By Carol Garrett Fisher, Scott Fisher, Kathleen L. Scott
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Additional info for Art into Life: Collected Papers from the Kresge Art Museum Medieval Symposia
Then the tympan was finished: the process consisted of wetting the tympan parchment and packing in a folded woolen blanket between the outer and inner tympan. Next the frisket was prepared by covering it, pulling an impression of the forme, and then cutting out the printed areas. Finally the forme was checked for any odd pieces of loose-lying type. Page 34 Paper had to be prepared the day before. Several piles of about 250 sheets each were set out. The paper was wetted and allowed to stand overnight.
Before going on to the verso, the scribe had to pause after finishing each recto (except at the middle bifolium) in order to let the ink dry. As the scribe finished the verso, he added a quire signature to the facing recto to keep the bifolia in order. Each quire of the book was designated by a letter of the alphabet, and each bifolium of the quire by a number. Thus the second bifolium of the third quire would be designated C2. Alternatively, a quire could have been copied out of page order, the scribe copying one side of each bifolium, then turning the stack of bifolia over and copying on each of the other sides.
At the same time the humanists in Italy developed a new format for the book that they thought recreated the aesthetic qualities of the book in the ancient world. Believing the Carolingian manuscripts which contained classical texts to date from the Roman Empire, the humanists adopted the Carolingian minuscule script, in the Italian rotunda version, as the littera antiqua, the script of the Romans. In addition, they rejected double columns in favor of long lines, used much more space between lines, and provided wide ample margins.
Art into Life: Collected Papers from the Kresge Art Museum Medieval Symposia by Carol Garrett Fisher, Scott Fisher, Kathleen L. Scott