From: owner-scribes@castle.org (scribes digest) To: scribes-digest@castle.org Subject: scribes digest V8 #92 Reply-To: Sender: owner-scribes@castle.org Errors-To: owner-scribes@castle.org Precedence: bulk scribes digest Friday, December 6 2002 Volume 08 : Number 092 ======================================================================== To unsubscribe from this list, send email to with unsubscribe scribes-digets in the body of the message. Leave the subject line blank. Do not include any additional text. [scribes]: Miniature Re: [scribes]: Fw: [calafia] Fwd: Info for folks wishing to help Master R. an... [scribes]: Scribal help, very close to some cool research, HELP!! [scribes]: Disney Sleeping Beauty Scroll Re: [scribes]: Disney Sleeping Beauty Scroll [scribes]: Re: scribes digest V8 #91 [scribes]: thoughts on pigment toxicity Re: [scribes]: thoughts on pigment toxicity [scribes]: Looking for Japanese Pseudo-script [scribes]: thank you Re: [scribes]: Looking for Japanese Pseudo-script ---------------------------------------------------------------------- Date: Wed, 04 Dec 2002 14:08:48 -0500 From: Randy Asplund Subject: [scribes]: Miniature Hi folks, Sometimes we forget the scale of medieval book paintings and calligraphy. As scribes we often make our scrolls as big or bigger than the period examples. Many books of hours were the size of a modern trade paperback, some up near 8.5X11" but the huge lavish ones were the expensive ones. Small was common... But how small? Sometimes small was done to show off. Many of you are familiar with the beautiful masterpiece known as the Hours of Jeanne D'Evereaux. But check this one out. It is a book of hours in Paris Use (style of prayers) from the second half of the 14th century. It is considered to be the smallest book MS from its time. I had it in Western European MSS. book and forgot it was in there until today. The book is 20X30 millimeters! The text blocks are 6 mm wide by 14 mm high. That means the ruling lines are only 3/4 of a millimeter apart! The minim height of letters is about 3/5 of that, so .45 mm ! Look at the detail! www.provide.net/~randyaf/14thcHrs.Paris.jpg www.provide.net/~randyaf/14thHrsDet.jpg So, the next time you start complaining about the cost of parchment, know that for about $12 you could do a whole book if you have good eyesight and a skilled hand. Hmmmmm, I did one postage stamp size once. Guess I'll have to make another! RanthulfR - -- VISIT RandyAsplund.com To see a Universe of art ranging from Magic: The Gathering to Star Trek and Medieval Manuscripts: Original Art & Prints for sale! Randy Asplund (734) 663-0954 Science Fiction and Fantasy Illustration 2101 S. Circle Dr., Ann Arbor, MI. 48103 =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Wed, 4 Dec 2002 11:54:23 -0800 From: "Jane/Bj Tremaine" Subject: Re: [scribes]: Fw: [calafia] Fwd: Info for folks wishing to help Master R. an... This is a multi-part message in MIME format. - ------=_NextPart_000_007B_01C29B8B.E372B4A0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Ooops, sorry it is spinrldy@san.rr.com Jana - ------=_NextPart_000_007B_01C29B8B.E372B4A0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

Ooops, sorry it is spinrldy@san.rr.com

Jana

- ------=_NextPart_000_007B_01C29B8B.E372B4A0-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Wed, 4 Dec 2002 16:38:57 -0500 From: "Klaus and Mea" Subject: [scribes]: Scribal help, very close to some cool research, HELP!! This is a multi-part message in MIME format. - ------=_NextPart_000_00E8_01C29BB3.A4648EA0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am forwarding this for a friend. If anyone can help Her Grace, please = email her directly. Thanks! Mea : ) =C6thelmearc From: Victoria Hyland=20 Anyone have any idea where I can find an online catalog of the "Taymouth Book of Hours"? I found ONE really cool picture from there that I need to see in color and see if there are any more on my particular subject...(can you guess which one?!) :p Thanks!=20 Elina, crazed and starving cause I can't stop now! :-) __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com - - To change your list status, send a single line message to sca-aethelmearc-request@andrew.cmu.edu Example: UNSUBSCRIBE sca-aethelmearc Victoria Hyland - ------=_NextPart_000_00E8_01C29BB3.A4648EA0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

I am forwarding this for a friend. If = anyone can=20 help Her Grace, please email her directly.

