diff --git a/README.md b/README.md
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+++ b/README.md
@@ -64,44 +64,53 @@ Detailed tutorial-source inventory and file-by-file audit:
 ## Source Mapping
 
 Landing:
-- `landing_tree_full.png` drives the homepage composition.
+
+- `landing_tree_full.webp` drives the homepage composition.
 - Hotspot metadata lives in [`src/content/landing.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/landing.js).
 
 Apps:
+
 - App page content and placeholder launch/download config live in [`src/content/apps/apps.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/apps/apps.js).
 - Proteus is intentionally modeled as a download page, not a live-app page.
 
 Tutorials overview:
+
 - `Tutorials/1. Overview of All Tutorials/Tutorial Units.xlsx` informs the portal index at [`src/content/tutorials/index.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/index.js).
 - No finished standalone overview prose exists, so the page is explicitly source-audited rather than treated as authored tutorial copy.
 
 Palaeography:
+
 - No finished Palaeography tutorial source was found.
 - [`src/content/tutorials/palaeography.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/palaeography.js) now exposes the verified outline from `Tutorials/4. Scripts/Unit 1 - Palaeography (Jeremy).docx` and marks the missing final source explicitly.
 
 Digital Palaeography:
+
 - `Tutorials/2. Digital Palaeography/Finish and Feedback` is the only public-facing source layer used.
 - `Old/` was intentionally excluded.
-- Mind-map image copied to `public/images/digipal/mindmap.png`.
+- Mind-map image copied to `public/images/digipal/mindmap.webp`.
 - Normalized content/config lives in [`src/content/tutorials/digitalPalaeography.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/digitalPalaeography.js).
 
 MSI:
+
 - The lesson docx files in `Tutorials/3. MSI` were normalized into [`src/content/tutorials/msi/msi.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/msi/msi.js).
 - Lesson II is backed by a finished source document; the remaining lesson routes are explicitly marked as draft-backed because no later public versions were found.
 - `365_baader.tif` and `TX_735.tif` were converted for web use and stored in `public/images/msi/`.
 - The Proteus lesson bridges into `/apps/proteus`.
 
 Scripts:
+
 - The finished HTML package in `Tutorials/4. Scripts/html` is reused as the content source, not as a separate micro-site.
 - The HTML files were copied into `public/source/scripts/`.
 - Route metadata, chronology, ductus links, and timeline bridges live in [`src/content/tutorials/scripts/scripts.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/scripts/scripts.js).
 - Rendering/parsing is handled by [`src/components/tutorials/HtmlArticle.vue`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/components/tutorials/HtmlArticle.vue).
 
 Ductus:
+
 - `Tutorials/4.1 Ductus Tutorials` was normalized into the gallery metadata in [`src/content/tutorials/scripts/scripts.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/scripts/scripts.js).
 - Converted ductus images live in `public/images/ductus/`.
 
 Bookbinding:
+
 - The immersive entry page uses the cover/workshop imagery already stored in `public/images/bookbinding/`.
 - The finished HTML tutorial `medieval_bookbinding_revised2.html` was copied to `public/source/bookbinding/tutorial.html`.
 - No finished standalone workshop-introduction prose exists, so the overview page is an audited entry layer into the HTML reader rather than an invented tutorial introduction.
@@ -109,18 +118,21 @@ Bookbinding:
 - The reader extracts chapter sections from the source HTML and preserves practical quiz behavior through [`src/components/tutorials/HtmlArticle.vue`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/components/tutorials/HtmlArticle.vue).
 
 Timeline:
+
 - `Tutorials/6. Historical Timeline` sample docs were normalized into seed entries in [`src/content/tutorials/timeline/timeline.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/tutorials/timeline/timeline.js).
 - `Timeline Concept and Design.pdf/pptx` are treated as interface guidance only.
 - No finished standalone timeline landing prose exists, so the module uses explicit source notes plus seed articles.
 - The design is a split-screen viewer implemented in [`src/components/tutorials/TimelineViewer.vue`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/components/tutorials/TimelineViewer.vue).
 
 Glossary:
+
 - `Tutorials/7. Glossary/Glossary.xlsx` provided the base term set.
 - `Tutorials/2. Digital Palaeography/2. Glossary.xlsx` informed the digital-method additions.
 - Embedded glossary definitions inside the finished Scripts and Bookbinding HTML files supplement the spreadsheets only where the spreadsheets are incomplete.
 - Final normalized glossary data lives in [`src/content/glossary/glossary.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/glossary/glossary.js).
 
 About / Team / Bibliography:
+
 - These pages use normalized config/content files:
   - [`src/content/about/about.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/about/about.js)
   - [`src/content/team/team.js`](/Users/mobasuony/Desktop/Landing Website/emanuskript/src/content/team/team.js)
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@@ -670,18 +670,18 @@ <h4>📜 Key Takeaways</h4>
     <p class="illustration-caption">A man holding a papyrus scroll. Before 79 C.E. National Archaeological Museum of Naples (inv. nr. 9072). Public domain via <a href="https://en.wikipedia.org/wiki/Papyrus#/media/File:Busto_maschile.JPG" target="_blank">Wikimedia Commons</a>.</p>
   </div>
 
-    <p>For Latin literature, the oldest surviving poetry — that of 
-    <span class="glossary-term">Cornelius Gallus<span class="glossary-def">Gaius Cornelius Gallus (c. 70–26 B.C.E.), Roman poet and soldier. Long considered almost entirely lost; a papyrus fragment was discovered at Qasr Ibrim in 1978.</span></span> — survives on a papyrus fragment discovered in Egypt. Yet the most famous surviving examples come from the Villa of the Papyri in Herculaneum, preserved under volcanic ash during the eruption of Mount Vesuvius in 79 C.E. These carbonized rolls are extremely fragile, and for centuries their contents remained largely inaccessible. Recent imaging technologies, including advanced scanning and virtual unrolling techniques, now allow scholars to read portions of these texts without physically opening them. Among the most exciting developments is the possible identification of historical works attributed to 
-    <span class="glossary-term">Seneca the Elder<span class="glossary-def">Marcus Annaeus Seneca (c. 54 B.C.E.–39 C.E.), Roman rhetorician and father of the philosopher Seneca the Younger. His <em>Controversiae</em> and <em>Suasoriae</em> are the main surviving works.</span></span>, 
+    <p>For Latin literature, the oldest surviving poetry — that of
+    <span class="glossary-term">Cornelius Gallus<span class="glossary-def">Gaius Cornelius Gallus (c. 70–26 B.C.E.), Roman poet and soldier. Long considered almost entirely lost; a papyrus fragment was discovered at Qasr Ibrim in 1978.</span></span> — survives on a papyrus fragment discovered in Egypt. Yet the most famous surviving examples come from the Villa of the Papyri in Herculaneum, preserved under volcanic ash during the eruption of Mount Vesuvius in 79 C.E. These carbonized rolls are extremely fragile, and for centuries their contents remained largely inaccessible. Recent imaging technologies, including advanced scanning and virtual unrolling techniques, now allow scholars to read portions of these texts without physically opening them. Among the most exciting developments is the possible identification of historical works attributed to
+    <span class="glossary-term">Seneca the Elder<span class="glossary-def">Marcus Annaeus Seneca (c. 54 B.C.E.–39 C.E.), Roman rhetorician and father of the philosopher Seneca the Younger. His <em>Controversiae</em> and <em>Suasoriae</em> are the main surviving works.</span></span>,
     whose lost historical writings may survive within these damaged scrolls.</p>
 
