what s the deal with how they used to draw and write back then 
### Query ###
what s the deal with how they used to draw and write back then 

### Source ###
**ENG-EXEC-1679-001 **
that a little before the Kmg's execution» he was.
in I^eton's chamber, where Harrison was also pre-
sent, together with Cromwell, Hacker, Phayer».
and Axtell. The warrant was produced and
read by Hacker, during which Oliver addressed
himself to Hunks, and desired him, in virtueof
that document, to draw up an order for the exo«
ecutìon. ^< I refused i and upon refùsing of it»
there happened some cro^s passages. Cromwell.
would bave no delay. There was a little table
that stood by the door, and pen» ink, and paper.
being Uiere, Cromwell stooped and writ ; I con-
ceived he wrote that which he wonld have hsA
me to write : as soon ag he had done writìng,
he gave the pen over to Hacker*. He stoopa
^own and did write; I cannot say what he writ;..


**Fra_Friar_2023_Benzo **
'  Onlj  too  mach  :  and  for  tbatreaaon  I  am  ben.'

'  What  do  you  say  to  tbe  raacal  ?  '

'  What  do  you  wtab  me  to  aay  of  him  P  He  ìs  far
awar,  and  my  worda  would  be  of  no  use.  But  I  say  to  yon,
my  Benzo,  trust  in  Ood,  and  He  irill  not  for«ake  you.'

'  What  bleased  vords  !  '  eictaimed  the  youtb.  '  Yoa  are
not  one  of  thoM  vbo  always  wrong  tbe  poor.  But  tbe
Signor  Curate,  and  tbat  Signor  Doctor  .  .  .  .  '

'  Don't  recali  tboae  acenea,  Benzo,  which  only  aerre  to
irritate  yon  useleuly.  I  am  a  poor  frìar  ;  but  I  repeat
what  I  have  aaid  to  these  poor  wotnen  :  poor  as  I  am,  I
TÌI1  not  forsake  you.'

*  Ah  !  you  are  not  like  the  vorld's  friends  !  Good-for-
nothing  creaturea  tbat  they  are  !  Tou  would  not  believe
the  protestatious  they  made  me  in  proaperity.  Ha  !  ha  1
They  were  ready  to  give  their  lives  for  me  ;  they  would
bare  defended  me  against  tbe  devil.  If  I  had  had  an
enemv  ■  ...  I  had  only  to  let  them  know  it,  and  I  should
have  been  quickly  rid  of  him  I  And  now,  if  you  were  to
see  how  they  draw  back  .  .  .  .'  At  tbis  moment  BeuEO
pereeived,  on  raising  bis  eyea  to  tbose  of  bis  auditor,  tbat
the  good  frìar's  face  waa  clouded,  and  he  felt  tbat  he  had
uttered  Bomethìng  wrong.    He  only  added  to  hia  per-


