of me, Newt having been removed especially towards the beginning of the book,

497
01:02:26,820 --> 01:02:31,230
resulting in sequences that are now JAHE Albert, Donald Covey, Albert Dowd,

498
01:02:31,230 --> 01:02:41,100
and so the initial A covers twice as many leaves as the following initials because it is used for two different sequences,

499
01:02:41,100 --> 01:02:48,840
one consisting of real battle and a lost leaf in Newt.

500
01:02:48,840 --> 01:02:56,820
All letters and EMS, as I have just said, that is preliminary exercises in the three scripts.

501
01:02:56,820 --> 01:03:02,460
Then a second standard sequence of the same script, but with actual text.

502
01:03:02,460 --> 01:03:09,210
In other words, what we see here is a rational pedagogical method and the missing folia of me, Newt.

503
01:03:09,210 --> 01:03:21,970
I would suggest what cut out at an early date by or for someone using the book to study precisely that script.

504
01:03:21,970 --> 01:03:27,680
Um. A few more of those pages.

505
01:03:27,680 --> 01:03:33,870
Here's the change from initial A to initial B.

506
01:03:33,870 --> 01:03:37,970
We will see later from the current Fogo 34.

507
01:03:37,970 --> 01:03:42,260
Previously 47. The sequence becomes slightly less regular.

508
01:03:42,260 --> 01:03:49,510
From Foleo, 36. Previously 52. We find three sequences that appear to have consisted of.

509
01:03:49,510 --> 01:03:57,170
But Daoud and Quat, with the last script, quant smaller and slightly more cohesive,

510
01:03:57,170 --> 01:04:06,230
decorated with elaborate S.T. ligatures, now appearing in the state of the standard chancery minute.

511
01:04:06,230 --> 01:04:15,080
In fact, I suspect the original sequence of the latter pages had already been altered before the First Folio Nation was added.

512
01:04:15,080 --> 01:04:21,710
This can be inferred from a further parameter. The decoration of initials.

513
01:04:21,710 --> 01:04:29,540
Every new letter of the alphabet starts afresh with simple candles that become Greg gradually more elaborate.

514
01:04:29,540 --> 01:04:37,820
This also has a pedagogical purpose that of guiding the student's progress in the art of candling, letter by letter.

515
01:04:37,820 --> 01:04:44,030
Note also that each paragraph has both a cuddle and in the margin, in the right hand margin,

516
01:04:44,030 --> 01:04:49,940
a smaller variety of the same magic skill to show students the many way of writing each letter.

517
01:04:49,940 --> 01:05:03,080
Many ways of writing each letter. In the last part of the manuscript, that formal order is now disrupted, at least in part, the U.

518
01:05:03,080 --> 01:05:06,620
U or V sequence is a clear case.

519
01:05:06,620 --> 01:05:13,310
The Folio illustrating minute, which you have on the right here, comes before battle hard,

520
01:05:13,310 --> 01:05:19,290
but has the more complex initials by inverting those two folia.

521
01:05:19,290 --> 01:05:23,090
Yes, this is better. It starts with a very simple U or V.

522
01:05:23,090 --> 01:05:28,460
And then on the previous leaf you have these more complex ones.

523
01:05:28,460 --> 01:05:37,460
So by inverting those two Fogo, both scripts and decoration fall back into place, it only remains to cheque systematically.

524
01:05:37,460 --> 01:05:39,420
And I have not done this yet on the original.

525
01:05:39,420 --> 01:05:49,430
Whether this is always compatible with the physical structure of the volume, but which seems to be made of single leaves rather than quires,

526
01:05:49,430 --> 01:05:55,610
if it is can if it is confirmed that further leaves had been removed before the first variation.

527
01:05:55,610 --> 01:06:03,010
The bulk of the manuscript would have been even more impressive.

528
01:06:03,010 --> 01:06:14,780
And it is not entirely impossible as it consisted entirely of sequences containing all four scripts.

529
01:06:14,780 --> 01:06:22,520
That kind of an end of analysis is an essential part of the study of writing books, whether in manuscript or print.

530
01:06:22,520 --> 01:06:29,690
Throughout the centuries, most writing books were organised according to some teaching method, and in many cases,

531
01:06:29,690 --> 01:06:36,620
understanding their internal logic is the only way of reconstructing that original appearance.