-  <p>Although papyrus is often considered too brittle for codex construction, there is evidence that papyrus codices did exist. A remarkable discovery at the University Library of Graz in 2023 identified a papyrus fragment that had originally been folded and bound as a bifolium within a codex structure. If this interpretation is accepted, it represents the oldest surviving bifolium from antiquity, demonstrating that the <span class="glossary-term">codex<span class="glossary-def">A book formed from bound stacked sheets, as opposed to the scroll/roll (volumen). The codex gradually replaced the roll from the second century C.E. onward. Its advantages include random-access reading, use of both sides of each leaf, and greater compactness.</span></span> form — later dominant in medieval manuscripts and modern books — was already being explored while papyrus was still in use. While papyrus codices in the European Middle Ages are rare, famous examples survive in the fragmentary remains of the homilies of 
+  <p>Although papyrus is often considered too brittle for codex construction, there is evidence that papyrus codices did exist. A remarkable discovery at the University Library of Graz in 2023 identified a papyrus fragment that had originally been folded and bound as a bifolium within a codex structure. If this interpretation is accepted, it represents the oldest surviving bifolium from antiquity, demonstrating that the <span class="glossary-term">codex<span class="glossary-def">A book formed from bound stacked sheets, as opposed to the scroll/roll (volumen). The codex gradually replaced the roll from the second century C.E. onward. Its advantages include random-access reading, use of both sides of each leaf, and greater compactness.</span></span> form — later dominant in medieval manuscripts and modern books — was already being explored while papyrus was still in use. While papyrus codices in the European Middle Ages are rare, famous examples survive in the fragmentary remains of the homilies of
     <span class="glossary-term">Avitus of Vienne<span class="glossary-def">Alcimus Ecdicius Avitus (c. 450–518 C.E.), bishop of Vienne, Gaul. His works include biblical epic poetry and theological letters.</span></span>
     and in the <em>Antiquitates Iudaicae</em> (Antiquities of the Jews) of <span class="glossary-term">Flavius Josephus<span class="glossary-def">Flavius Josephus (c. 37–c. 100 C.E.), a Roman-Jewish historian. His 20-volume work <em>Antiquities of the Jews</em> (93 AD), traces the history, laws and customs of the Jewish people from creation to the first century. It was translated into Latin by Rufinus of Aquileia (c. 345–411 C.E.)</span></span>, both of the sixth or seventh century.</p>
 
-  <p>After papyrus fell out of use in European book production, <span class="glossary-term">parchment<span class="glossary-def">A writing material made from the skin of a calf (vellum), sheep, or goat, prepared by de-hairing, liming, stretching under tension on a frame, and scraping with a lunellum. Unlike leather, parchment is not tanned but dried under tension. The word derives from Pergamum (modern Bergama, Turkey).</span></span> became the dominant writing support in Europe until at least 1300. According to a legend recorded by 
-    <span class="glossary-term">Pliny the Elder<span class="glossary-def">Gaius Plinius Secundus (23/24–79 C.E.), Roman author and naturalist. His <em>Naturalis Historia</em> (Natural History) is a major encyclopedic source for ancient science and technology.</span></span> 
-    in his <em>Natural History</em> (13.21.70), parchment originated in a trade dispute between Pergamum and Alexandria. To hinder the growth of its impressive library, <span class="glossary-term">Ptolemy V Epiphanes<span class="glossary-def">Ptolemy V Epiphanes (r. 204–181 B.C.E.), fifth ruler of the Ptolemaic dynasty of Egypt. Pliny the Elder (<em>Nat. Hist.</em> XIII.21) identifies him as the king who banned papyrus exports to Pergamum, though the historicity of the episode is debated by modern scholars.</span></span> (r. 204–181 B.C.E.), 
+  <p>After papyrus fell out of use in European book production, <span class="glossary-term">parchment<span class="glossary-def">A writing material made from the skin of a calf (vellum), sheep, or goat, prepared by de-hairing, liming, stretching under tension on a frame, and scraping with a lunellum. Unlike leather, parchment is not tanned but dried under tension. The word derives from Pergamum (modern Bergama, Turkey).</span></span> became the dominant writing support in Europe until at least 1300. According to a legend recorded by
+    <span class="glossary-term">Pliny the Elder<span class="glossary-def">Gaius Plinius Secundus (23/24–79 C.E.), Roman author and naturalist. His <em>Naturalis Historia</em> (Natural History) is a major encyclopedic source for ancient science and technology.</span></span>
+    in his <em>Natural History</em> (13.21.70), parchment originated in a trade dispute between Pergamum and Alexandria. To hinder the growth of its impressive library, <span class="glossary-term">Ptolemy V Epiphanes<span class="glossary-def">Ptolemy V Epiphanes (r. 204–181 B.C.E.), fifth ruler of the Ptolemaic dynasty of Egypt. Pliny the Elder (<em>Nat. Hist.</em> XIII.21) identifies him as the king who banned papyrus exports to Pergamum, though the historicity of the episode is debated by modern scholars.</span></span> (r. 204–181 B.C.E.),
     allegedly banned the export of papyrus to Pergamum. In reaction, craftsmen from Pergamum learned to prepare a writing support from animal skins, parchment (<em>membrana</em>). Pliny famously remarked that "the immortality of all human beings depends on it." While papyrus continued in widespread use for centuries, parchment ultimately proved more durable in medieval Europe and adaptable for the codex format.</p>
 