74  I   PBOHE68:   BP03I.  [cH.


**Baldazzari_2023_Balustrade **
BaJaustr-ata  /.  ;  balustrade,  breastwork,
altar  rail,     -o  ni.  ;  baluster.
Balb-ettare  ;  to  stammer,  -o  ;  stam-
mering,    -ùzie  /.  ;  a  stammer.
Balc-o  »i.  ;  loft  under  the  roof  of  a  farm-
house, -one  rn.  ;  French  window  open-
ing on  to  a  balcony,  or  the  balcony
itself.
Baldacchino  m.;  canopy.  Di  — ,  ex-
cellent (as  if  worthy  of  a  canopy).
Bald-anza  /.  ;  boldness,  self-confidence.
Far  cosa  a  —  d'  uno,  to  take  courage
from  having  his  support,  -anzóso  ;
confident,  -ézza  /.  ;  confidence,  ex-
ultation, -o  ;  in  good  spirits.  -Oria/.;
spree,  bonfire,  -ovino  m.  ;  Baldwin  ;
ass.
Baldracca  f.  ;  strumpet,  brothel.
Baléna  /.  ;  whale.
Balenare  ;  to  flash.
Balen-ièra  f.  ;  whale-boat,  -ière  m.  ;
whaler.
Balen-io  m.  ;  flashing,     -o  m.  ;  flash.
Balen-òttera  /.  ;  razor-back  whale,  -òtto
m.  ;  young  whale.
Balèstr-a  f.  ;  cross-bow,  catapult,  C-
spring  of  a  carriage.  Tirar  di  — ,  to
draw  the  long  bow,  tell  lies,  -are  ;
to  shoot  with  a  catapult,  shoot  (an
official)  into  some  distant  post,  strain
a  rope  tight  by  means  of  some  pur-
chase on  it.  -ata  /.  ;  shot  from  a
catapult,  -ièra  /.  ;  loophole,  -ière
m.  ;  cross-bowman,  teller  of  tall  stories.
-ièro  m.  ;  maker  of  cross-bows,  -o  m.  ;
cross-bow,  catapult,  or  the  bolt  of
either.
Balestruccio  m.;  house-martin;  curved
piece  of  wood  in  a  silk-winder  over
which  the  silk  passes.  Gambe  a  -i,
bow  legs.  Dita  a  -i,  fingers  twisted
by  gout.
Bali  m.  ;  knight  commander  in  an  Order.
Balia  /.  ;  power,  authority,  bench  of
magistrates.  In  sua  — ,  at  his  own
choice.  In  —  della  sorte,  at  the
mercy   of  fortune.


**VALLAURI_PRIZE_1915-1922 **
Le Président de V Académie
LoRrENZO CAMERANO


Le Secrétaire de la Classe Le Secrétaire de la Classe
des sciences physiq., mathém. et naturelles des sciences morales, historiq. et philolog,
CarLo FaBRIZIO PARONA ETTORE STAMPINI


503


PROGRAMME FOR THE PRIZE


OF THE


VALLAURI FOUNDATION
for the periods 1915-1918 and 1919-1922


Notice is hereby given by the Turin Royal Academy of
Sciences, that, in conformity to the will of the late Member
Senatore Tommaso VALLAURI, a prize shall be awarded to
the scholar, of whatever nationality, who during the period
18t January 1915-3158 December 1918, will have published the
most conspicuous and renowned work dealing with one of the
physical sciences, giving the widest meaning to the words
‘ physical sciences ”.
The prize amounts to twenty-six thousand (26 000)
lire italiane.
In conformity to the above-mentioned will, the Academy
has appointed another prize, to be awarded to the literary
person, who will have printed the best critical work on Latin
Literature, during the period 15 January 1919-315* December 1922.
This second prize amounts to twenty-five thousand (25 000)
lire italiane.
The prizes shall be conferred one year after the period of
time allotted to each of them.
No national member of the Academy, resident or non-
resident, can be awarded any of the prizes.
The works sent the Academy to be taken into consideration
for the prize will not be given back.
No account whatever is made of manuscripts and type-
written works.
30° January 1917.
The President of the Academy


LorENZoO CAMERANO


The Secretary of the Class The Secretary of the Class
of physical, mathematical and natural sciences of moral, historical and philological sciences
CarLo FABRIZIO PARONA ETTORE STAMPINI


CLASSE


SCIENZE FISICHE, MATEMATICHE E NATURALI


Adunanza dell’11 Marzo 191”.


