It has been proposed that three recently discovered paper pouncing patterns may have been used in the production of paintings within the manuscript. The patterns, which have subsequently been loaned to the Bodleian, are skilfully made. Tiny pinpricks form the outline of illustrations on three of the paintings within the Laud Ragamala Album. Pouncing is a less obvious method of copying than pricking. Charcoal dust would have been transferred through the holes, duplicating the form of a design from pattern to page. Whether or not the three pouncing patterns were indeed the source of the paintings from the Bodleian’s 17th-century volume remains a mystery. In order to examine how closely the two align, a set of renders was generated from 3D recordings of the pouncing patterns and overlaid with the colour images from the manuscript.
Though some elements within the designs differ, there are clear and extremely close correlations between the patterns and paintings. 3D imaging of the paintings themselves shows no evidence of holes or depressions due to tracing, only the layers of pigment that have been applied to the paper. Though the 3D recordings have not provided a definitive answer as to whether the patterns may be the origin of the paintings, it is hoped that they may serve as a template for similar analysis.
A layered image comprising a conventional recording of a painted page from the Laud Ragamala Album (MS. Laud Or. 149) and a 3D render of the reverse of its associated pouncing pattern.
A paper pouncing pattern, photographed conventionally, left. An edited version of the previous image showing the position of the tiny pinholes, centre. A detail from fol. 8 of the Laud Ragamala Album, right.