   <p>Yet the account is more legend than history: parchment long predates the episode described by Pliny. For writing on treated animal skin was known in the Near East well before the Hellenistic period. In the Middle Ages, the material for parchment was derived from the dermis layer of calfskin, sheepskin, or goatskin. The Roman poet <span class="glossary-term">Martial<span class="glossary-def">Marcus Valerius Martialis (c. 38/41–102/104 C.E.), Roman poet famous for his epigrams.</span></span> gives one of the earliest references to a parchment codex, and the earliest surviving parchment fragment with Latin script, known as <em>De bellis macedonicis</em>, dates to around 100 C.E. Modern science has opened new avenues for studying parchment through <span class="glossary-term">Zooarchaeology by Mass Spectrometry (ZooMS)<span class="glossary-def">A biomolecular technique that identifies animal species from collagen peptide markers using mass spectrometry. For manuscripts, tiny samples can be collected non-destructively using a PVC eraser rubbed across the parchment surface. Developed in the early 2000s and first applied systematically to manuscripts c. 2009.</span></span>. By analyzing the collagen profile of tiny samples, even those collected with a PVC eraser, researchers can identify the animal species used.</p>
@@ -697,8 +697,8 @@ <h4>📜 Key Takeaways</h4>
 
 <p>What fundamentally distinguishes parchment from leather is the drying process. After deliming, the wet, elastic skin is stretched tightly onto a wooden frame and dried under sustained tension. As it dries, the parchmentmaker scrapes the surface with a curved blade called a <span class="glossary-term">lunellum<span class="glossary-def">A crescent-shaped scraping tool used by the parchment-maker to thin and smooth the stretched skin as it dried. The scraping action, combined with the tension of the frame, reorganizes the collagen fibres into parallel layers, giving parchment its tautness and translucency.</span></span>, sometimes supplemented by pumice. This action, combined with the mechanical stress of stretching, reorganizes the normally irregular mesh of dermal collagen into uniform, parallel layers, which give parchment its characteristic tautness and translucency. Defects in parchment serve as material witnesses to both the skill of the maker and the life history of the animal. Veining results from inadequately drained blood, scarring from healed wounds, and holes from over-scraping, while cockling, a warping or puckering of the sheet, stems from uneven drying or later exposure to humidity.</p>
 
-    <p>The investment of labor and capital in parchment making meant that parchments were reused as palimpsests. In palimpsests, older texts on the writing support were  scraped or washed off so that the surface could be written on again. Though the original writing was often faintly visible, modern imaging technologies such as 
-    <span class="glossary-term">multispectral imaging (MSI)<span class="glossary-def">A technique that captures images at multiple wavelengths of light (visible, infrared, ultraviolet), revealing materials invisible to the naked eye — used extensively in manuscript studies to recover erased or faded text.</span></span> 
+    <p>The investment of labor and capital in parchment making meant that parchments were reused as palimpsests. In palimpsests, older texts on the writing support were  scraped or washed off so that the surface could be written on again. Though the original writing was often faintly visible, modern imaging technologies such as
+    <span class="glossary-term">multispectral imaging (MSI)<span class="glossary-def">A technique that captures images at multiple wavelengths of light (visible, infrared, ultraviolet), revealing materials invisible to the naked eye — used extensively in manuscript studies to recover erased or faded text.</span></span>
     now enable scholars to recover many erased texts.</p>
 
   <p>A fundamental writing support in antiquity and the Middle Ages was the wax tablet. A wooden tablet was recessed and filled with wax, into which letters were inscribed using a stylus. The writing could be erased by smoothing the wax surface with a <em>spatula</em>, a flat-edged tool sometimes at the opposite end of a stylus, like a modern pencil eraser. Wax tablets were thus ideal for ephemeral texts, such as notes, drafts and school exercises, of which some examples survive. Multiple tablets could be hinged together to form a diptych or polyptych, an early precursor to the codex.</p>
@@ -773,7 +773,7 @@ <h4>📜 Key Takeaways</h4>
   <p>The primary evidence for the history of medieval book production is the surviving codices and fragments themselves. In addition to this, there are recipes and craft guides, which mostly stem from the late Middle Ages. A third source is iconography – illustrations that contains books or, in some cases, show stages in the book-making process. Perhaps the most detailed illustration is an image added to the beginning of a late twelfth-century manuscript containing works by the church father Ambrose (c. 339-397).</p>
 
   <div class="illustration-block">
-    <img src="/images/bookbinding/bamberger-schreiberbild-sol.jpg" alt="Bamberger Schreiberbild" onerror="this.style.display='none'">
+    <img src="/images/bookbinding/bamberger-schreiberbild-sol.webp" alt="Bamberger Schreiberbild" onerror="this.style.display='none'">
     <p class="illustration-caption">Illustration of the creation of a book (c. 1200). Bamberg, Staatsbibliothek, Msc.Patr.5. Digital image provided by the digital holdings of the <a href="https://nbn-resolving.org/urn:nbn:de:bvb:22-dtl-0000025604" target="_blank">Bamberg Staatsbibliothek</a>.</p>
   </div>
 
@@ -802,7 +802,7 @@ <h4>📜 Key Takeaways</h4>
   </div>
 
     <p>To record his visions of the world and the end times, he procured twenty-seven parchment sheets. Differences in thickness at the tail and neck, variations in grain, and the location of follicle clusters near limbs can be detected in parchment sheets like this one. As Opicinus did not assemble these sheets into a codex, his collection demonstrates the scale at which parchment was produced and sold.</p>
-    
+
     <p>The trimmed parchment sheet was cut and folded into a number of leaves, which were then assembled into quires. A single sheet could produce a folio, quarto, or octavo formats, depending on the number of folds. In principle, a parchment sheet could be used to produce pages of any of these formats, although the actual size of the page depended on the dimensions of the animal from which the parchment was made. For example, a quire in quarto format typically required two parchment skins, while an octavo quire could be formed from a single sheet folded three times to produce eight leaves. If the full parchment sheet was folded once, it created two leaves at folio size; if it was folded twice, it produced four quarto leaves; if it was folded three times, it produced eight octavo leaves. A single sheet of parchment folded in half to form two leaves is a <span class="glossary-term">bifolium<span class="glossary-def">A single sheet folded once to create two leaves (four pages). Nested bifolia form a quire. The bifolium is sewn through its central fold during binding.</span></span>. The bifolium is the most common building block of a quire.</p>
 
   <div class="illustration-block">
@@ -873,24 +873,24 @@ <h4>📜 Key Takeaways</h4>
   </div>
 