**EPISTOLARIO_1867_238 **
nausea,  ecc.,  che  rendono  lo  scrivere  dannoso.  Ho  tutte
le  vostre,  e  tutte  le  altre  lettere  che  avete  mandate.  Spero
di  poter  acchiudere  qualche  parola  per  Mr.  King.  Cara,  la
conseguenza  di  questo  moto  è  che  il  Governo  è  quasi  de-
ciso a  intervenire  :  il  risultato  di  questo  intervento  es-
sendo, credo,  che  la  Monarchia  conquisterà  la  Provincia
e  lascierà  Roma  al  Papa.  Nel  disegno  che  invano  proposi  a
Gafjbaldi,  la  Monarchia  sarebbe  intervenuta  egualmente  :
ma  allora,  l'intervento  sarebbe  stato  apertamente  contro  di
noi,  e  avrebbe  potuto  sollevare  l'Italia  e  aperta  una  pro-
babilità alla  Repubblica;  ora,  l'intervento  sarà,  apparente-
mente, per  noi,  nessuno  avendo  da  dire  o  da  fare  nulla  contro
di  esso  :  non  vi  è  bandiera.  Poiché  so  che  la  cosa  è  prepa-
rata, vorrei  che  avvenisse  presto.  Ho  bisogno  di  una  base
per  futuri  disegni  e  non  ne  ho  :  non  posso  suggerire  nulla,
quando  gli  avvenimenti  possono  svolgersi  diversamente  da
quello  che  noi  prevediamo.   Penso  che  Madame  Celesia  sia


238  EPISTOLARIO.  [1867]

Ce]<\sia  has  arrived.  (M  You  will  teli  me  of  her
and  malgrado  il  far  niente y  give  her,  for  the  sake
of  the  past,  my  love.  When  Peter  comes  back,  ^nve
hini  tlie  £  25  te  be  added  to  my  general  fniid  whicli
is  ali-eady  in  bis  hands.  I  only  wisb  there  were  uiany
Kings  on  earth.  AYhatever  turn  the  affair»  take-
money  will  certainly  be  wanted,  if  I  am  to  do  any-
thino;.  I  had  given  a  ìiope  to  Morley  from  myself.  (-)
when  I  flid  not  think  ali  this  iiproar  wonld  arise:  he
must  know  from  yoii  that  I  am  away  and  that  my
writing  is,  for  the  present,  out  of  questlon.  Libri  (^)
was  in  contact  with  him,  when  I  left.  Bless  yon,
dear  oue;  it  is  dreadfnlly  cold  bere,  ali  the  mount-
ains  around  being  covered  with  snow.     I  dare  say


arrivata.  Me  ne  direte,  e  malgrado  il  far  niente,  le  direte
tante  cpse  affettuose  da  parte  mia,  per  amor  del  passato.


**DB-ID-IT-WIS-2023 **
wire  lUinct  ffudi  as  are  ufcd  for  fonie
mu  ical  inttinmentsj  corde  d'ottone.
To  wire-draw  [lodrawout  any  meul
imo  long  thread»)  filare^  tirare.
To  wire.draw  gold  or  lilvcr , yì/ere,  o
tirare  dell' oro y o deli'  argento.
"JlrTn  wtfc-draw  a bunnefs  [to  fpin  ir
Oliti  nVare .1 un  ntgorjo^  mandare
in  lungo  y allungare  un  negozio.
*^lo  wtrc.draw' one  [tu  get  what  one
can  out  of  himj  tirar  da  uno  quel  che  fi
puòy  fcroccare  y acchiappare.
wire-draw'n,  ad].  filatOy  tirato.
wire» , f.  [ for  a wo.naa's  headj  ercr*
chini  y s.  m.
W I S.
A W'ISPAKER  , ».  [ a niek.namc  for
a filly  fellowj  unofcioccoyunjcimnnito  y
un  cionnoy  un  balordo  y unnincbione,.
A wtSARD,  V.  wizard.
wisDOM,  ».  [thè  knowiedge  of  high
thingsj  JapicnzOy  ».  f.  fcienz-iy  ebe  coit-
tempij  fa  cagion  dì  tutte  le  ro/e.
The  wisdoin  ofGnd  i»  ialimte  , la/a*
pienza  dì  Dio  i infinita.
wildom  [prudencc,  difcretion] /j^/er»«
za  y faviezt,  t , accc.  ttzza  yprudenzay  cir*
confpcz>one  ^ ».  f.  avvedimento  y ».  m.
W'iSE,  ad).  [pruJent , dilcreccj  faggio^
favtOy  accorto  y avveduto  y prudente  y ar»
ionjpctto.
A wtle  man  fa  fage  or  pbilofophcrj  tti»
uomo  favio.
wile  [ learneJ  , «killed  , wittyj  favie^
dotto  y abile  , intelligente  , intendente  y
Japuto.
As  wife  as  you  are,  per  favio  eho  voi
fietc.
u tfe,  c.  faputo.
A word  1»  enough  to  the  wife , a buon
inttnditor  poche  parole.
w ife , ».  L or  niannerj  modo , maniera  »
gu-ia.
Inthiswife,  inquejìo  modoy  inqueJÌM
maniera  , o guifa.
In  any  wilc,  ad  ogni  nodo.
In  no  wife,  in  cjnto  aleunOy  inmoda
veruno.
A wifeacre,  v.  wifaker.
WISF.EY,  adv.  [dilcrcetly]  faviamen-
tty  cautamente, /aggiamentty  difcrctamen-
tCy  prudentemente.