532
01:06:36,620 --> 01:06:44,570
The appearance of books that are now incomplete, unbound or often bound incorrectly.

533
01:06:44,570 --> 01:06:53,120
The last page of our manuscript in Shuhei is immediately followed on Diversa.

534
01:06:53,120 --> 01:07:00,380
Well, the last example is immediately followed on Diversa by an unusual collection of three

535
01:07:00,380 --> 01:07:06,740
different advertisements covering three pages or rather templates for advertisements.

536
01:07:06,740 --> 01:07:11,150
The first and last in Latin and the second one in French.

537
01:07:11,150 --> 01:07:22,670
All three have blank spaces, four painted initials, as you can see whether or not the author intended to have some inserted the texts.

538
01:07:22,670 --> 01:07:32,360
Lavish praise on the art of writing as usual, and invite all young and old and their children and their relatives periodontist to come

539
01:07:32,360 --> 01:07:38,990
and acquire the art within a month or two with the master who is currently in town.

540
01:07:38,990 --> 01:07:42,690
The phrasing is typical of itinerant masters.

541
01:07:42,690 --> 01:07:51,500
The templates specifically omit the Masters address to be supplied every time he set up shop in a new locality.

542
01:07:51,500 --> 01:08:00,320
As the choice of scripts, the first text only mentions various models dated RTM.

543
01:08:00,320 --> 01:08:07,580
The second cites Shuhei Bataar, then Domy Newt. Presumably the most useful scripts for customers who had no Latin.

544
01:08:07,580 --> 01:08:15,710
The third texts were the master's name appears is more detailed and seems to be aimed especially at clerics.

545
01:08:15,710 --> 01:08:24,210
It says Dhoom clericals, 63. Etc. It specifies fees and terms of payment, but also lists a greater number of.

546
01:08:24,210 --> 01:08:28,620
Scripts closely matching those of your harness from Hagen,

547
01:08:28,620 --> 01:08:37,470
both for documents and scripts and offers to teach customers whichever scripts they should require.

548
01:08:37,470 --> 01:08:46,650
This is an interesting point. This is the only such explicit mention in a French book of all those scripts,

549
01:08:46,650 --> 01:08:53,130
not to conclave and so on, which you never actually find in French examples.

550
01:08:53,130 --> 01:09:03,270
So it looks like the importation of a catalogue of names rather than the actual use of such scripts.

551
01:09:03,270 --> 01:09:08,580
Catalogue of names just made to impress customers.

552
01:09:08,580 --> 01:09:15,060
Essentially, the template texts, template advertisements make it clear.

553
01:09:15,060 --> 01:09:18,990
I think the book was not intended for the public directly.

554
01:09:18,990 --> 01:09:32,220
It was for a Masters own use and maybe for advanced students training to establish themselves as writing masters on the whole.

555
01:09:32,220 --> 01:09:36,330
This is why I spent some time on this book.

556
01:09:36,330 --> 01:09:40,230
Many features announced the form and contents of early modern writing books,

557
01:09:40,230 --> 01:09:47,970
the alphabetical sequence, a logical organisation of scripts, sample texts of similar dimensions,

558
01:09:47,970 --> 01:09:52,830
and even the smaller varieties of magic skills illustrated in the margins next

559
01:09:52,830 --> 01:09:58,710
to the large initials were still common in writing books of the 17th century.

560
01:09:58,710 --> 01:10:05,430
One thing that was not continued in French writing books is the use of large candles.

561
01:10:05,430 --> 01:10:10,980
But that was very largely exported to Germany.

562
01:10:10,980 --> 01:10:20,830
The low countries and England and is found in writing books of all those countries in the following centuries.

563
01:10:20,830 --> 01:10:25,270
Now, just a few notes on some other specimen books of the period.

564
01:10:25,270 --> 01:10:35,980
By comparison, the manuscript at Montpelier that I mentioned earlier has only twenty one leaves containing three separate alphabets.

565
01:10:35,980 --> 01:10:41,440
Three second sequences, alphabetic sequences on sheets of slightly different sizes.

