ca. 1136 --Bohemian Sacramentary (Bohemia)
Kungliga Bibliotek, ms. A. 144, folio 34, in Stockholm (Alexander, p. 14).
This full-page illustration has three men wearing square boxes on their belts. There are not many details, but I have interpreted the boxes as penners. These figures apparently represent the Evangelists, who were often shown with penners and inkhorns. In these illustrations, I do not see ink bottles. The penners look wooden to me, because of the decoration and squared off bottom of the one on the left. The penners may hang to the men’s knees, or they may reflect the rather primitive style of drawing. Or maybe the man on the right really is a dwarf.
ca. 1423 -- The Bedford Hours (English)
British Library Add. Ms. 18850 (Backhouse, BH, various pp)
There are several depictions of penners and inkhorns in this manuscript. There is even a charming picture of the Madonna keeping the inkhorn away from the reaching Child.
A white scroll sweeps across the picture, held by the Christ Child on one side. The Madonna is holding the inkwell, and its strings are attached to its cap and thence to the penner below it and behind the open scroll. Both are black. (Backhouse, p. 44)
In another instance, seen to the side here, a woman hangs a penner and inkhorn from her belt. The penner appears very small and flat, and hangs about to the knee. The inkhorn is white and globe-shaped. Perhaps this is a ceramic inkhorn, or even horn. However, it is not shaped like a horn. The strings of the set are mostly obscured by the wearer’s cloak. (Backhouse, p. 23)
In the next miniature, the scribe has taken his penner and inkhorn off his belt and laid it across the table, so that he may more easily use the bottle of ink. The “fluffs” on either side of the penner, halfway down, may be the ends of the cord, frayed into a tassel. The penner itself is light-colored, and appears to taper towards the base. It has more than four sides -- either six or eight. It appears almost circular in cross-section. The penner appears longer than the pen he is holding, but not very large around. To my eye, it looks like wood.
The inkhorn is black, globular with a flat base and small hole in the top, and a distinct rim. The top is still attached to the inkwell and the penner via the two strings, which have been carefully laid out parallel to one another. (Backhouse, p. 58)
In the next miniature, Saint Luke is sitting at a desk with his penner and inkhorn laid on the desk before him. This penner is also a light color, and clearly tapered towards the base. The tassels on either side are also quite distinct. The penner appears to be six-sided, perhaps made of wood. The inkhorn is black, material indeterminate. (Backhouse, p. 18)
The final illustration is of St. Mark. His symbolic animal, the lion, holds the Saint’s penner and inkhorn set by the strings. Again, the penner is a light color, perhaps wood, and six or eight sided. It tapers towards the base.
The inkhorn is black, and the lid is pushed up the strings so that St. Mark may dip his pen. The lion looks very helpful. (Backhouse, p. 21)
ca. 1445 -- Saints Mark, Barbara, and Luke by Stephan Lochner
Oak, painted surface, in Wallraf-Richartz Museum, Cologne (Fisher, p. 144).
The black penner and inkhorn are looped over Saint Luke’s belt by the red cords that join them. The set is fairly small, and the penner is barely larger than the size of a couple pens. Both items look as if they were made of leather.
Fisher notes that the presence of a penner and inkhorn as part of a saint’s clothing generally indicates that the person so represented is one of the Gospel writers, i.e., Matthew, Mark, Luke, or John. But neither Mark nor Matthew is shown with penner and inkhorn in this set of paintings.
The inkhorn is on the right, with strings clearly going through the top, then through a bead before looping onto the belt. It looks like the strings have been pulled up behind the belt, then the two items pushed through the loop thus formed, to both hang on the same side. This is a more secure method of hanging it from the belt.
The penner is fairly small and looks light. It tapers slightly towards the base, and could be a rectangle or circle in cross-section. There appears to be a frayed cord end midway down the body of the penner, showing where the strings stop. The penner looks like leather. He has a third, unidentified item hanging from his belt on the left. Perhaps it is a small money purse.
ca. 1445 -- Saints Matthew, Catherine of Alexandria, and John the Evangelist, by Stephan Lochner
Oak, painted surface, in the National Gallery, London (Fisher, p. 145).
This painting is obviously a companion piece to the previous one, but its current location is in a different museum. The original site of these panels was not given in the text. The black penner and inkhorn are looped over John the Evangelist’s belt by the black or dark brown cords that join them. His writing implements are also symbolic of his role as Gospel writer.