   <p>A <span class="glossary-term">quire<span class="glossary-def">Also called a gathering or fascicle. A set of nested bifolia (folded sheets) sewn together through their central fold. The standard medieval quire contained four bifolia (eight leaves, sixteen pages), though quires of two, three, five, or more bifolia also occur.</span></span> is a stack of collected parchment sheets that would form a codex. The building block was the bifolium &#8212; a sheet that was folded into two folios (or four pages), but single leaves ("singletons") also appear. The most common format was the quaternion, which consisted of four nested bifolia. Of course, gatherings might also consist of two bifolia (binions), three bifolia (ternions), five bifolia (quinions), or something else.</p>
-    
-    <p>Usually, the hair side, often somewhat darker, was on the outside, and facing pages matched one another, hair with hair, flesh with flesh. Once stacked into a quire and a layout scheme was determined, they were pricked with an awl or blade, and then lightly scored, or ruled, to furnish guidelines for copying the text. On the floor of the <span class="glossary-term">scriptorium<span class="glossary-def">The writing room of a medieval monastery or cathedral, where manuscripts were copied and decorated. Larger scriptoria employed teams of scribes, rubricators, and illuminators working in a coordinated sequence.</span></span>, a quire has fallen to the floor, but the pages stay together because it has been 
-    <span class="glossary-term">tacketed<span class="glossary-def">Tacketing: a method of temporarily securing a folded quire by passing a thread or strip of parchment through small holes near the top of the central fold, forming a simple staple-like fastening. Sometimes left in place when the book was bound.</span></span>, 
+
+    <p>Usually, the hair side, often somewhat darker, was on the outside, and facing pages matched one another, hair with hair, flesh with flesh. Once stacked into a quire and a layout scheme was determined, they were pricked with an awl or blade, and then lightly scored, or ruled, to furnish guidelines for copying the text. On the floor of the <span class="glossary-term">scriptorium<span class="glossary-def">The writing room of a medieval monastery or cathedral, where manuscripts were copied and decorated. Larger scriptoria employed teams of scribes, rubricators, and illuminators working in a coordinated sequence.</span></span>, a quire has fallen to the floor, but the pages stay together because it has been
+    <span class="glossary-term">tacketed<span class="glossary-def">Tacketing: a method of temporarily securing a folded quire by passing a thread or strip of parchment through small holes near the top of the central fold, forming a simple staple-like fastening. Sometimes left in place when the book was bound.</span></span>,
     or joined by a fastening thread or parchment strip near the top, like a modern staple or paperclip.</p>
 
-  <p>Collation refers to the arrangement of leaves – how the quires and leaves have been folded and stacked – within a manuscript. Leaves were typically stacked so that hair sides faced hair sides and flesh sides faced flesh sides. This aesthetic arrangement, first noted by New Testament scholar 
-    <span class="glossary-term">Caspar René Gregory<span class="glossary-def">Caspar René Gregory (1846–1917), American-German New Testament scholar known for his systematic analysis of Greek manuscripts of the New Testament and the establishment of the "Gregory-Aland" manuscript numbering system. He first articulated "Gregory's Rule" concerning parchment orientation.</span></span> 
+  <p>Collation refers to the arrangement of leaves – how the quires and leaves have been folded and stacked – within a manuscript. Leaves were typically stacked so that hair sides faced hair sides and flesh sides faced flesh sides. This aesthetic arrangement, first noted by New Testament scholar
+    <span class="glossary-term">Caspar René Gregory<span class="glossary-def">Caspar René Gregory (1846–1917), American-German New Testament scholar known for his systematic analysis of Greek manuscripts of the New Testament and the establishment of the "Gregory-Aland" manuscript numbering system. He first articulated "Gregory's Rule" concerning parchment orientation.</span></span>
     (1846–1917), is known as <span class="glossary-term">"Gregory's Rule"<span class="glossary-def">The observation, first systematized by New Testament scholar Caspar René Gregory (1846&#8211;1917), that in medieval parchment manuscripts hair sides face hair sides and flesh sides face flesh sides across each opening.</span></span> and is preserved across folio and quarto formats as well. If a manuscript is not consistent with this rule, it may be a sign that leaves have been lost or misbound.</p>
-    
-    <p>The aesthetic effect produced by this hair-flesh patterning may also be the result of the folding technique used in making a quire. In most common techniques of folding a large parchment sheet, such as the octavo format, the hair side faced hair side, and flesh side faced flesh side. When the folds along the edges were cut, the resulting quire naturally paired facing hair sides and facing flesh sides together. If most medieval manuscripts hold true to this rule, they also place the hair side on the outside of the quire. In contrast, late antique codices, insular ones and those from specific medieval scriptoria like the abbey of 
-    <span class="glossary-term">Corbie<span class="glossary-def">Corbie Abbey (founded c. 657 C.E.), near Amiens in northern France. A major early medieval scriptorium responsible for important developments in Caroline minuscule script.</span></span> 
+
+    <p>The aesthetic effect produced by this hair-flesh patterning may also be the result of the folding technique used in making a quire. In most common techniques of folding a large parchment sheet, such as the octavo format, the hair side faced hair side, and flesh side faced flesh side. When the folds along the edges were cut, the resulting quire naturally paired facing hair sides and facing flesh sides together. If most medieval manuscripts hold true to this rule, they also place the hair side on the outside of the quire. In contrast, late antique codices, insular ones and those from specific medieval scriptoria like the abbey of
+    <span class="glossary-term">Corbie<span class="glossary-def">Corbie Abbey (founded c. 657 C.E.), near Amiens in northern France. A major early medieval scriptorium responsible for important developments in Caroline minuscule script.</span></span>
     tended to place the flesh side on the outside of the quire.</p>
 
   <p>Once the quires were stacked, they could be pricked and ruled in preparation for writing. Pricking involved making small punctures or slits along the edges of the leaves to mark the positions of lines and margins. Ruling established the guidelines for text lines, margins, and other elements of the page layout (<span class="glossary-term"><em>mise-en-page</em><span class="glossary-def">French term for the overall layout of a manuscript page: the arrangement of text columns, margins, ruling lines, initials, and decorative elements. Different periods and scriptoria developed characteristic mise-en-page conventions that can help date and localize a manuscript.</span></span>). These lines could be incised with a stylus, awl, or penknife (<em>scalpellum</em>) &#8212; all forms of drypoint ruling -, drawn with a lead point, or, more often in the late Middle Ages, applied in ink. The visible lines of lead point and especially of ink turned ruling into a part of the aesthetic of the page. There is no general typology of ruling patterns, but particular techniques may reflect house or local practices.</p>
 
