Patricia Lovett MBE
@patricialovett.bsky.social
250 followers 250 following 360 posts
Professional scribe and illuminator. Written 14 books and made a DVD on the subjects. Co-Director and Chief Judge of the Stanford Calligraphy Collection.
Posts Media Videos Starter Packs
patricialovett.bsky.social
It’s an amazing book!
carinr.bsky.social
Happy discovery while searching for teaching materials for early medieval Bible week: the Stockholm Codex Aureus is online and freely downloadable as a very high-res PDF from the Internet Archive: archive.org/details/urn-...

#medievalsky #paleography #bookhistory
Codex Aureus : Free Download, Borrow, and Streaming : Internet Archive
MS. A 135, Royal Library, Stockholm, Sweden
archive.org
Reposted by Patricia Lovett MBE
stella-b.bsky.social
@michaelrosenyes.bsky.social your podcast is so interesting on BBC Sounds. Notice my full stop? 😂
Podcast called Word of Mouth with Michael Rosen.
patricialovett.bsky.social
I’ve always said that when there’s a female Archbishop of Canterbury I’m on hand to give advice on lip wear bearing in mind the kissing of the St Augustine’s Gospels that are part of the inauguration ceremony!
carinr.bsky.social
This glorious day for the Church is a good chance to repost my thread for St. Augustine's day, featuring our new Archbishop of Canterbury proclaiming the Gospel from the St. Augustine Gospels—or so it seems! I very much hope we will see the manuscript come out again at her installation in March. ⚓
carinr.bsky.social
This is the feast of Augustine of Canterbury, d. 604, Apostle to the English 🕯️, which gives me a chance to share my favorite moment of liturgical book theatre so far this millennium. The Gospels of St. Augustine, Cambridge, Corpus Christi College 286, is a 6th-c. Italian manuscript ... 🧵
patricialovett.bsky.social
Not long now before my ‘Gold on Parchment’ talk at the British Library as part of Silver Sunday (for 60+) on Sunday 5th October. Absolutely free but booking required. It’s also being live streamed. Please RT.

events.bl.uk/events/age-u...
Age UK Silver Sunday: Gold on Parchment | British Library
How are feathers made into quills? What’s the difference between vellum and parchment – is there one? What pigments were used in medieval books and how wer
events.bl.uk
Reposted by Patricia Lovett MBE
tracyborman.bsky.social
I’m so looking forward to this. It’s going to be incredible to have some of the documents in the room that tell the dramatic story of the battle for Elizabeth’s throne 🤩🤩🤩 @hodderbooks.bsky.social
Reposted by Patricia Lovett MBE
thegozfather.bsky.social
Excitingly, Tracy has curated a display of original records relating to the tumultuous succession to Elizabeth I, including Henry VIII's will and this 1603 proclamation declaring the Scottish James VI King of England [TNA SP 14/1], which will be on display after Tracy's talk [2/3].
Proclamation declaring James VI & I King of England, 1603
patricialovett.bsky.social
I copied this poor sailor falling into the ocean for a double spread of a ‘mediaeval’ manuscript I made for a spoof film associated with ‘The Wreck of the Unbelievable’ Damien Hirst exhibition in Venice. It was a fun project but then ‘aged’ so unrecognisable!

www.patricialovett.com/props-for-fi...
patricialovett.bsky.social
Just registered for this - looks really interesting for similar vellum/parchment nerds!
patricialovett.bsky.social
Wow! That sounds interesting!!
chapps.bsky.social
I have a couple of Isaac Olivers that I have to upload to that Flickr album. Tomorrow for sure!
patricialovett.bsky.social
Oh Nicholas Hilliard (and Isaac Oliver) - how I admire their work so much - such exquisite brushwork.
chapps.bsky.social
I confess a weakness for Elizabethan portrait miniatures. And there was one master of the art who stood above all others: Nicholas Hilliard. And here he is in 1577, a self-portrait made while in France. Very young and dapper - quite a looker! 1/

#V&A 📸 me
Nicholas Hilliard was born into the prosperous trading classes, the son of a goldsmith. By 1572 he had begun to work for Queen Elizabeth I.

This self-portrait marks Hilliard's first encounter with the Renaissance ideal of the artist as an individual of genius. Dating from Hilliard's visit to France in 1576-1578, its mood is very much that of the portraiture of the art-loving French court, where artists enjoyed a far higher status than their English counterparts. Its boldness and brilliance demand recognition of Hilliard’s genius, and express his aspirations to the status of a gentleman, not a tradesman. The reality on Hilliard's return to England was less ideal. A permanent position at court with all its attendant privileges eluded him, and he was compelled to set up as an artist in the City of London like any other craftsman.

He appears here turned in 3/4 view looking towards the right, but his eyes stare straight at the viewer (as he was obviously looking at a mirror to create this self-portrait). He has slim features, dark curly hair under a black hat with an embroidered band, and a pointed dark beard and a grand mustache. His head is held firm by a gorgeous ruff made of folded white lace, and he wears a black jacket. He has piercing eyes under dark brows, but for all this, he is very young and very beautiful. Delicate, youthful features.

It’s a round portrait in a round gilded frame, which has seen better days.

Marks and inscriptions:

* 'Ano Dmi. / 1577 ; AEtatis Suae / 30'

Inscribed on either side of the head in a gold script.

'NH' [damaged]

Signed in monogram above the left shoulder

Nicholas Hilliard, English (1547-1619), watercolor on vellum, painted in 1577 when the artist was 30 years old. Stuck on a later piece of card. 

Diameter: 41mm (1.61 in.)