566
01:10:41,440 --> 01:10:49,060
So rather than one writing book, it is, in fact three writing books bound together.

567
01:10:49,060 --> 01:10:59,080
The first of which was actually left unfinished. It's to includes something of a project for a standard advertisement here, limited to a few words.

568
01:10:59,080 --> 01:11:05,350
So University Galardi Boost bonus Keiter scribble as he did antibusing bravely.

569
01:11:05,350 --> 01:11:14,470
Then it stops to these. We must now add a similar manuscript from business so it is catalogued as late 15th century

570
01:11:14,470 --> 01:11:20,110
because it mentions a king named cartload who's supposed to be Charles the eighth.

571
01:11:20,110 --> 01:11:30,750
But Cartoon's is just an obvious choice. For an example that begins with the letter K. which, as you know, is not much used in French.

572
01:11:30,750 --> 01:11:39,750
The style is very similar to the previous items, even though the capitals are less beverage, less brilliant.

573
01:11:39,750 --> 01:11:48,490
The scripts are not labelled reflect the same typology trivial, but Dowden, Newt and besides Carter loose.

574
01:11:48,490 --> 01:11:56,800
The text also mentions one Royal Prince Bear, a fancy name used here for the sake of the initial Y,

575
01:11:56,800 --> 01:12:00,780
but the titles that follow that name would fit those of Charles of France,

576
01:12:00,780 --> 01:12:11,890
son of Charles the seventh between forty sixty six and 14 77 and countermoves might also refer to that prince rather than the actual king.

577
01:12:11,890 --> 01:12:19,990
Whether this reveals anything about the context of production is still impossible to say.

578
01:12:19,990 --> 01:12:30,370
A princely destination for such books is at least a possibility if one considers the so-called alphabet of Mary of Burgundy

579
01:12:30,370 --> 01:12:40,030
written around fourteen eighty on paper and decorated with cattle's that include fine drawings attributed to a court artist.

580
01:12:40,030 --> 01:12:46,840
As I have mentioned, the original is in the Louvre and the 16th century copy in Brussels.

581
01:12:46,840 --> 01:12:54,530
Here's a side by side comparison to show you how similar they are and what an extraordinary facsimile

582
01:12:54,530 --> 01:13:02,800
it was made in the 16th century by pricking the pages of the original in the 16th century at least,

583
01:13:02,800 --> 01:13:08,680
the tradition of the broadside with a catalogue of secrets was still very much alive.

584
01:13:08,680 --> 01:13:20,950
Examples are easy to find in the Germanic area. A recent Austrian find was published in 2016, but there are also several in France.

585
01:13:20,950 --> 01:13:28,420
The first one is from Toulouse. It was actually published by a local canon in 1895 and mentioned by Deleted.

586
01:13:28,420 --> 01:13:36,550
And in all later lists and articles that I've mentioned, but dated to the mid 15th century,

587
01:13:36,550 --> 01:13:42,130
that date, I believe, should be postponed by maybe six or seven decades.

588
01:13:42,130 --> 01:13:47,920
The writing is certainly archaic as well as the dramatic declaration,

589
01:13:47,920 --> 01:13:55,870
but it contains a form of Y with a wavy tail, which you can't see on this reduced photograph.

590
01:13:55,870 --> 01:14:05,860
That is hardly found before the time of is the first. So I would tend to date to the fifteen twenties or thereabouts.

591
01:14:05,860 --> 01:14:12,130
The poster contains two advertisements, one in Latin explicitly aimed at clerics and one in French for everyone,

592
01:14:12,130 --> 01:14:20,730
including paupers who are offered free instruction. The next one is still unpublished.

593
01:14:20,730 --> 01:14:31,780
No, sorry. This is another one. As I said earlier, the current interest in fragments is bound to bring to light new material from the writing masters.

594
01:14:31,780 --> 01:14:37,930
One such find I owe to an eminent fragments ologist to my fellow Maneer.

595
01:14:37,930 --> 01:14:48,940
This shows careful, if somewhat stiff examples of late textualists formatter plus Roman and italic at the bottom from approximately,

596
01:14:48,940 --> 01:14:54,970
I would say, the third quarter of the century. It's difficult to say.

597
01:14:54,970 --> 01:15:00,580
This one is still unpublished and remarkably well-preserved.