-  <p>The stylus, the awl, and the penknife  probably served for pricking and ruling. Dividers — the compass or calipers (Latin <em>circinus</em>) — could also be used for marking curves in diagrams and illustrations. They were, for example, needed for drawing the geometric diagrams that fill many medieval codices, such as those described by 
+  <p>The stylus, the awl, and the penknife  probably served for pricking and ruling. Dividers — the compass or calipers (Latin <em>circinus</em>) — could also be used for marking curves in diagrams and illustrations. They were, for example, needed for drawing the geometric diagrams that fill many medieval codices, such as those described by
     <span class="glossary-term">Isidore of Seville<span class="glossary-def">Isidore of Seville (c. 560–636 C.E.), bishop and encyclopedist, author of the <em>Etymologiae</em>, a major reference work of the early Middle Ages.</span></span>
-    (c. 560–636 C.E.) 
+    (c. 560–636 C.E.)
     in the so-called <em>Liber rotarum</em> (Book of Wheels), a treatise about the nature of the world featuring a series of diagrams made with circles.</p>
 
   <div class="illustration-block">
@@ -898,9 +898,9 @@ <h4>📜 Key Takeaways</h4>
     <p class="illustration-caption">Diagram showing the year (<em>annus</em>) from Isidore's <em>De natura rerum</em>. Laon, Bibliothèque Municipale, 423, fol. 8v.Available via <a href="https://bibliotheque-numerique.ville-laon.fr/idviewer/1465/26" target="_blank">the digital collection of the Municipal Library of Laon</a>.</p>
   </div>
 
-     <p>A humorous episode in the <em>Deeds of Charlemagne</em> (1.32) by 
+     <p>A humorous episode in the <em>Deeds of Charlemagne</em> (1.32) by
     <span class="glossary-term">Notker I of Saint Gall<span class="glossary-def">Adso of Montier-en-Der (c. 840–912 C.E.), Benedictine scholar and poet, known for writing musical sequences.</span></span>
-    (cc. 840–912 C.E.) 
+    (cc. 840–912 C.E.)
     tells of a deacon whose fine manners and elegant appearance drew the attention of Charlemagne's court. It was observed of him that he styled his hair very short, his tonsure being cut as though on a lathe with a compass.
 
   <p>Before the scribe began writing, the folded sheets of a quire were often kept together by tacketing. Small holes were pierced near the top of the quire's central fold, and a thread or twisted strip of parchment was drawn through and tied, forming a simple staple-like binding. Sometimes they were not removed when the book was bound. Later on in the book assembly, bookmakers could keep quires in sequence with the help of quire signatures and catchwords. A quire signature is a letter, number, or symbol placed on the last folio (or sometimes first) of a quire to indicate its position within the larger codex, ensuring correct assembly by the binder. From the twelfth century on, scribs also used <span class="glossary-term">catchwords<span class="glossary-def">A word or phrase written at the foot of the last page of a quire, repeating the opening word(s) of the next quire. They allowed binders and readers to verify the correct sequence of gatherings.</span></span>. Catchwords allow binders to confirm and maintain the sequence of quires and pages by placing the first word of the following quire or page at the bottom of the current one.<span class="glossary-term">Foliation<span class="glossary-def">The numbering of leaves (folios) in a manuscript, as opposed to pagination (numbering of pages).</span></span>, or numbering each leaf, only became a common practice in some European regions during the fourteenth century. It waås commonly added by later hands.</p>
@@ -968,15 +968,15 @@ <h4>📜 Key Takeaways</h4>
 
   <p>Once the quire was prepared for copying, the scribe went to work. He or she held a quill pen in one hand and a penknife in the other for scraping mistakes away and sharpening the pen. The writing desk was equipped with an inkpot or inkhorn for black ink.</p>
 
-  <p>In Antiquity and the Middle Ages, people first learned to write on wax tablets with a drypoint stylus. Most styluses were probably made of metal, though ivory examples also survive. Literary sources from Late Antiquity and the early Middle Ages preserve vivid — and sometimes violent — classroom anecdotes. One legend claims that the ninth-century scholar 
-    <span class="glossary-term">John Scottus Eriugena<span class="glossary-def">Johannes Scottus Eriugena (c. 800–877 C.E.), Irish philosopher and theologian working at the Carolingian court of Charles the Bald. His major work is the <em>Periphyseon</em> (On the Division of Nature).</span></span>(c. 800–877 C.E.) 
-    was killed by students armed with their styluses. Though apocryphal, it captures something of the intensity and discipline associated with early medieval schooling. Styluses preserved in ancient graves show traces of ink on the tip, suggesting that they were also used on papyrus and perhaps parchment supports. Furthermore, a large body of understudied texts contain drypoint scribbles, probably made with a stylus. These were users' comments and often belonged learners who had not yet graduated to the quill pen. Today, the faint drypoint words, lines and impressions left by stylus or compass on parchment can be studied using 
-    <span class="glossary-term">Reflectance Transformation Imaging (RTI)<span class="glossary-def">A computational photographic technique that captures surface shape and color using images taken from multiple lighting angles, enabling visualization of subtle surface relief invisible to the naked eye. Widely used in manuscript and archaeological studies.</span></span>, 
+  <p>In Antiquity and the Middle Ages, people first learned to write on wax tablets with a drypoint stylus. Most styluses were probably made of metal, though ivory examples also survive. Literary sources from Late Antiquity and the early Middle Ages preserve vivid — and sometimes violent — classroom anecdotes. One legend claims that the ninth-century scholar
+    <span class="glossary-term">John Scottus Eriugena<span class="glossary-def">Johannes Scottus Eriugena (c. 800–877 C.E.), Irish philosopher and theologian working at the Carolingian court of Charles the Bald. His major work is the <em>Periphyseon</em> (On the Division of Nature).</span></span>(c. 800–877 C.E.)
+    was killed by students armed with their styluses. Though apocryphal, it captures something of the intensity and discipline associated with early medieval schooling. Styluses preserved in ancient graves show traces of ink on the tip, suggesting that they were also used on papyrus and perhaps parchment supports. Furthermore, a large body of understudied texts contain drypoint scribbles, probably made with a stylus. These were users' comments and often belonged learners who had not yet graduated to the quill pen. Today, the faint drypoint words, lines and impressions left by stylus or compass on parchment can be studied using
+    <span class="glossary-term">Reflectance Transformation Imaging (RTI)<span class="glossary-def">A computational photographic technique that captures surface shape and color using images taken from multiple lighting angles, enabling visualization of subtle surface relief invisible to the naked eye. Widely used in manuscript and archaeological studies.</span></span>,
     which reveals subtle incisions invisible to the naked eye.</p>
 