Thanks!

Mea : )

=C6thelmearc

From: Victoria Hyland =

Anyone=20 have any idea where I can find an online
catalog of the "Taymouth = Book of=20 Hours"? I found ONE
really cool picture from there that I need to see = in
color and see if there are any more on my = particular
subject...(can you=20 guess which one?!) :p

Thanks!

Elina, crazed and starving = cause I=20 can't stop now!=20 :-)

__________________________________________________
= Do you=20 Yahoo!?
Yahoo! Mail Plus - Powerful. Affordable. Sign up now.
http://mailplus.yahoo.com
-
= To change=20 your list status, send a single line message to
sca-aethelmearc-re= quest@andrew.cmu.edu
Example:
UNSUBSCRIBE=20 sca-aethelmearc Victoria Hyland <lunardreamer18@yahoo.com>=

- ------=_NextPart_000_00E8_01C29BB3.A4648EA0-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Wed, 4 Dec 2002 16:58:29 EST From: BessdeNevell@aol.com Subject: [scribes]: Disney Sleeping Beauty Scroll - --part1_a9.32e4b614.2b1fd485_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit http://hawthorne.denevell.com/disneyscroll.htm My husband Conchobar told someone (I can't remember who) that we would put their awesome Disney Scroll up on our web server. Well, I got that done today and it can be viewed at the URL above. My problem is this ... in the process of getting this done I've lost the original email and can't remember who created this great piece. So, if this one is your "baby" please let me know so that I can put your name and any other information you would like up on the website with it. Cheers! ~Bess Madame Elizabeth de Nevell Maison de Nevell - http://hawthorne.denevell.com - --part1_a9.32e4b614.2b1fd485_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit http://hawthorne.denevell.com/disneyscroll.htm

My husband Conchobar told someone (I can't remember who) that we would put their awesome Disney Scroll up on our web server. Well, I got that done today and it can be viewed at the URL above.

My problem is this ... in the process of getting this done I've lost the original email and can't remember who created this great piece. So, if this one is your "baby" please let me know so that I can put your name and any other information you would like up on the website with it.

Cheers!

~Bess

Madame Elizabeth de Nevell
Maison de Nevell - http://hawthorne.denevell.com - --part1_a9.32e4b614.2b1fd485_boundary-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Wed, 4 Dec 2002 14:42:22 -0800 From: "Jane/Bj Tremaine" Subject: Re: [scribes]: Disney Sleeping Beauty Scroll This is a multi-part message in MIME format. - ------=_NextPart_000_0074_01C29BA3.5A99D240 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable What a great use of fantasy(Malaphsant(SP)Disney mixed with period = styling. I really like this scroll as I think Mala(how ever you spell = it) is the ideal evil witch. Jana - ------=_NextPart_000_0074_01C29BA3.5A99D240 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

What a great use of = fantasy(Malaphsant(SP)Disney=20 mixed with period styling. I really like this scroll as I think = Mala(how=20 ever you spell it) is the ideal evil witch.