598
01:15:00,580 --> 01:15:08,590
Apart from the effects of weathering, as you can see, and I've made the picture slightly lighter than the original,

599
01:15:08,590 --> 01:15:16,210
and the corners which have been restored but are destroyed, were destroyed by multiple postings.

600
01:15:16,210 --> 01:15:28,320
The style has now changed. Lately, we are introduced by the master, which you see on the left into the classical temple of writing and arithmetic.

601
01:15:28,320 --> 01:15:37,760
It call the court decree to intimate, casual be are said to Noblesville, the town being unspecified again.

602
01:15:37,760 --> 01:15:45,290
All for a reasonable price. So once again, the shop sign of a wandering master.

603
01:15:45,290 --> 01:15:50,270
All we know is that the sheet was in Montpellier in the 18th century.

604
01:15:50,270 --> 01:15:54,770
The contents are quite up to date here. Multiple alphabets.

605
01:15:54,770 --> 01:15:59,210
Latin, Greek and exotic. Ancient and modern.

606
01:15:59,210 --> 01:16:06,170
And even a line of cipher texts. And all of these were lifted apart from the French hands.

607
01:16:06,170 --> 01:16:10,520
All of these were listed, lifted from the latest Italian writing book.

608
01:16:10,520 --> 01:16:15,790
The 15 40 Liberto of Daraban. Remember that Latino.

609
01:16:15,790 --> 01:16:25,580
Our first example of a direct interaction with printed models.

610
01:16:25,580 --> 01:16:29,480
And this this sheet is from fifteen fifty once. So shortly.

611
01:16:29,480 --> 01:16:38,250
Shortly after the publication of Politico's book.

612
01:16:38,250 --> 01:16:49,110
Another smaller and this will be the last example and other smaller but more significant poster of that time is also in the BNF.

613
01:16:49,110 --> 01:16:59,880
It was described by Fox was Guss back in 1978. From the perspective of the history of education, but some essential information is still missing.

614
01:16:59,880 --> 01:17:05,460
The sheet, which shows nice examples of different French and Italian styles,

615
01:17:05,460 --> 01:17:12,450
is actually by a very prominent scribe who wrote a number of manuscripts for the

616
01:17:12,450 --> 01:17:20,360
royal family and for other illustrious patrons in the 50s and 60s and 15 seventies.

617
01:17:20,360 --> 01:17:26,940
The writing is not perfect here. It may belong to an earlier period of his career.

618
01:17:26,940 --> 01:17:31,200
For over 150 years, this sheet has been attributed to Gilb.

619
01:17:31,200 --> 01:17:40,650
Again, you have the greatest French master of the late 16th century whose work we will examine soon.

620
01:17:40,650 --> 01:17:47,850
In recent studies, all the other manuscripts in the same hand as this have also been grouped under that name.

621
01:17:47,850 --> 01:17:51,760
But the chronology is untenable.

622
01:17:51,760 --> 01:18:04,920
Nothing by Luganda predates the mid 50s seventies and he was actually born in 15 54, so could hardly have been producing manuscripts by the 15th 60s.

623
01:18:04,920 --> 01:18:10,290
So for now, our scribe must remain anonymous. Frustratingly anonymous.

624
01:18:10,290 --> 01:18:21,960
All we can say is that his career exemplified the enduring connexion between the art of the copyists and the trade of the writing master.

625
01:18:21,960 --> 01:18:32,520
How much of that tradition survived into the following centuries is difficult to say, but we do find a similar concept expressed in print.

626
01:18:32,520 --> 01:18:36,560
I will give you just a single example by an English master.

627
01:18:36,560 --> 01:18:44,460
This time one John Smith dated sixteen eighty three is a close up.

628
01:18:44,460 --> 01:18:54,930
It was presumably not made for posting on his door because writing masters frowned on colleagues who exhibited prints rather than originals.

629
01:18:54,930 --> 01:19:04,440
But the idea of a dazzling catalogue in a spectacular layout certainly lived on.

630
01:19:04,440 --> 01:19:09,600
That was all for today's lecture. Thank you for listening.

631
01:19:09,600 --> 01:19:14,677
And we shall meet again on Thursday.