By Carol Garrett Fisher, Scott Fisher, Kathleen L. Scott
Booklet by way of Fisher, Carol Garrett
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Additional resources for Art into Life: Collected Papers from the Kresge Art Museum Medieval Symposia
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. It was necessary to use damp paper in printing, because there was not enough power in the common screw press to force dry paper to take the ink evenly. Damp paper, however, would take the ink readily and well.
When it was necessary for textual or other reasons to add an extra leaf or bifolium (fig. 5) there could be insoluble problems in matching the hair and flesh sides. The next step in the production of the medieval book was to prick the quire. 34 This stage produced a series of small, almost invisible holes that acted as guides for ruling each page (fig. 6). With a punctorium, a stilus, or an awl, the scribe simply poked holes through the margin of the parchment or paper at regular intervals against a ruler to keep the line of prickings straight.
7). The normal method of writing was to begin on the first page (the recto of the first folio) of the quire and copy the text straight through in its natural order. 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.
Art into Life: Collected Papers from the Kresge Art Museum Medieval Symposia by Carol Garrett Fisher, Scott Fisher, Kathleen L. Scott