What prompted those questions were questions more closely related to the Novati ms: Why are the dagger plays presented six to a page but all others four to a page, even when there's room for the larger figures with swords? How did the illustrator manage to draw figures that are so identical in size that you can compare the postures of two figures by placing one figure on top of the other and examining them against a light source (and why? surely the original paper/parchment isn't that thin)? Is there a physical rationale behind the placement of the figures in the segno?
The tools and conceptual aids I visualised beforehand (and remember, I know next to nothing about how these manuals were produced, but I know a fair bit about writing such manuals) turned out not to match the actual production process.
- Text (and, presumably, illustrations) were positioned with the aid of ruled lines, either drawn side by side using various implements or batch-produced by pressing down very hard on the paper (and not, like I thought, with grids to be positioned on the page - at least, no such grids were mentioned).
- Ready measures for various angles and lengths were not mentioned.
- The means of tracing ready drawings onto an empty page as a starting point for the next one were described: either an underdrawing, if the material is thin, or by punctures along the lines of a stencil that would then be inked.
- Compasses (no, not as in "pointing north", as in "going round") were mentioned, but their use was not described in detail.