ANCIENT INK TREATISES.
INK TREATISES OF THE FIFTEENTH, SIXTEENTH AND
SEVENTEENTH CENTURIES--JOHN BAPTISTA PORTA
AUTHOR OF THE FIRST--SECRET INKS---NERI, CANEPARIUS,
BOREL, MERRET, KUNCKEL AND OTHER AUTHORS
WHO REFER TO INK MANUFACTURE--PROGRESS OF THE
ART OF HANDWRITING ILLUSTRATED IN THE NAMES OF
OVER A HUNDRED CALLIGRAPHERS CHRONOLOGICALLY
ARRANGED.
THE literature of the fifteenth, sixteenth and seventeenth
centuries on the subject of black and colored
ink formulas, secret inks, etc., is both diversified and
of considerable importance. The following authors
and citations are deemed the most noteworthy:
John Baptista Porta, of Naples, born A. D. 1445
and died A. D. 1515, is best known as the inventor
of the "camera obscuro;" was also the author of many
MSS. books compiled; he says,
"As the results of discussions of long years held
at my own house which is known as de Secreti,
and into which none can enter unless he claim to be
an inventor of new discoveries."
Two of these treatises which were extant in the
first half of the seventeenth century, dated respectively
1481 and 1483, dwell at great length on SECRET
inks and specifically mention as translated into the
English of the time "sowre galls in white wine," and
"vitriol;" repeating Italian formulas pertaining to
the "Secreta" of the twelfth century.
About secret ink he tells us:
"There are many and almost infinite ways to
write things of necessity, that the Characters shall
not be seen, unless you dip them into waters, or
put them near the fire, or rub them with dust, or
smeer them over.
* * * * * * * *
"Let Vitriol soak in Boyling water: when it is
dissolved, strain it so long till the water grow clear:
with that liquor write upon paper: when they are
dry they are not seen. Moreover, grinde burnt
straw and Vinegar: and what you will write in the
spaces between the former lines, describe at large.
Then boyl sowre Galls in white Wine, wet a spunge
in the liquor: and when you have need, wipe it
upon the paper gently, and wet the letters so long
until the native black colour disappear, but the
former colour, that was not seen, will be made
apparent. Now I will show in what liquors paper
must be soaked to make letters to be seen. As I
said, Dissolve Vitriol in water: then powder Galls
finely, and soak them in water: let them stay there
twenty-four hours: filtre them through a linen
cloth, or something else, that may make the water
clear, and make letters upon the paper that you
desire to have concealed: send it to your Friend
absent: when you would have them appear, dip
them in the first liquor, and the letters will presently
be seen.
* * * * * * * *
If you write with the juice of Citrons, Oranges,
Onyons, or almost any sharp things, if you make
it hot at the fire, their acrimony is presently discovered:
for they are undigested juices, whereas they
are detected by the heat of the fire, and then they
show forth those colours that they would show if
they were ripe. If you write with a sowre Grape
that would be black, or with Cervices; when you
hold them to the fire they are concocted, and will
give the same colour they would in due time give
upon the tree, when they were ripe. Juice of Cherries,
added to Calamus, will make a green: to sow-
bread a red: so divers juices of Fruits will show
divers colours by the fire. By these means Maids
sending and receiving love-letters, escape from
those that have charge of them. There is also a
kind of Salt called Ammoniac: this powdered and
mingled with water, will write white letters, and
can hardly be distinguished from the paper, but
hold them to the fire, and they will shew black."
With respect to the preparation of black and colored
inks and also colors: Antonio Neri, an Italian author
and chemist who lived in the sixteenth century, in his
treatise seems not only to have laid the foundation
for most of the receipts called attention to by later
writers during the two hundred years which followed,
but to have been the very first to specify a proper
"gall" ink and its formula, as the most worthy of
notice.
Pietro Caneparius, a physician and writer of Venice,
A. D. 1612, in his work De Atrametis, gives a more
extensive view about the preparation and composition
of inks and adopts all that Neri had given, though he
never quotes his name, and adds--"hitherto published
by no one." He does however mention many valuable
particulars which were omitted by Neri. Most
of his receipts are about gold, silver and nondescript
inks, with directions for making a great variety for
secret writing and defacing. This book revised and
enlarged was republished in London, 1660.