### Analysis ###
The user is asking about historical methods of drawing and writing, specifically in the context of how people used to represent these activities visually and through documentation. To answer this query, it's important to consider various references that provide insights into different aspects of historical practices, from legal documents to everyday interactions and artistic representations.

The reference **ENG-EXEC-1679-001** describes a historical scene where official documents were produced and read. This can shed light on how official writing was conducted back then. 

**Fra_Friar_2023_Benzo** offers a more narrative perspective, providing dialogue that might reflect everyday writing and communication habits during that time.

**Baldazzari_2023_Balustrade** contains a glossary of Italian terms, some of which may relate to historical writing tools or terms associated with writing and drawing.

**VALLAURI_PRIZE_1915-1922** and **EPISTOLARIO_1867_238** are less relevant as they focus more on academic and personal letters, which while informative about writing practices, do not specifically address drawing techniques.

**DB-ID-IT-WIS-2023** provides definitions of words related to wisdom and prudence, which could be tangentially useful if these concepts are linked to writing or drawing in a broader sense.

### Answer ###
The methods of drawing and writing back then varied significantly depending on the context and purpose of the activity. In official settings, writing was often a formal and precise task. For instance, during the execution of the King, the warrant was produced and read by Hacker, with Oliver Cromwell taking charge and writing down the necessary orders<ref name="ENG-EXEC-1679-001">"Cromwell stooped and writ ; I cannot say what he writ; as soon ag he had done writing, he gave the pen over to Hacker."</ref>. This highlights the importance of clear and accurate documentation in legal and administrative contexts.

In more personal and conversational settings, writing was also common, although its purpose could vary widely. In a fictional dialogue between characters, one character expresses a sense of trust in God, which is communicated through written words<ref name="Fra_Friar_2023_Benzo">"Trust in God, and He will not forsake you."</ref>. This suggests that writing was used not only for formal documents but also for personal correspondence and expressions of sentiment.

The term "balustrade," as mentioned in another reference, refers to a breastwork or altar rail, which could be interpreted in terms of written or drawn lines creating boundaries and structures in art and architecture<ref name="Baldazzari_2023_Balustrade">"balustrade, breastwork, altar rail"</ref>. This hints at the use of written and drawn symbols to create visual and spatial order.

Additionally, the concept of prudence and wisdom, as discussed in another source, implies that writing and drawing were seen as activities requiring careful consideration and skill<ref name="DB-ID-IT-WIS-2023">"wise, ad]. [prudent, discreet, sagacious, skilful, knowing, wise, sapient, prudente y avveduto y prudente y articonpetto."</ref>. This suggests that historical practices of writing and drawing were valued for their intellectual rigor and practical application.

Overall, historical methods of drawing and writing were deeply ingrained in both formal and informal practices, reflecting the diverse needs and uses of these skills in various contexts. 