Jana

- ------=_NextPart_000_0074_01C29BA3.5A99D240-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Wed, 04 Dec 2002 22:10:43 -0700 From: Helm-Clark Subject: [scribes]: Re: scribes digest V8 #91 I don't understand why - this has never happened before, but my digest of the scribes list was truncated in the middle of the following message whose header looks like: Date: Mon, 2 Dec 2002 23:51:21 -0600 From: Greg Young/Jocelyn Wirth Subject: [scribes]: An alternate calendar to consider the messages immediately following the truncated message look like I'd really like to read them. Could someone who possibly gets the digest also please send me a copy of their scribes list digest 91, so I might read what I missed??? please??? thanks Therasia =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 05 Dec 2002 01:25:12 -0700 From: Helm-Clark Subject: [scribes]: thoughts on pigment toxicity Well, since the subject came up and I'm too fried to even think about much of anything else right now, here are some thoughts I had about the thread concerning getting into period pigments for the first time. I'll try to be brief for a change... (you can start laughing now...) 1. Mercury in vermillion. Inhaled dust hazard: no big deal here, it's a small but not neglegible hazard - and can be mostly avoided by working the pigment wet as much as possible. Ingestion hazard: essentially none - - mercuric sulfide is insoluble in just about everything, including almost all acids and your GI tract. Vapor hazard: this can vary greatly depending on your working methods. In general, already-made vermillion can be used safely by an adult with good work practices by working wet in cool weather and cleaning up carefully afterwards. Glair is the probably the best medium for vermillion since it suspends the pigment particles in an airtight seal such that Hg vaporization is neglegible. See my mercury articles on my website for more details. But don't even think of using vermillion in the same plcae where pets or childred live: the difference between adult and child toxicity for mercury compounds is huge. Exposing yourself is your own choice, but potentially exposing kids and small animals is just plain wrong - and exposure to mercury vapor is unavoidable, and even itty itty bitty concentrations of Hg vapor which are safely tolerated by an adult metabolism are harmful to kids. No joke. 2. I personally avoid the two arsenic sulfide pigments, orpiment and realgar. If is possible to use these relatively safely by working wet and not breathing the dust. Ingestion and inhalation are both bad ideas with arsenic, but working wet and using a dust mask goes a long way to prevent you from swallowing any air-bourn particles that can get in your mouth. The nasty bit about the arsenic pigments, however, is not the obvious hazard of traditional poisoning, but that any arsenic compounds that get into scratches and cuts do really ugly things to you, like tissue necrosis and active ulceration which can become chronic even with small amounts. And I have rather agressive psorisis, which flakes and cracks rather uncooperatively most all of the time, so you can see why I avoid the stuff... 3. Lead white, lead yellow and lead red - some of the richest, most satisfying pigments in existence, for the very simple reason that their indices of refraction (a.k.a, "r" in analytical microscopy perlance) are through the roof. Lead white and lead red have the highest known r of all known pigments - which in the chromography field means that their saturation is better than anything else known in the world of color. Inhalation hazard: lead white in paticular really is prone to "dusting up" as a dry compound, so work it wet and treat it with a lot of respect. It's actually less toxic to adults than most people realise, but it's still not nice stuff. The truth of the matter is that adults who die of lead poisoning do so from chronic, not acute, poisoning - and that's true historically as well as for the modern day. And you have to paint a great deal of lead white on your skin before it starts having an effect on your health - another case of chronic, not acute, lead poisoning. So what then is the big deal about lead pigments? It goes like this: lead acetate, a component of historical lead white paints, especially the cheap stuff used for house paints, has a very sweet taste. It used to be called "sugar of lead" for a reason... So in old houses, when the paint started to crack and chip off the walls, little kids would pick at it and eat it. And like all the heavy metals, lead is many times more toxic to kids and small animals than it is to adults. Even sanding white paint in old houses is bad, and a current major source of lead poisoning in urban children in the US at the moment. Live in an old house with white paint? Have little kids? Be paranoid, ok? Get the paint tested for lead content. If you live without kids and pets, lead pigments could probably be used with minimal hazard working them wet and using a dust mask. If you have lead pigments in the same place that children reside, well, I wouldn't use them personally...but I do realise that some people want to kill their kids...especially when you've remembered to stay up on the life insurance premiums... (hmmm, was that sarcasm I just smelt?) 