In 1653 Peter Borel, who was physician to Louis
XIV, King, of France published his "Bibliotheca
Chemica," which contains a large number of ink receipts,
two of which may be characterized as "iron
and gall" ones. They possess value on account of
the relative proportions indicated between the two
chemicals. The colored ones, including gold, silver
and sympathetic inks are mostly repetitions of those
of Neri and Caneparius. The French writers, though,
speak of his researches in chemistry as "somewhat
credulous."
Christopher Merret, an English physician and naturalist,
born A. D. 1614, translated Neri into our
language in 1654, with many notes of his own about
him; his observations have added nothing of value to
the chemistry of inks.
Johann Kunckel, a noted German chemist and
writer in 1657, republished in the German language
Neri's work with Merret's notes, and his own observations
on both. He also inserted many other processes
as the result of considerable research and seems to
have been thoroughly conversant with the chemistry
of inks, advocating especially the value and employment
of a tanno-gallate of iron ink for record purposes.
Salmon, A. D. 1665, in his Polygraphics, proceeds
to give instructions relative to inks which notwithstanding
their merit are confounded with so many absurdities
as to lessen their value for those who were
unable to separate truth from falsehood; but he
nevertheless dwells on the virtues of the "gall" inks.
Jacques Lemort, a Dutch chemist of some note,
issued a treatise, A. D. 1669, on "Ink Formulas and
Colors," seemingly selected from the books of those
who had preceded him. He expresses the opinion
that the "gall" inks if properly compounded would
give beneficial results.
Formulas for making inks are found tucked away
in some of the very old literature treating of "curious"
things. One of them which appeared in 1669 directs:
"to strain out the best quality of iron employ old and
rusty nails;" another one says, that the ink when
made is to remain in an open vessel "for thirty days
and thirty nights, before putting it in a parchment
bag."
An English compendium of ink formulas, published
in 1693, calls attention to many formulas for black
inks as well as gold, silver, and the colored ones; no
comment, however, is made in respect to any particular
one being better than another as to permanency,
and these conditions would seem to have continued for
nearly a century later, though the art of handwriting
was making giant strides.
It is a remarkable fact that notwithstanding the numerous
devotees to that art which included many of
the gentler sex, reproductions of whose skill in "Indian"
ink are to be found engraved in magnificent
publications, both in book and other forms, there is no
mention in them or in any others included within this
period about the necessity of using any other DURABLE
ink for record or commercial purposes.
As indicative in some degree of the progress of the
art of handwriting and handwriting materials, commencing
A. D. 1525 and ending A. D. 1814, I present
herewith a compilation of the names of over one hundred
of the best known calligraphers and authors of
the world, and not to be found as a whole in any public
or private library. It is arranged in chronological
order.
1525.
The first English essay on the subject of
"Curious Calligraphy" was by a woman who
from all accounts possessed most remarkable
facility in the use of the pen as well as a
knowledge of languages. Her name was Elizabeth
Lucar; as she was born in London in
1510 and died 1537, her work must have
been accomplished when only fifteen years of
age.
1540.
Roger Ascham, best known as the tutor of
Queen Elizabeth.
1570.
Peter Bales, author of many works, "The
Writing Schoolmaster," which he published in
three parts, being the best known. He was
also a microscopic writer. His rooms were at
the sign of "The Hand and Golden Pen,"
London.
1571.
John de Beauchesne, teacher of the Princess
Elizabeth, daughter of King James I. Author
of many copy books.
1588.
John Mellis, "Merchants Accounts," etc.
1600.
Elizabeth Jane Weston, of London and Prague,
wrote many poems in old Latin.
1600.
Hester Inglis, "The Psalms of David."
1601.
John Davies, "The Writing Schoolmaster, or
Anatomy of Fair Writing."
1616.
Richard Gething, "The Hand and Pen;
1645, "Chirographia" and many others.