-  <p>When it came to writing with ink, the reed pen (<em>calamus</em>) was standard in Antiquity. Though largely replaced in medieval Europe, it makes a memorable appearance in a riddle from the 
-    <span class="glossary-term">Exeter Book<span class="glossary-def">A manuscript anthology of Old English poetry, donated to Exeter Cathedral by Bishop Leofric (d. 1072 C.E.). It contains about a third of all surviving Old English poetry, including famous riddles.</span></span> 
-    (poem 60), where the pen describes itself as a cut reed that leaves traces like dark watery waves: 
+  <p>When it came to writing with ink, the reed pen (<em>calamus</em>) was standard in Antiquity. Though largely replaced in medieval Europe, it makes a memorable appearance in a riddle from the
+    <span class="glossary-term">Exeter Book<span class="glossary-def">A manuscript anthology of Old English poetry, donated to Exeter Cathedral by Bishop Leofric (d. 1072 C.E.). It contains about a third of all surviving Old English poetry, including famous riddles.</span></span>
+    (poem 60), where the pen describes itself as a cut reed that leaves traces like dark watery waves:
     <p>"I was born in the sand<br>
 along the sea-wall,<br>
 at the edge of the water,<br>
@@ -1050,7 +1050,7 @@ <h4>📜 Key Takeaways</h4>
       <div class="illustration-block">
     <img src="https://books.google.de/books/content?id=mNOBekGmmpQC&pg=PA22&img=1&zoom=3&hl=en&sig=ACfU3U0mCh32-yLR1V6CWJbjSnlfuS_1TQ&w=1025" alt="Scribal tools" onerror="this.style.display='none'">
     <p class="illustration-caption">Scribal tools illustrated in Tagliente's calligraphy handbook (1524). Public domain via <a href="https://books.google.de/books/about/Lo_presente_libro_Insegna_La_vera_arte_d.html?id=mNOBekGmmpQC&redir_esc=y" target="_blank">Google Books</a>.</p>
-  </div> 
+  </div>
 
   <div class="ref-box">
     📚 <strong>Literature</strong><br>
@@ -1116,8 +1116,8 @@ <h4>📜 Key Takeaways</h4>
 
   <p>After the main text was transcribed, the manuscript could be rubricated. Rubrics refer to texts, usually written in red, that mark titles, headings, section breaks, or sense divisions. They have a function essential to the main text. The term comes from the Latin <em>rubricare</em>, "to colour red," and reflects how scribes used red ink for textual elements that guided readers through the text. Rubricators often worked separately from the main scribe, and, in many surviving manuscripts, rubrication spaces are left blank where work was never completed. Some manuscripts also use rubrics for an aesthetic effect.</p>
 
-  <p>Beyond red ink, decorative practice expanded into the use of coloured initials. Small flourishing capitals in penwork were common in Gothic books, often executed in alternating red and blue and filled with intricate fleurons, interlace, or figural motifs. In more luxurious works these initials could be large, multicoloured, or even 
-    <span class="glossary-term">historiated<span class="glossary-def">Historiated initials contain figurative scenes (human or animal figures) that relate to the adjacent text, as opposed to purely decorative initials.</span></span> 
+  <p>Beyond red ink, decorative practice expanded into the use of coloured initials. Small flourishing capitals in penwork were common in Gothic books, often executed in alternating red and blue and filled with intricate fleurons, interlace, or figural motifs. In more luxurious works these initials could be large, multicoloured, or even
+    <span class="glossary-term">historiated<span class="glossary-def">Historiated initials contain figurative scenes (human or animal figures) that relate to the adjacent text, as opposed to purely decorative initials.</span></span>
     — containing figurative scenes that related to the text.</p>
 
    <p>Apart from initials, codices could be decorated with miniatures, illustrations, borders and other embellishments. Until about 1200, illustrations or miniatures were often executed within the monastic house creating the codex. From the late Middle Ages, major illustration campaigns were executed by professional workshops or ateliers. However, not all decoration was pictorial. Many manuscripts feature calligraphic ornament, marginal embellishment, and decorative frames that enhance readability as much as aesthetic appeal. These features often embodied theological and mnemonic functions: borders, symbolic forms, or animal figures could frame text in ways that reinforced memory or devotional experience. In this late twelfth-century manuscript from the monastery of Weissenau the illustrator depicts himself painting the initial, giving glimpse to a workstation outfitted with an assortment of inkhorns for different colors.</p>
@@ -1130,7 +1130,7 @@ <h4>📜 Key Takeaways</h4>
 
   <p>Pigments for colored initials and for illustrations were drawn from various mineral and organic sources: red from cinnabar and vermilion, blue from azurite, ultramarine blue from lapis lazuli, dark blue from indigo, white from gypsum or calcium compounds, black from chars and soot, yellow from orpiment, greens from malachite or copper sulphate, and metal leaf made of thinly hammered gold and silver sheets. These pigments were bound with organic media such as egg tempera or gum arabic. In 2019, a team of researchers announced the discovery of blue pigment on the tooth of a nun who lived in the women's monastery at Dalheim, Germany, between 997 C.E. and 1162 C.E. Their analysis revealed that blue pigment was caused by ground lapis lazuli, a precious mineral sourced only in a certain region of Afghanistan. This unexpected finding reflects the long trade routes standing behind book production. Perhaps more interesting, it reveals that this nun was closely involved in a practice that came into contact with ground lapis lazuli. In all likelihood, she was a scribe and illustrator.</p>
 
-  <p>Scholars and conservators today can analyze the material composition of inks and pigments using a range of non- or minimally invasive technologies that reveal the chemical and mineral content without damaging fragile codices. Infrared reflectography can distinguished carbon and iron-gall inks from one another. Techniques such as 
+  <p>Scholars and conservators today can analyze the material composition of inks and pigments using a range of non- or minimally invasive technologies that reveal the chemical and mineral content without damaging fragile codices. Infrared reflectography can distinguished carbon and iron-gall inks from one another. Techniques such as
     <span class="glossary-term">X-ray fluorescence (XRF)<span class="glossary-def">A non-destructive analytical technique that bombards a surface with X-rays to identify elemental composition. Widely used in manuscript studies to detect metallic pigments (lead white, gold, vermilion) and other materials.</span></span> allow researchers to detect the elemental make-up of metallic inks, pigments, and gold or silver leaf. Raman spectroscopy can identify molecular structures in organic and inorganic colourants, and distinguishing plant-based dyes, earth pigments, and synthetic compounds. Infrared and multispectral imaging highlight layers of pigments invisible to the naked eye, revealing erased, faded, or underdrawn decorations and clarifying the sequence of application.</p>
 
   <div class="ref-box">
@@ -1199,15 +1199,15 @@ <h4>📜 Key Takeaways</h4>
 
   <p>The copied book was now ready to be bound. First, the book block was prepared for sewing. Each quire — composed of folded sheets of parchment or paper nested together — was opened at its center fold. Perhaps using an awl or penknife, the binder pierced a series of holes or cut small slits along the fold. These sewing stations were carefully measured to align across all gatherings. Only in the late Middle Ages do the number of sewing stations seem to relate to the size and weight of the codex.</p>
 
