Pietro Antonio Conte Rotari - A Young Woman reading a Love Letter |
Of course, there would be no love letters without pens, ink
and that luscious bright-red blob of sealing wax for the heroine of the story
to crack open at her dressing table.
A good goose quill was the letter writer’s standard kit
until the invention of the metal dip nib pen in the 1820s.
These quills glided
beautifully over the soft handmade paper made from rags allowing the writer to
let their feelings and emotions flow from their hearts through their pens onto
the paper.
Woman writing a letter, Pietro Antonio Rotari (1707-1762) |
Some lovers wrote of ecstasy, distraction, and excitement while
others described their love as a nightmare, saying they are unable to cope with
the absence of their beloved.
According to the People's Magazine: An Illustrated
Miscellany for Family Reading, 1867, quills were usually about 10 inches long
and a mature goose could provide about 20 feathers a year from which pens could
be made.
Many of the feathers were
imported from Russia and at the height of the trade some 6,000,000 a year were
being manufactured in Britain with a man able to make up to 800 a day. This was
even as the metal dip nib was being sold.
It seems that writers loved their
quills.
Penning a Letter by George Goodwin Kilburne |
The ink people used varied, some made their own using old
recipes, some simply mixed a little water and soot while others bought
expensive India Ink made from a type of fine soot, known as lampblack that was
combined with water. India ink was sold in bottles and was a mainstay of writers
for much of the previous two centuries.
A classical intaglio. |
Seals have been used for security since the time of the
Ancient Egyptians; the Ancient Egyptians made theirs of mud and rolled them
with an engraved stone with the pharaoh’s name on it. The Romans made beautiful intaglios, craved stones often set
in rings with the owner’s unique symbol. By the Middle Ages seals were
appearing on legal documents.
A golden papal bull. |
Perhaps the most famous seals were the papal bulls or
‘bulla’ which carried the metal seal (bulla), which was usually made of lead,
but on very solemn occasions was made of gold. In
the 18th century, the lead bulla was replaced with a red ink stamp of Saints
Peter and Paul with the reigning Pope's name encircling the picture, although missives
of historic importance, e.g. the bull of Pope John XXIII convoking the Second
Vatican Council, are still sealed with the traditional lead seal.
Ordinary folk however used wax. By the Middle Ages, the make-up of the sealing wax was
typically beeswax and 'Venice turpentine', a greenish-yellow resinous extracted
from Larch trees. The brilliant red colour comes from the addition of expensive
vermilion made from the mineral cinnabar. From the 16th century onwards, other
ingredients were added like shellac to give the wax a glossy shine. By the mid
nineteenth century a variety of colours were available including gold using the
addition of mica, green, blue, black and white.
A Mulready Wrapper c. 1840 |
The use of sealing wax diminished with the introduction of
the gummed envelope but that took much longer than you might think. By the
early years of Queen Victoria's reign the Mulready envelope had appeared in
England, it was a prepaid postal wrapper and forerunner of the modern envelope.
Edwin Hill and Warren De La Rue were granted the first British patent for an envelope-making
machine in 1845. These envelopes were not what we think of as an envelope
today. They were made from a lozenge (or rhombus)-shaped sheet of paper, three
edges were pasted together but there was no gummed opening, sealing wax was
still required to close it. The envelope we know today did not appear until
nearly 50 years later.
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