1618.
Martin Billingsley, "The Writing Schoolmaster,
or the Anatomie of Fair Writing." This
author was writing master to King Charles I.
1622.
David Brown, who was scribe to King James I.
"Calligraphia."
1622.
William Comley, "Copy-Book of all the most
usual English Hands," etc.
1646.
Josiah Ricrafte, "The Peculiar Character of
the Oriental Languages."
1650.
Louis Hughes, "Plain and Easy Directions to
Fair Writing."
1650.
John Johnson, "The Usual Practices of Fair
and Speedy Writing."
1651.
John Clithers, "The Pens Paradise," dedicated
to Prince Charles.
1652.
James Seamer, "A Compendium of All the
Usual Hands Written in England."
1657.
Edward Cocker, penman and engraver, famous
in his time for the number and variety of his
productions. Author of "The Pen's Triumph,"
"The Artist's Glory," "England's Penman,"
and many more.
1659.
James Hodder, "The Penman's Recreation,"
etc.
1660.
John Fisher, "The Pen's Treasury."
1663.
Richard Daniel, "A Compendium of many
hands of Various Countries."
1669.
Peter Story or Stent, "Fair Writing of Several
Hands in Use."
1678.
William Raven, "An Exact Copy of the Court
Hand."
1680.
Peter Ivers, famous for his engrossing and
drawings.
1680.
Thomas Watson, "Copy-Book of Alphabets."
1681.
John Pardie, "An Essay on the German Text
and Old Print Alphabets."
1681.
Thomas Weston, "Ancilla Calligraphiae."
1681.
Peter Gery, "Copy book of all the Hands in
use, Performed according to the Natural Freeness
of the Pen."
1681.
William Elder, "Copy-book of the most useful
and necessary Hands now used in England."
1683.
John Ayers, "Tutor to Penmanship," and
many others.
1684.
Caleb Williams, "Nuncius Oris," written and
engraved by himself.
1693.
Charles Snell, "The Penman's Treasury
Opened;" 1712, "Art of Writing in Theory
and Practice;" 1714, "Standard Rules," etc.
1695.
Richard Alleine, writing master.
1695.
Eleazer Wigin, "The Hand and Pen."
1695.
John Sedden, "The Penman's Paradise."
1696.
John Eade, writing master.
1699.
Joseph Alleine, published several books about
writing and accounts.
1699.
Robert More, "The Writing Masters Assistant."
1725. "The General Penman."
1700.
John Beckham, father of the celebrated George
Beckham, wrote and engraved several pieces
for "The Universal Penman."
1700.
Edward Smith, "The Mysteries of the Pen in
fifteen Hands, Unfolded," etc.
1700.
Henry Legg, "Writing and Arithmetic."
1702.
William Banson, "The Merchants Penman."
1703.
John Dundas, microscopic writer.
1705.
George Shelley, "The Penmans Magazine."
In 1730 he wrote several pages for "Bickman's
Universal Penman."
1708.
John Clark, "The Penmans Diversion."
1709.
James Heacock, writing master.
1709.
George Shelley, "Natural writing in all
hands."
1711.
George Bickham, one of the most famous of
writers of his time, born 1684, died 1758, author
of "The Universal Penman." He published
many works. 1711, "The British Penman;"
1731, "Penmanship in its utmost
Beauty and Extent" and "The Universal Penman"
are the best known.
1709.
John Rayner, "Paul's Scholars Copy-Book."
1711.
Humphrey Johnson, "Youth's Recreation: a
Copy-Book of Writing done by Command of
Hand."
1712.
William Webster, writing and mathematics.
1730, wrote several pages for "The Universal
Penman."
1713.
Thomas Ollyffe, "The Hand and Pen." 1714,
"The Practical Penman."
1717.
William Brooks, "Delightful Recreation for
the Industrious." Contributor to "The Universal
Penman."
1717.
Abraham Nicholas, "Various Examples of Penmanship."
1722, "The Compleat Writing
Master." Wrote also for "The Universal Penman."
1719.
Ralph Snow, "Youths Introduction to Handwriting."
