A scarlet letter

"This rag of scarlet cloth --for time and wear and a sacrilegious moth had reduced it to little other than a rag -- on careful examination, assumed the shape of a letter.  It was the capital letter A.
...
In the absorbing contemplation of the scarlet letter, I had hitherto neglected to examine a small roll of dingy paper, around which it had been twisted.  This I now opened, and had the satisfaction to find, recorded by the old surveyor's pen, a reasonably complete explanation of the whole affair.  There were several foolscap sheets containing many particulars respecting the life and conversation of one Hester Prynne, who had appeared to be rather a noteworthy personage  in the view of our ancestors.  She had flourished during the period between the early days of Massachusetts and the close of the seventeenth century."

Introductory to The Scarlet Letter   Nathaniel Hawthorne

"Lacon, or Many Things in few Words.."

"Mr Redding draws the following picture of Mr. Colton's lodgings in [Princes Street], London.

'His sitting-room was carpetless; a common deal table stood in the centre, and a broken phial placed in a tea-saucer served for an inkstand, surrounded with letter covers and paper scraps.  Four common chairs, one or two rickety, a side table holding a few books, half a quire of foolscap paper, and some discarded pens, on one side of the room, composed nearly all the furniture, fishing-rods and gun excepted.  Here he indited Lacon.  His copy was written on scraps of paper, blank sides of letters, and but rarely on bran-new paper.  It is untrue that his rooms were as bad as some penny-a-line scribbler made out in a newspaper sketch of him.  They were always clean …'  "

Village London. part 4,  Edward Walford,  quoting Cyrus Redding's Recollections on C.C. Colton, Vicar of Kew and Petersham

Under the frangipani

"Domenica was fussy about the circumstances in which she wrote. In Scotland Street, she would sit at her desk with a clean block of ruled foolscap paper in front of her and write on that, with a Conway Stewart fountain pen, in green ink.  There were those who said that writing in green ink was a sign of mental instability, but she had never understood the basis for this.  Green ink was attractive, more restful on the eye than an intense black, and she persisted with it.
Such rituals of composition were impossible in that small village near Malacca.

There, she made do with a simple, rather rickety table, which provided a surface for her French moleskin notebook and for a rather less commodious writing paper.  But there was still the Conway Stewart pen, and supplies of green ink, and it was with this pen that she now wrote a letter to James Holloway in Edinburgh.
'Dear James,' she began, 'I know that you are familiar with the Far East and will be able to picture the scene here --  the scene of me upon my veranda, at my table,  with a frangipani tree directly in front of me.'  "

Love over Scotland Street  A. McCall Smith