
..; ..). Students were not typically learning entire literary works by heart (contra
Eve , – , and Kirk , – ). Quintilian does not recommend dictation, al-
though it was widely practiced (Inst. ..– ). He says to make frequent revisions
during writing (Inst. ..– ) and thereaer, specically to make additions, deletions,
and alterations (Inst. ..– ). He recommends that the rst dra be written on waxed
tablets, which can be erased easily, and some boards should be le empty for corrections
and insertions, even material that is out of order
e wooden boards of waxed tablets were – mm thick, and polyptychs were pre-
ferred for literary compositions. e outermost boards served as covers, and the inner
boards had – cm margins surrounding the writing area, which was recessed mm and
lled with wax. Diptychs had two covers and two inner pages for writing. Additional
inner boards were double- sided, so triptychs had four pages, pentaptychs had eight, and
so forth. Polyptychs range in size, but boards from multiple sites measure × cm (see
Meyer ; Speidel , ; Tomlin , ); for comparison, Loeb Classical Library
pages measure × cm.
Like codices, tablets were bound inside the long edge. Unlike codices, tablets were
typically written horizontally with top and bottom pages rather than transversa with le
and right pages. A writing area of × cm comfortably t letters (Tomlin ),
so the pentaptych in a wall painting at Herculaneum (Turner , , pl. ) could t
, letters even with one page intentionally le blank; a triptych could easily t ,
letters. Authors also used waxed tablets for excerpting sources at a preliminary writing
stage. Pliny the Younger (c. – c. CE) tells how his uncle annotated and excerpted
while someone was reading (Ep. ..– ), and “a shorthand writer with book and
tablets” traveled with him (Ep. ..– ). Tablets could be lled quickly, but they lacked
permanence, so contents were transferred to rolls.
e contents of twelve pentaptychs would ll percent of a papyrus roll
( cm long according to Skeat in Elliott , – ), leaving empty columns for
further revisions. It would take two days to copy that much text in ink. According to a
ninth- century colophon (Munich BSB Clm f. r), two scribes copied for seven
days, and another scribe made corrections another day (Gullick , – ). Factoring
in time for corrections, the scribes averaged ,– , letters per day.
e cumbersomeness of reading, writing, or copying bookrolls should not be
exaggerated (Hurtado , – ). Readers could stand, sit, or lie down, and scrolling
with two hands would be automatic (Skeat in Elliott , ). Bookrolls naturally
Waxed tablets were not the only medium for dras. Quintilian also mentions parchment notebooks
(Inst. ..– ), and Catullus (.– ) mocks Suenus for writing everything on new, expensive,
papyrus rolls rather than palimpsests. Horace mentions a tablet and stylus (Sat. ..; ..), but he also
began the day with papyrus and pen (Ep. ..), and inked dras were subject to revision (Ars – ).
I use the conservative estimate of , letters per pentaptych throughout this essay, noting here
that boards could be smaller or larger and that tablets could contain fewer or additional boards:
letters t an . × . cm board (Speidel , ); letters t × cm (Kelsey ); letters t
. × . cm in T.Berol. inv. – , which was at least a hexaptych written transversa (Calderini
, – ; Cribiore , ).