V&A Museum, South Kensington, London (P.155-1910)
patricialovett.bsky.social
Oh come on - those letters just S I N G!!
jdmccafferty.bsky.social
Joris Hoefnagel (Flemish / Hungarian, 1542 - 1600), illuminator and Georg Bocskay (Hungarian, d. 1575), scribe

Almond in Flower, 1561–1562; illumination added 1591–1596 (The J. Paul Getty Museum, Los Angeles, Ms. 20, fol. 121)
Reposted by Patricia Lovett MBE
carinr.bsky.social
Today is the feast of Leoba, d. 782, learned kinswoman of Boniface who began her life in religion at Wimborne Abbey and accompanied B. to Germany. BSB Clm 8112, a copy of the Bonifatian correspondence, includes Leoba's letter from Wimborne ca. 732 introducing herself to Boniface. 🕯️#nuntastic
BSB Clm 8112, fol. 106r
patricialovett.bsky.social
Isn’t that an exquisitely drawn elegant hand?
enniusredloeb.bsky.social
Time for a snack

BnF MS Latin 14267; Petrus Lombardus , in epistolis s. Pauli ; 12th century; Abbaye de Saint-Victor de Paris; f.6r
@gallicabnf.bsky.social
Reposted by Patricia Lovett MBE
carinr.bsky.social
For Ceolfrith's day, here are the full-res Amiatinus dedication page and fol 852r, Luke I, with a particularly find Q-guy for
@rayclemens.bsky.social.
Codex Amiatinus, fol. 1v, the dedication page Codex Amiatinus, fol. 852r Codex Amiatinus, fol. 852r, detail
Reposted by Patricia Lovett MBE
saveredlandlibr.bsky.social
3:30pm TODAY on @BBCRadio4

It's not what you say, it's how you say it
Word of Mouth

Michael Rosen on the linguistic comfort food of clichés, pragmatics and how we use language to connect us beyond the actual words used. With Dr Derek Bousfield.

@michaelrosenyes.bsky.social
BBC Radio 4 - Word of Mouth, It's not what you say, it's how you say it
Michael Rosen on clichés, pragmatics and how language is used to connect us beyond words.
www.bbc.co.uk
Reposted by Patricia Lovett MBE
carinr.bsky.social
Thanks to @patricialovett.bsky.social & @jdmccafferty.bsky.social for reminding me that we celebrate Ceolfrith today! I've had a long day taking Dolly Beagle to the vet for heartworm treatment, so I didn't prepare a post, but this is a good chance to repost my instructions on accessing Amiatinus.
carinr.bsky.social
Manuscript news you can use! The Codex Amiatinus has a new online interface, w/a few oddities but in general a big improvement in one respect. Read on for tedious but useful details. #medievalsky 🧵

The landing page for the digital Biblioteca Medicea Laurenziana is tecabml.contentdm.oclc.org
CONTENTdm
tecabml.contentdm.oclc.org
patricialovett.bsky.social
My goodness - that book’s whopper!!
sonjadrimmer.bsky.social
Tufts gave me an absolute treat yesterday: getting to play with some manuscripts in their special collections with such engaged students and then letting me yell at people about AI. What a great time!
patricialovett.bsky.social
That is a really fab example of Uncials!
jdmccafferty.bsky.social
25 Sept: feast of St Ceolfrith abbot of #Jarrow (d. 716) guardian of St. Bede #otd (BM)
patricialovett.bsky.social
I’ve now read it and it really is fascinating!
patricialovett.bsky.social
Thanks so much - how kind of you to post this - I’ll read it with great interest.
carinr.bsky.social
This chapter (open access) has some discussion of pigments used in the wax and legibility problems, quoting Baudri of Bourgueil's poems on preferring green wax: doi.org/10.1163/9789...
patricialovett.bsky.social
Thank you so much for this clarification. It’s intriguing isn’t it?
mssprovenance.bsky.social
The short answer is: I don't know. (I assumed that the wax was mixed with soot, or something, but the example in the display-case is a facsimile, not the original, so I am reluctant to base anything on what it looked like).
patricialovett.bsky.social
I agree on visibility. I’ve tried writing on a modern repro of a wax tablet of clear wax on light coloured wood and it’s v difficult to read. Was it possible to determine in this Parisian example whether the wax was black or was there a painted black background?
mssprovenance.bsky.social
I could never really grasp how writing on medieval wax tablets would be legible, until a recent visit to the _Archives nationales_ in Paris: in this example, the stylus leaves a white trace in the black wax:
patricialovett.bsky.social
Just to say quickly - nothing against this letter T or any other!! Haven’t got a thing about TTTTTs!!
patricialovett.bsky.social
So on spacing, the T is a wee bit too close to the S and the I needs to move to the right. There should be visually about the same amount of space between each letter. This is easy to judge with I then N then I, but not so easy with curved or diagonal letters. It’s that T again causing problems!!
llark.bsky.social
I think the T is quite clever as it would ‘crash’ into its neighbours and maybe compromise the spacing of the letters and line. Of course, I may be very wrong.
patricialovett.bsky.social
So on spacing, the T is a wee bit too close to the S and the I needs to move to the right. There should be visually about the same amount of space between each letter. This is easy to judge with I then N then I, but not so easy with curved or diagonal letters. It’s that T again causing problems!!
llark.bsky.social
I think the T is quite clever as it would ‘crash’ into its neighbours and maybe compromise the spacing of the letters and line. Of course, I may be very wrong.
patricialovett.bsky.social
Goodness, I feel so sorry for the tail of the Q! There it was, desperate to swoop down in a beautiful curve, when that upstart T, rising above its station blocked its path and cut it off in its prime!!
etreharne.bsky.social
Look at the ‘T’ though in this first-century inscription for Lucius Vibius Rusticus (Museo de Málaga)