4. The copper in malachite and azurite is not a big deal if your aren't already occupationally exposed to copper compounds (e.g., you work in the processing plant of the Morenci copper mine in Arizona). Be careful of where you depose of your dead copper minerals and pigment wastes - copper will nuke your roses and the rest of your garden right quick it will... 5. There is another hazard separate from toxicity when dealing with the inorganic pigments and that's what's called the mineral dust hazard. Some rock particles in your lungs or ingested into your GI tract can stick to your tissues purely through physical means, e.g. because of barbed or splintery mineral habit - much like how lint and cat hair likes to stick to your clothes. These "non-toxic" mineral particles can become the site of tumorous cell growth in the fullness of time, which is how people eventually die of asbestosis and silicosis and several other "osis" diseases. After a summer of working in a limestone quarry brought home to me the [SARCASM ALERT] joys of calcium carbonate dusts, which can do really nasty things to your skin and sinuses in chronic exposures. It's a big enough issue that the Mineraloigical Society of America put out an entire volume of the Reviews in Mineralogy series in 1993 - hundreds of pages devoted to just the hazards of minerals dusts. The moral of the story here is that regardless of the relative toxicity of any pigment you play with, working wet as much as possible is a damn good idea REGARDLESS. Wet is safe. Wet is good. Dust control is your friend. 6. Red and yellow ochre, as well as the carbonate and sulfate whites, and the terra verte pigments are relatively low hazard as far as toxicity is concerned, and dust hazard is easily avoided by good (wet) working methods. 7. Whether you want to play with what I call the big 3 of nasty pigments - - lead, arsenic and mercury - is also a function of whether you are already exposed to these as part of your job. Personally, I have spent over half my career playing with stuff like mercury compounds and other of the "heavy" metal chemicals. Some of the period pigments I will not play with - and a lot of this has to do with the fact that I have to worry about occupational exposures - something most hobbiest artists do not have to worry about. Unless you do something like I do for a living (geochemistry), your exposure will likely be much less than mine. But I know people whose careers as lab chemists are over and they are on permanent disability solely from long-term exposure to low levels of mercury vapor in chem labs with gas extraction lines - and as someone who worked on a gas extraction line with mercury vacuum pumps and mercury monometers for 7 years, I like to err on the side of caution. In this modern world, there are not too many people who get dinked by mercury toxicity - and they are mostly chemists, mercury and small-claim gold miners, and people who eat too much of the wrong kind of fish. I do know one artist who suffered greatly from orpiment in an open cut - it ulcerated and did some really nasty necrosis damage (ugly stuff, arsenic in a cut...) The moral here is that exposures for hobbiests are less than for people like full-time artists or mineral industry workers. My occupational exposures could be potentially large enough to screw me up eventually - and so I go out of my way to avoid voluntary exposures to stuff like mercury and arsenic and lead while pursuing my hobbies in my spare time. Your own milage will vary. Do you play with chemicals or are exposed to chemicals with heavy metals in them for a living? Do you have an isolated study in which you can safely work, or do you have kids or pets occassionally or frequently tracking through the place where you paint? How drafty is your work area? Are you prepared and do you know how to clean up spilled dry pigments in your work area? These are the questions you need to look at before playing with the 3 big league compounds of lead, arsenic and mercury. 8. I've written up some stuff on exposure paths and actual doses, with some examples of real poisonings, in some of my SCA documentation for various pigments I made and occassionally played with. There's a fair bit on mercury, with info on arsenic, lead, antimony, and a few others up on my SCA website at http://www.rocks4brains.com/~cat/stuff.html. The handout I made up on period inorganic poisons is probably the most helpful, though the info in the vermillion page is more up to date as to some of the particulars of mercury. 9. If you do visit my web site, though it's not scribal stuff, might I hint that folks check out a newly built webpage on my entry and my thoughts on the judging of the "garb from a portrait" competition held last month here in Artemisia. I was very very bad, I'm afraid... ;-) ;-) ;-) ["Bad Tux! No Biscuit!] ttfn Therasia the Tux (who has now proven that one does not need to sew at all in order to make absolutely correct and accurate period garb... ;-) =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 05 Dec 2002 10:03:53 -0500 From: Randy Asplund Subject: Re: [scribes]: thoughts on pigment toxicity Wow Therasia! That was an incredible missive, and probably the first time I have read something on this list that struck me as consistent with everything I have learned about the subject. You didn't get into a hyped up state of blind fear, but kept it cool and realistic. I am not a chemist, so I can't speak authoritatively, but it is good that somebody who really has the knowledge and is certain of the documentation CAN do that. For anybody else reading, listen to what she says about dust and working cleanly. These are absolutely critical to working safely. You can do it, but you must pay attention when the colors are dry. Look around for any place where dust might settle. Turn the screw type