There seems to be a tassel from the knotted end of the cord on the left side of the penbox. The ink bottle is roughly conical, rising from a wide base, with a large rim next to the smaller stopper. This shape is slightly simpler than many of the ink bottles.
ca. 1448-9 --Mare Historiarum, by Giovanni Colonna
From the Bibliothèque Nationale in Paris, Latin ms. 4915. (Alexander, cover)
This is a copy of Mare Historiarum by Giovanni Colonna (ca. 1448-9). Folio 1 shows an anonymous illuminator receiving visitors. This picture is on the cover of Alexander’s Medieval Illuminators. On the table beside the book is a penner and inkhorn. It is hard to distinguish any details. The set is black.
ca. 1496 --Les Épitres Élégiaques by Ovid (French)
MS Fr. 873, fol. 1, Bibliothèque Nationale, Paris (Fox, October 1998)
Penelope is writing a letter to Ulysses with her right hand. Her left hand is on the table, with the ink pot placed just above it. Lying on the table next to that is the penner. Both penner and inkhorn are black. The penbox appears to be just slightly longer than her hand in length. The cords joining the two pieces are also black, and just barely distinguishable.
ca. 1479 - 1482 -- The Liberal Arts Studiolo from the Ducal Palace at Gubbio, by Francesco di Giorgio Martini (?), (Italian)
Metropolitan Museum of Art, Rogers Fund, 1939 (39.153; 30.93.2)
This room is paneled in trompe l’oeil marquetry, employing walnut, oak, beech, rosewood, and fruitwoods. In one of the pictures of a partially opened cabinet is the picture of a penner and inkhorn hanging from a hook. The penner is wider at the top, tapering to the base. It is obviously of wood, with a carved design on the lid and the body of the penbox.
The cords appear to go into the top, not along the outside. There is also no evidence of the cord at the bottom of the box, either in the original depiction nor in the shadow it casts on a nearby book. The cords are hung over a hook, and go through a bead before they split again to go through the top of the inkhorn and thence to the body of the ink bottle.
The ink bottle looks similar to the one on the statue, below. It is unclear of what material it is intended to be made. There is no evidence of knots around the ink bottle. It may be that the cord ends are hidden in the box, and the center of the cord goes around under the far side of the bottle’s lip.
This is one of the most detailed depictions of a penner and inkhorn that I’ve found. Notice how the strings go from the inkhorn’s rim through the sphere on top of the lid. The strings clearly go through, but do they go vertically, or do they cross in the center of the sphere? I don’t know, but the latter would provide more friction to keep the lid out of the way when it is being used.
ca. 1495 --The Visitation with St. Nicholas and St. Anthony Abbot, by Piero di Cosimo (Florence, Italy)
National Gallery of Art, Washington, DC, Samuel H. Kress Collection, 1939. The artist is Florentine, 1462 - c. 1521. (Walker, plate 70). I saw this painting in 1992.
The man seated on the right (St. Anthony Abbot) is writing. He is holding the inkhorn, and his open penner is on his lap, facing us. This shows what the inner construction of a penner was, at least in this instance. The painting is very large, so this detail was at eye-level, perfect for taking notes.
The cords go through three loops attached to the side of the penner, through the penner’s cap, and thence to the inkpot’s cap and bottle (as much as is visible) in a manner similar to the others described here. The penner’s top is roughly triangular. Inside, there are two or three tubes, one with pens, one with a pen-knife. The penner and inkhorn are both black. The penner appears to be shaped in leather. The bottle of ink also appears to be either leather or fully covered in leather.
ca. 1497 -- The Isabella Breviary (Flemish)
British Library Add. Ms. 18851 (Backhouse, IB, p. 47)
The miniature painting of St. John shows the Evangelist holding the ink bottle in his left hand, rendering the bottle barely visible here, with the penner hanging down by his knee. The penner is black, perhaps leather. It is fairly small and slender. It may taper towards the base slightly.
early 1500s -- Crucifixion Group Statue (Picardy, France)
Walters Art Gallery (27.299), polychromed wood.
I saw this example in the Walters Art Gallery, Baltimore, MD, in September, 1991. The sketch is from a wooden statue from a Crucifixion Group of St. John.
The penner appears to be a flat box in shape.
The cord runs through a tube on either side of the top of the box, allowing the scribe to remove the top without having it become detached. The cord goes through a similar tube on each side of the bottom of the case, and is knotted at each side of the base of the penner.
The other end of each cord goes through a hole on opposite sides of the top of the ink bottle. The cords then loop around the bottle proper, under an upper lip. Thus, the noose of cord supports the ink bottle. Each part is fairly small, and the whole thing hangs no lower than about mid-thigh. From the carving, it looks as if both might be made of leather.
The arrangement strikes me as convenient, but with potential for an ink disaster. The ink bottle must be securely fastened before looping it over the belt.
early 1500s -- Poetic Epistles of Anne of Brittany and Louis XII (French)
Fr. F.v.XIV.8. St. Petersburg, Russia (Voronova, pp. 248, 249, 250)
The lady shown here (Anne of Brittany) has a flat, rectangular penner attached by a short set of strings to the inkhorn. Next to it is the matching penknife. It appears that a matching penner, inkhorn, and penknife combination is a reasonable writing set. The penknife is also flat, with a fairly long, thin blade.
The set is black, with details in gold or brass. The penner has two loops on the lid, and three loops on the body for the strings to go through. The ink horn appears to be made of metal. The penner might be metal or wood.
Louis XII’s set is also black, with gold or brass details. There appears to be more decoration on the top of the flat box-shaped penner. He, too, has a matching penknife. The inkhorn is clearly made of metal, and the penner might be metal or wood.
