[8] It is possible that their forms were influenced by the use of the brush in painting up public notices and the like. The introduction of the use of vellum—a perfect writing material—in the making of books, led to such a great advance in the formality and finish of the book-hands (especially of the Uncial character) that, practically, it may be said to mark the beginning of penmanship as a “fine” art. This change may be assigned to any time between the first and the third centuries (palæographical dates before the fifth century must generally be regarded as approximate).
[9] “Greek and Latin Palæography,” p. 233.
[10] Some Eastern scribes use a “pad” of fur. This, or a piece of springy cloth, or other elastic substance, would probably be helpful, and experiments should be made in this direction.
[11] The ordinary “Reed pen” of the artists’ colourman is rather soft and weak for formal writing. The reeds used by the native scribes in India and Egypt, and some of the harder English reeds, are excellent. A fine, hollow cane also makes a very good pen.
[12] The width of the cut nib corresponds exactly with the width of the thickest stroke which the pen will make in writing.
[13] If the edge of the nib were cut at right angles to the shaft, obviously the horizontal stroke would not be thin, and the true thick and thin strokes would be oblique (see “slanted pen” writing—fig. [9] & [11]).
[14] For example, a framed sheet does not require such wide margins as a similar sheet unframed.
[15] Really about 6 inches, because the top line of writing will not occupy its full 78 inch, the unused part of which adds to the top margin (see fig. [65]).
[16] MS. Books are further considered in Chap. XVI.
[17] The direct use of a thick wood or metal scale may lead to inaccuracy.