jar cap upside down OVER THE JAR and lay it that way when you access colors. Consider the color dust that gets in the screw threads of the jar because it falls onto the table. RanthulfR Helm-Clark wrote: > > Well, since the subject came up and I'm too fried to even think about > much of anything else right now, here are some thoughts I had about the > thread concerning getting into period pigments for the first time. I'll > try to be brief for a change... (you can start laughing now...) > > 1. Mercury in vermillion. Inhaled dust hazard: no big deal here, it's a > small but not neglegible hazard - and can be mostly avoided by working > the pigment wet as much as possible. Ingestion hazard: essentially none > - mercuric sulfide is insoluble in just about everything, including > almost all acids and your GI tract. Vapor hazard: this can vary greatly > depending on your working methods. In general, already-made vermillion > can be used safely by an adult with good work practices by working wet > in cool weather and cleaning up carefully afterwards. Glair is the > probably the best medium for vermillion since it suspends the pigment > particles in an airtight seal such that Hg vaporization is neglegible. > See my mercury articles on my website for more details. > > But don't even think of using vermillion in the same plcae where pets or > childred live: the difference between adult and child toxicity for > mercury compounds is huge. Exposing yourself is your own choice, but > potentially exposing kids and small animals is just plain wrong - and > exposure to mercury vapor is unavoidable, and even itty itty bitty > concentrations of Hg vapor which are safely tolerated by an adult > metabolism are harmful to kids. No joke. > > 2. I personally avoid the two arsenic sulfide pigments, orpiment and > realgar. If is possible to use these relatively safely by working wet > and not breathing the dust. Ingestion and inhalation are both bad ideas > with arsenic, but working wet and using a dust mask goes a long way to > prevent you from swallowing any air-bourn particles that can get in your > mouth. The nasty bit about the arsenic pigments, however, is not the > obvious hazard of traditional poisoning, but that any arsenic compounds > that get into scratches and cuts do really ugly things to you, like > tissue necrosis and active ulceration which can become chronic even with > small amounts. And I have rather agressive psorisis, which flakes and > cracks rather uncooperatively most all of the time, so you can see why I > avoid the stuff... > > 3. Lead white, lead yellow and lead red - some of the richest, most > satisfying pigments in existence, for the very simple reason that their > indices of refraction (a.k.a, "r" in analytical microscopy perlance) are > through the roof. Lead white and lead red have the highest known r of > all known pigments - which in the chromography field means that their > saturation is better than anything else known in the world of color. > Inhalation hazard: lead white in paticular really is prone to "dusting > up" as a dry compound, so work it wet and treat it with a lot of > respect. It's actually less toxic to adults than most people realise, > but it's still not nice stuff. The truth of the matter is that adults > who die of lead poisoning do so from chronic, not acute, poisoning - and > that's true historically as well as for the modern day. And you have to > paint a great deal of lead white on your skin before it starts having an > effect on your health - another case of chronic, not acute, lead > poisoning. > > So what then is the big deal about lead pigments? It goes like this: > lead acetate, a component of historical lead white paints, especially > the cheap stuff used for house paints, has a very sweet taste. It used > to be called "sugar of lead" for a reason... So in old houses, when the > paint started to crack and chip off the walls, little kids would pick at > it and eat it. And like all the heavy metals, lead is many times more > toxic to kids and small animals than it is to adults. Even sanding > white paint in old houses is bad, and a current major source of lead > poisoning in urban children in the US at the moment. Live in an old > house with white paint? Have little kids? Be paranoid, ok? Get the > paint tested for lead content. If you live without kids and pets, lead > pigments could probably be used with minimal hazard working them wet and > using a dust mask. If you have lead pigments in the same place that > children reside, well, I wouldn't use them personally...but I do realise > that some people want to kill their kids...especially when you've > remembered to stay up on the life insurance premiums... (hmmm, was that > sarcasm I just smelt?) > > 4. The copper in malachite and azurite is not a big deal if your aren't > already occupationally exposed to copper compounds (e.g., you work in > the processing plant of the Morenci copper mine in Arizona). Be careful > of where you depose of your dead copper minerals and pigment wastes - > copper will nuke your roses and the rest of your garden right quick it will... > > 5. There is another hazard separate from toxicity when dealing with the > inorganic pigments and that's what's called the mineral dust hazard. > Some rock particles in your lungs or ingested into your GI tract can > stick to your tissues purely through physical means, e.g. because of > barbed or splintery mineral habit - much like how lint and cat hair > likes to stick to your clothes. These "non-toxic" mineral particles can > become the site