Anne’s next penner and inkhorn set is either gold or brass. The painted depiction is yellow, indicating that it is either made of a yellow metal or is gilded. Her penknife has a black handle and brass or gold nails and details, and looks like the one from the first set. The penner again is a flat, wide box. The metal inkhorn is a round-bodied bottle with a narrow opening at top. The yellow cords can be seen, but not the top of the inkhorn.
Finally, there is an illustration of a poor man with ragged clothing. He has a penner and inkhorn at his belt. It’s plain black, like leather. It is relatively small, and tapers towards the tip. Obviously even a poor man may own a set.
early 1500s -- Les Épitres d’Ovide (French)
MS Fr. 875, fol. 124v , Bibliothèque Nationale, Paris. (Fox, December, 1997).
This illustration is of a woman sitting in bed, with pen in hand, paper to her left, and a penner and inkhorn open on the coverlet before her. The penner is small and tubular. It looks like it would hold only one or two pens, and no penknife. The outer case is red, the inner lip on the base is brown. It looks to me like a painted wood cylinder. The lid should slide over the inner lip of the base to hold it closed.
The penner’s lid is clearly attached to the lid of the bottle of ink, which is open. The bottle is cylindrical, with a wide base, a pinched waist, and a slightly larger cap. The bottle is black. The whole effect is more dainty and colorful than others seen prior to this. It also clearly shows that a woman may find a use for a penner and inkhorn.
The ink bottle is far larger than the penner. The pen that she is using is also slightly longer than the penner that supposedly contained it. I suspect that is an error on the part of the one drawing the picture.
ca. 1530 --Portrait of a Merchant, by Jan Gossaert (a.k.a. Mabuse) (Low Countries)
National Gallery of Art (Alisa Mellon Bruce Fund, 1967.4.1). (Walker, plate 169).
I saw this painting in 1997. The artist is Flemish, and has been known to paint Spanish patrons, so the nationality of this merchant is not clear. From his clothing, however, I would say the merchant is northern European, rather than southern.
The merchant is writing something and has many artifacts related to writing on his desk before him. One is his opened bottle of ink, attached to the penner that is angled across the table and out of the picture. My sketch from the painting is shown in the figure. Note that the top of the inkhorn fits into the bottle and goes rather more deeply into the neck than do modern bottles of ink. The inkhorn is also of a less complex shape than many seen heretofore. This shape could more readily be made of leather.
The penner and inkhorn are both black, and look like leather. The cord is an indistinct gray with purple overtones. The cord was softly twisted, as if it were a long piece of narrow fabric, or an unplied cord. The cord clearly goes through a tube attached to the inkhorn, and is knotted below the tube. It then goes through the bottle-top, and we last see it as it emerges from a similar tube on the side of the penner, presumably the penner’s top.
ca. 1549 --Libellus valde doctus, by Urban Wyss
Victoria and Albert Museum (86.D.95), (Gaur, p. )
This is an illustration I found in Gaur’s History of Writing that shows a table with scribal instruments scattered across it. Lying in the center of the table is a penner and inkhorn. The sketch is not very detailed, but the inkwell is clearly open for use, and the penner out of the way. Thus the scribe would likely sit to the right of the table. The inkhorn is black, the penner light colored, to me implying wood.
1623 -- Vanitas Still Life, by Pieter Claesz
Metropolitan Museum of Art, Rogers Fund, 1949 (49.107) Oil on wood. (Hibbert p. 322). (no picture)
The penner and open, fallen inkhorn are lying on a table. The penner goes out of the picture on the left. The cap is lying with its inner edge toward the viewer. The inkhorn is lying on its side and has its base toward the viewer. A quill is lying on top of the two -- there is no spreading pool of ink, however. Inspiration appears to have run dry. Given that the rest of the painting has an empty overturned goblet, a candleholder without a candle, a closed book, and a skull, the symbolism of “emptiness and endings” seems clear, and consistent with the lack of ink on the table.
At any rate, the penner is black, possibly leather. The cords appear to be flat leather thongs. The near one runs through a short tube on the outside of the penner’s lid, then is visible again before it disappears off the edge of the panel. The ink horn is also black. The thong appears to go to the inkhorn stopper and no further. I see nothing to indicate it connects to the bottle proper. The inner part of the stopper is indented. It could be made of wood. The inkhorn appears to be a cylinder with grooves atop a fancy base. It might be wood or leather. Bottle and stopper might even be of black metal.
Modern -- Instance From Heraldry, Drawing
Friar’s Dictionary of Heraldry lists the “Penner and Inkhorn” as “a charge consisting of a stylized pen case and ink bottle joined by a cord.” The picture illus-trating this is shown below. Note that the cord is attached to the sides of the penner’s top, but stops at the lip of the body, presumably by going through a loop on either side, and knotted below. The cords run through the lid of the bottle, and stop at the lip, midway down. This appears to be modeled on the medieval precedent, rather than the more modern pencases. The artist may be Sir Anthony Wood.