-  <p>Once pierced, the quires were refolded and arranged in correct order to form the bookblock. The gatherings were then sewn together along thicker cords or thongs known as 
-    <span class="glossary-term">sewing supports<span class="glossary-def">Cords or thongs (of leather, alum-tawed skin, hemp, or linen) stretched across the spine onto which quires are sewn. They form the structural backbone of medieval bindings and are later laced into the bookboards.</span></span>. 
+  <p>Once pierced, the quires were refolded and arranged in correct order to form the bookblock. The gatherings were then sewn together along thicker cords or thongs known as
+    <span class="glossary-term">sewing supports<span class="glossary-def">Cords or thongs (of leather, alum-tawed skin, hemp, or linen) stretched across the spine onto which quires are sewn. They form the structural backbone of medieval bindings and are later laced into the bookboards.</span></span>.
     These supports formed the structural backbone of the binding. In earlier periods they were often made of split leather or alum-tawed skin; later, cords of hemp or linen became common. The sewing thread, perhaps coated in wax to make sewing easier, passed in and out through the prepared holes, looping around the supports at each station. This technique linked the gatherings together while simultaneously anchoring them to the supports.</p>
 
-  <p>From at least the High Middle Ages onward, sewing commonly took place on a 
+  <p>From at least the High Middle Ages onward, sewing commonly took place on a
   <span class="glossary-term">sewing frame<span class="glossary-def">A wooden device used by medieval binders to hold sewing supports (cords or thongs) taut under tension during the sewing of quires. The supports were stretched vertically between upper and lower beams; the binder passed the needle through each gathering in turn, looping the thread around each taut support.</span></span>. If we look again at the Bamberg scribe illustration, we see what is perhaps the only illustration before 1400 of a sewing frame. Presumably, the illustrator expected people to recognize the sewing frame depicted there much as they should recognize the other illustrations on the same page. Nevertheless, it is unclear to modern viewers how it works in detail. In particular, while the sewing supports are attached by a mechanism, it is unclear what this mechanism is. In any case, the book block, the stack of copied quires, would sit on this frame during the next part of the process.</p>
 
       <div class="illustration-block">
-    <img src="/images/bookbinding/bamberger-schreiberbild-sol.jpg" alt="Bamberger Schreiberbild" onerror="this.style.display='none'">
+    <img src="/images/bookbinding/bamberger-schreiberbild-sol.webp" alt="Bamberger Schreiberbild" onerror="this.style.display='none'">
     <p class="illustration-caption">Illustration of the Creation of a Book (c. 1200). Bamberg, Staatsbibliothek, Msc.Patr.5. Digital image provided by the digital holdings of the <a href="https://nbn-resolving.org/urn:nbn:de:bvb:22-dtl-0000025604" target="_blank">Bamberg Staatsbibliothek</a>.</p>
   </div>
 
@@ -1217,9 +1217,9 @@ <h4>📜 Key Takeaways</h4>
     <img src="https://www.conservation-wiki.com/w/images/1/15/Sewing-frame.jpg" alt="Bookbinding sewing frame" onerror="this.style.display='none'">
     <p class="illustration-caption">Modern reproduction of a sewing frame. Image from <a href="https://www.conservation-wiki.com/wiki/File:Sewing-frame.jpg" target="_blank">Conservation Wiki</a>.</p>
   </div>
-  
-    <p>The binder passed the needle through each gathering in turn and around the taut supports. Many different stitching styles were employed: herringbone, straight, packed straight, and others. 
-  
+
+    <p>The binder passed the needle through each gathering in turn and around the taut supports. Many different stitching styles were employed: herringbone, straight, packed straight, and others.
+
       <!--The images below should be in one row together.-->
     <div class="illustration-block">
     <img src="15 Herringbone Stitch Slit Leather Thong copy.svg" alt="Herringbone Stitch on Slit Leather Strap" onerror="this.style.display='none'">
@@ -1302,7 +1302,7 @@ <h4>📜 Key Takeaways</h4>
     <p class="illustration-caption">Modern enband sewing with two colors of thread. Available via <a href="https://www.conservation-wiki.com/wiki/File:SecondaryEndband01.JPG" target="_blank">Conservation Wiki</a>.</p>
   </div>
 
-  <p>Once the endbands were completed, attention turned to the spine lining. This was an added layer of parchment, linen or leather support pasted to the spine with flour paste or, in the late Middle Ages, animal glue. The support was often cut with spaces for the raised sewing supports. The leftover support on either side could likewise be pasted onto the board: inside, outside, or, by cutting multiple flaps, both inside and outside of the board. 
+  <p>Once the endbands were completed, attention turned to the spine lining. This was an added layer of parchment, linen or leather support pasted to the spine with flour paste or, in the late Middle Ages, animal glue. The support was often cut with spaces for the raised sewing supports. The leftover support on either side could likewise be pasted onto the board: inside, outside, or, by cutting multiple flaps, both inside and outside of the board.
 
       <!--The images below should be in one row together.-->
        <div class="illustration-block">
@@ -1319,10 +1319,10 @@ <h4>📜 Key Takeaways</h4>
     <img src="https://www.conservation-wiki.com/w/images/d/d6/Fragmentarium_F-boql_1r.jpg_medium.jpg" alt="A twelfth-century parchment folio used as spine lining" onerror="this.style.display='none'">
     <p class="illustration-caption">A twelfth-century parchment folio used as spine lining. Budapest, Magyar Tudományos Akadémia Könyvtár és Információs Központ, T 338. <a href="https://www.conservation-wiki.com/wiki/File:Fragmentarium_F-boql_1r.jpg_medium.jpg" target="_blank">Conservation Wiki</a>.</p>
   </div>
-    
+
     <p>This additional layer served multiple purposes: it reinforced the spine, distributed mechanical stress during opening, and provided a stable base for further covering materials. In heavier volumes, additional linings of parchment or leather might be added to increase strength.</p>
 
-  <p>Edge trimming was another important stage in the finishing of the bookblock. As mentioned earlier, trimming was probably done during the early Middle Ages after the boards were attached to the book block. In the late Middle Ages, trimming took place before the boards were attached, ensuring that the pages were even and square. The binder secured the bookblock firmly and used a sharp drawknife to shave the edges smooth by hand. This procedure required care, as uneven pressure could gouge or tear the parchment. In the late medieval and early modern periods, the book plough appeared for this task. This illustration from 1568 shows the bookbinder trimming the book with a book plough. 
+  <p>Edge trimming was another important stage in the finishing of the bookblock. As mentioned earlier, trimming was probably done during the early Middle Ages after the boards were attached to the book block. In the late Middle Ages, trimming took place before the boards were attached, ensuring that the pages were even and square. The binder secured the bookblock firmly and used a sharp drawknife to shave the edges smooth by hand. This procedure required care, as uneven pressure could gouge or tear the parchment. In the late medieval and early modern periods, the book plough appeared for this task. This illustration from 1568 shows the bookbinder trimming the book with a book plough.
 