of tumorous cell growth in the fullness of time, which > is how people eventually die of asbestosis and silicosis and several > other "osis" diseases. After a summer of working in a limestone quarry > brought home to me the [SARCASM ALERT] joys of calcium carbonate dusts, > which can do really nasty things to your skin and sinuses in chronic > exposures. It's a big enough issue that the Mineraloigical Society of > America put out an entire volume of the Reviews in Mineralogy series in > 1993 - hundreds of pages devoted to just the hazards of minerals dusts. > The moral of the story here is that regardless of the relative toxicity > of any pigment you play with, working wet as much as possible is a damn > good idea REGARDLESS. Wet is safe. Wet is good. Dust control is your friend. > > 6. Red and yellow ochre, as well as the carbonate and sulfate whites, > and the terra verte pigments are relatively low hazard as far as > toxicity is concerned, and dust hazard is easily avoided by good (wet) > working methods. > > 7. Whether you want to play with what I call the big 3 of nasty pigments > - lead, arsenic and mercury - is also a function of whether you are > already exposed to these as part of your job. Personally, I have spent > over half my career playing with stuff like mercury compounds and other > of the "heavy" metal chemicals. Some of the period pigments I will not > play with - and a lot of this has to do with the fact that I have to > worry about occupational exposures - something most hobbiest artists do > not have to worry about. Unless you do something like I do for a living > (geochemistry), your exposure will likely be much less than mine. But I > know people whose careers as lab chemists are over and they are on > permanent disability solely from long-term exposure to low levels of > mercury vapor in chem labs with gas extraction lines - and as someone > who worked on a gas extraction line with mercury vacuum pumps and > mercury monometers for 7 years, I like to err on the side of caution. > In this modern world, there are not too many people who get dinked by > mercury toxicity - and they are mostly chemists, mercury and small-claim > gold miners, and people who eat too much of the wrong kind of fish. I do > know one artist who suffered greatly from orpiment in an open cut - it > ulcerated and did some really nasty necrosis damage (ugly stuff, arsenic > in a cut...) The moral here is that exposures for hobbiests are less > than for people like full-time artists or mineral industry workers. My > occupational exposures could be potentially large enough to screw me up > eventually - and so I go out of my way to avoid voluntary exposures to > stuff like mercury and arsenic and lead while pursuing my hobbies in my > spare time. Your own milage will vary. Do you play with chemicals or > are exposed to chemicals with heavy metals in them for a living? Do you > have an isolated study in which you can safely work, or do you have kids > or pets occassionally or frequently tracking through the place where you > paint? How drafty is your work area? Are you prepared and do you know > how to clean up spilled dry pigments in your work area? These are the > questions you need to look at before playing with the 3 big league > compounds of lead, arsenic and mercury. > > 8. I've written up some stuff on exposure paths and actual doses, with > some examples of real poisonings, in some of my SCA documentation for > various pigments I made and occassionally played with. There's a fair > bit on mercury, with info on arsenic, lead, antimony, and a few others > up on my SCA website at http://www.rocks4brains.com/~cat/stuff.html. > The handout I made up on period inorganic poisons is probably the most > helpful, though the info in the vermillion page is more up to date as to > some of the particulars of mercury. > > 9. If you do visit my web site, though it's not scribal stuff, might I > hint that folks check out a newly built webpage on my entry and my > thoughts on the judging of the "garb from a portrait" competition held > last month here in Artemisia. I was very very bad, I'm afraid... ;-) > ;-) ;-) ["Bad Tux! No Biscuit!] > > ttfn > Therasia the Tux > (who has now proven that one does not need to sew at all in order to > make absolutely correct and accurate period garb... ;-) > =================================================================== > To unsubscribe from this list, send email to > with a blank Subject: line and > unsubscribe scribes > in the body of the message. Do not include any additional text in > the body. - -- VISIT RandyAsplund.com To see a Universe of art ranging from Magic: The Gathering to Star Trek and Medieval Manuscripts: Original Art & Prints for sale! Randy Asplund (734) 663-0954 Science Fiction and Fantasy Illustration 2101 S. Circle Dr., Ann Arbor, MI. 48103 =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 5 Dec 2002 22:35:23 EST From: KMcWhyte@aol.com Subject: [scribes]: Looking for Japanese Pseudo-script - --part1_17.328db7b7.2b2174fb_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Considering I have limited time here, I was wondering if anyone had an online copy of some Japanese pseudo-script? I checked Merouda's page, but the link is broken to your examples, M... Thanks... - --Kayleigh - --part1_17.328db7b7.2b2174fb_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit Considering I have limited time here, I was wondering if anyone had an online copy of some Japanese pseudo-script? I checked Merouda's page, but the link is broken to your examples, M...