1720.
William Richards, "The Complete Penman."
1723.
John Jarman, "A System of Court Hands."
1724.
Henry Lune, "Round Hand Complete."
1725.
John Shortland, writing master and contributor
to "The Universal Penman."
1725.
Edward Dawson, writing master and contributor
to "The Universal Penman."
1726.
Moses Gratwick, writing master and contributor
to "The Universal Penman."
1727.
John Langton, "The Italien Hand."
1728.
John Day, writing master and contributor to
"The Universal Penman."
1729.
Gabriel Brooks, writing master and contributor
to, "The Universal Penman."
1730.
William Keppax, writing master and contributor
to "The Universal Penman."
1730.
John Bland, "Essay in Writing." Also contributor
to "The Universal Penman."
1730.
Solomon Cook, "The Modish Round Hand."
1730.
William Leckey, "A Discourse on the Use of
the Pen." Contributor to "The Universal Penman."
1730.
Peter Norman, writing master and contributor
to "The Universal Penman."
1730.
Wellington Clark, writing master and contributor
to "The Universal Penman."
1730.
Zachary Chambers, "Vive la Plume." Contributor
to "The Universal Penman."
1733.
Bright Whilton, writing master and contributor
to "The Universal Penman."
1734.
Timothy Treadway, writing master and contributor
to "The Universal Penman."
1738.
George J. Bickham, writing master; also wrote
for "Bickham's Universal Penman."
1739.
Emanuel Austin, writing master; he wrote 22
pages in "The Universal Penman."
1739.
Samuel Vaux, writing master and contributor
to "The Universal Penman."
1740.
Jeremiah Andrews, writing master and tutor
to King George III.
1740.
Nathaniel Dove, "The Progress of Time," and
contributor to "The Universal Penman."
1741.
John Blande, "Essay in Writing; 1730, contributor
to "The Universal Penman."
1741.
Richard Morris, writing master and contributor
to "The Universal Penman."
1747.
Mary Johns, microscopic writer and author.
1749.
Charles Woodham, "A Specimen of Writing,
in the most Useful Hands now Practised in England."
1750.
John Oldfield, "Honesty." He wrote one piece
in "The Universal Penman."
1750.
Joseph Champion, "The Parallel or Comparative
Penmanship." 1762, "The Living Hands."
1751.
Edward Lloyd, "Young Merchants Assistant."
1758.
Richard Clark, "Practical and Ornamental Penmanship."
1760.
Benjamin Webb, writer of copy books, etc.
1762.
William Chinnery, "The Compendious Emblematist."
1763.
William Massey, "The Origin and Progress of
Letters," containing valuable information
about the art.
1769.
John Gardner, "Introduction to the Counting
House."
1780.
Edward Powell, writing master and designer.
1784.
E. Butterworth, "The Universal Penman" in
two parts, published in Edinburgh.
1795.
William Milns, "The Penman's Repository."
1799.
William G. Wheatcroft, "The Modern Penman."
1814.
John Carstairs, "Tachygraphy, or the Flying
Pen." 2. "Writing made easy, etc."
Illustrated works on the subject of penmanship of
contemporaneous times and not of English origin are
but few. The best known are:
1543.
Luduvico Vicentino, "A Copy book" published
in Rome, seems to have been the first.
1570.
Il perfetto Scrittore (The Perfect Writer) by
Francesco Cresci, published in Rome.
1605.
Spieghel der Schrijkfkonste (or Mirror of
Penmanship) written by Van den Velde, published
in Amsterdam.
1612.
"Writing and Ink Recipes," by Peter Caniparius,
Venice and London.
1700.
Der Getreue Schreibemeister (or True Writing
Master), by Johann Friedr Vicum, published
in Dresden.
From 1602 to 1709 many "Indian" ink specimens
were extant and are still of the different schools of
penmanship. The productions of Phrysius, Materot and
Barbedor illustrating the French style, Vignon, Sellery
and others, for the Italian hand, and Overbique and
Smythers for the German text, and Ambrosius Perlengh
and Hugo, with a few more, complete the list.