Thanks...

--Kayleigh - --part1_17.328db7b7.2b2174fb_boundary-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Thu, 05 Dec 2002 23:43:58 -0700 From: Helm-Clark Subject: [scribes]: thank you This is a very different sort of post than what I usually send off to this list. I just wanted to say that finding all those happy emails from many of you this evening in response to my post of last night went a long way to probably saving a few lives and convinced me that maybe I don't want to quit the SCA this week... I hold 2 SCA offices right now - and both have been nothing but frustration to me lately. Having carefully planned sending the BoD a small thermonuclear device in the mail as thanks for holding up my corporate-level SCA project for the last 8 months, and especially this evening when I really wanted to murder all the fighters in my local barony this evening (where I'm the baronial marshal, no less...), coming home to unlooked-for pleasantness in my email has left me feeling a little less homocidal before going to bed tonight. I've had little to smile about in my SCA universe lately, and have been wondering why the hell I even bother...but you folks reminded me why the SCA can be a special place. Thank you for being yourselves...your kind, thoughtful and wonderful selves :) ttfn Therasia =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ Date: Fri, 6 Dec 2002 08:00:14 EST From: KMcWhyte@aol.com Subject: Re: [scribes]: Looking for Japanese Pseudo-script - --part1_1b9.a45d4c5.2b21f95e_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/6/02 2:16:41 AM Eastern Standard Time, japester@ucc.gu.uwa.edu.au writes: > any reason why you want pseudo script? > > > ./jehan, speaking as one who can read/write/speak/dream japanese > -- > Jean-Paul Blaquiere || Avatar of Computational > japester at ucc.gu.uwa.edu.au || Thaumaturgy > http://japester.ucc.asn.au || verum ipsum factum > Questions are dangerous, for they have answers > > Speed. I'm working on 2 projects at the same time, due at the same time, and can definitely do both. Project 1 is the Japanese scroll, which I do not have "traditional" materials for, and will work on in such a way to still make it beautiful and presentable, even if the picture I have in mind is not period.... Likewise, if you think you could help and translate the wording I wrote up last night into Japanese, I would immensely appreciate it. Project #2 is a comissioned piece under contract from Pennsic. The piece is a backlog from West Kingdom; the recipient has moved to Atlantia. The scroll is a 9th c. Viking persona AoA, which will be as period as I can make it with the help of a translator friend in Dragonship Haven who knows historical runes. This one's already in the making, is being prepped for carving, and the appropriate people in West Kingdom (Signet, TRM's from 3 yrs ago) have long since been contacted and are awaiting the slat to be sent to them. The deadline for both are the respective 12th Nights for East Kingdom and Atlantia. Considering I do not have weekends to work with ("long-distance" relationship, weekends reserved for boyfriend of 4 yrs), and live at home (interruptions every 20 minutes until 9:30-10pm), work a day job, run a scriptorium (1x / month), and am the local archery captain for my barony (1x / month meeting for report), time's limited. As I said, I can do both, but I generally tend to work as quickly and carefully as I can, given what time I can work with. If it comes down to it, I am able to work on scrolls on weekends, with the presence, patience and understanding of my lord in mind. Sorry to rattle off the 'laundry list' of my daily activities. As I said, if you think you could write up the kanji/katakana for the wording, I would be extremely grateful. Domo Arrigato, - ---Lady Kayleigh McWhyte Barony of An Dubhaigheainn, East E.Frank, Long Island, NY - --part1_1b9.a45d4c5.2b21f95e_boundary Content-Type: text/html; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/6/02 2:16:41 AM Eastern Standard Time, japester@ucc.gu.uwa.edu.au writes:

any reason why you want pseudo script?

./jehan, speaking as one who can read/write/speak/dream japanese
--
Jean-Paul Blaquiere               ||   Avatar of Computational
  japester at ucc.gu.uwa.edu.au ||   Thaumaturgy
  http://japester.ucc.asn.au     ||   verum ipsum factum
    Questions are dangerous, for they have answers

Speed.
I'm working on 2 projects at the same time, due at the same time, and can definitely do both. Project 1 is the Japanese scroll, which I do not have "traditional" materials for, and will work on in such a way to still make it beautiful and presentable, even if the picture I have in mind is not period.... Likewise, if you think you could help and translate the wording I wrote up last night into Japanese, I would immensely appreciate it.

Project #2 is a comissioned piece under contract from Pennsic. The piece is a backlog from West Kingdom; the recipient has moved to Atlantia. The scroll is a 9th c. Viking persona AoA, which will be as period as I can make it with the help of a translator friend in Dragonship Haven who knows historical runes. This one's already in the making, is being prepped for carving, and the appropriate people in West Kingdom (Signet, TRM's from 3 yrs ago) have long since been contacted and are awaiting the slat to be sent to them.

The deadline for both are the respective 12th Nights for East Kingdom and Atlantia.

Considering I do not have weekends to work with ("long-distance" relationship, weekends reserved for boyfriend of 4 yrs), and live at home (interruptions every 20 minutes until 9:30-10pm), work a day job, run a scriptorium (1x / month), and am the local archery captain for my barony (1x / month meeting for report), time's limited. As I said, I can do both, but I generally tend to work as quickly and carefully as I can, given what time I can work with. If it comes down to it, I am able to work on scrolls on weekends, with the presence, patience and understanding of my lord in mind.

Sorry to rattle off the 'laundry list' of my daily activities. As I said, if you think you could write up the kanji/katakana for the wording, I would be extremely grateful.

Domo Arrigato,

---Lady Kayleigh McWhyte
Barony of An Dubhaigheainn, East
E.Frank, Long Island, NY - --part1_1b9.a45d4c5.2b21f95e_boundary-- =================================================================== To unsubscribe from this list, send email to with a blank Subject: line and unsubscribe scribes in the body of the message. Do not include any additional text in the body. ------------------------------ End of scribes digest V8 #92 ****************************