          <div class="illustration-block">
     <img src="https://upload.wikimedia.org/wikipedia/commons/4/4a/Buchbinder-1568.png" alt="An illustration of a bookbinder trimming the edge of the book block" onerror="this.style.display='none'">
@@ -1400,7 +1400,7 @@ <h4>📜 Key Takeaways</h4>
 
   <p>Channels were drilled into the boards to match the sewing supports along the spine and the endbands at head and tail. Using awls, drills, gimlets, or knives, the binder created angled tunnels or grooves in the board. Different patterns were employed. To attach the boards, the binder threaded or "laced" the loose ends of the sewing supports through the channels. The channels were often angled so that the supports entered from the spine edge and emerged on the inside of the board. The ends were then frayed, wedged, or secured in place with small wooden pegs or adhesive. This <span class="glossary-term">lacing technique<span class="glossary-def">The method by which sewing support ends were threaded through channels drilled in the wooden boards and then frayed, wedged, or pegged in place. Laced-board bindings were structurally far stronger than the adhesive case-bindings that largely replaced them after the early modern period.</span></span> created a strong bond between book block and board. Unlike later case bindings, in which covers were attached with adhesive alone, medieval laced-board bindings relied on this structural integration for durability.</p>
 
-  <p>There was no single method of medieval bookbinding, and book boards illustrate that aptly. In the early medieval period, particularly during the <span class="glossary-term">Carolingian era<span class="glossary-def">The Carolingian period (c. 750–900 C.E.) refers to the dynasty of Charlemagne (r. 768–814 C.E.) and his successors. It was marked by a major cultural and educational revival (the "Carolingian Renaissance") with important consequences for book production and script standardization.</span></span> 
+  <p>There was no single method of medieval bookbinding, and book boards illustrate that aptly. In the early medieval period, particularly during the <span class="glossary-term">Carolingian era<span class="glossary-def">The Carolingian period (c. 750–900 C.E.) refers to the dynasty of Charlemagne (r. 768–814 C.E.) and his successors. It was marked by a major cultural and educational revival (the "Carolingian Renaissance") with important consequences for book production and script standardization.</span></span>
     (8th–9th centuries), binders often prepared the boards in advance and attached them when the quires of the book block were sewn. The sewing supports were laced into one cover, the quires were sewn, and then the sewing supports were laced into the other cover. The book block was then trimmed with the boards on it, as revealed by scraping marks left by trimming on the edges of some boards. This trimming created a smooth, even edge. From perhaps the twelfth century on, the use of the sewing frame allowed binders to attach the boards at a later stage. In the Romanesque period, book trimming still occurred after the boards had been attached. In the Gothic period, the book block was trimmed before it was attached to the boards.</p>
 
   <div class="ref-box">
@@ -1484,7 +1484,7 @@ <h4>📜 Key Takeaways</h4>
     <img src="https://www.conservation-wiki.com/w/images/b/bc/Germanforedlg.jpg" alt="Gothic clasps on a German book from 1479" onerror="this.style.display='none'">
     <p class="illustration-caption">Gothic clasps on a German book from 1479. Image available via <a href="https://www.conservation-wiki.com/wiki/File:Germanforedlg.jpg" target="_blank">Conservation Wiki</a>.</p>
   </div>
-    
+
     <p>One end of the strap was anchored to one cover, while the metal end of the clasp hooked onto a catch plate fixed to the other cover. Clasps could be simple brass hooks or more ornate pieces engraved with decorative patterns. On large choir books, the fastenings were substantial, sometimes featuring multiple clasps along the fore edge.</p>
 
   <p>Bosses and corner pieces, though primarily protective, also contributed to the cover's appearance. Raised metal <span class="glossary-term">bosses<span class="glossary-def">Convex metal fittings (often brass or bronze) fixed to the front and back covers of a book. When the book was laid flat, bosses protected the leather from abrasion against the table surface.</span></span> could be fixed to the front and back boards. When the book was laid flat on a table, these bosses prevented abrasion of the leather on the table surface. Corner pieces shielded edges from wear and tear. Often made of brass or bronze, they could be plain or embellished, sometimes to match the other metal book furnishings.</p>
@@ -1494,14 +1494,14 @@ <h4>📜 Key Takeaways</h4>
     <p class="illustration-caption">The bookbinder Hanns Landawer (Hans Landauer) fixes bosses to book covers. Stadtbibliothek Nürnberg, Amb. 279.2°, fol. 21v. Image available via <a href="https://commons.wikimedia.org/wiki/Category:Hausbuch_der_Landauerschen_Zw%C3%B6lfbr%C3%BCderstiftung_Band_1?uselang=de#/media/File:Landauer_I_021_v.jpg" target="_blank">Wikimedia Commons</a>.</p>
   </div>
 
-  <p>Overcovers provided an additional layer of protection, particularly for books that traveled. These could be made of cloth or secondary leather wrappings. In monastic settings, some books were stored in 
+  <p>Overcovers provided an additional layer of protection, particularly for books that traveled. These could be made of cloth or secondary leather wrappings. In monastic settings, some books were stored in
     <span class="glossary-term">chemise bindings<span class="glossary-def">A secondary leather cover with an extended flap that wraps over the fore edge of the book, sometimes tied shut, protecting the edges from dust and damage. Common in monastic and later medieval contexts.</span></span>, where an extended leather flap folded over the fore edge and sometimes tied shut. In other cases, embroidered fabric covers were slipped over precious volumes. To judge from their representation in paintings, so-called <span class="glossary-term">girdle books<span class="glossary-def">Books with a secondary leather cover extended and knotted at the top, allowing them to be tucked into a belt or girdle.</span></span> must have been far commoner in the late Middle Ages than the surviving examples suggest. Here is an example from about 1471.</p>
-    
+
     <div class="illustration-block">
     <img alt="Girdle book of Hieronymus Kress, c. 1471" onerror="this.style.display='none'">
     <p class="illustration-caption">Girdle book of Hieronymus Kress (c. 1471), at the Germanisches Nationalmuseum, Nürnberg. Public domain via <a href="https://commons.wikimedia.org/wiki/Category:Girdle_book_of_Hieronymus_Kress_(Germanisches_Nationalmuseum)#/media/File:Girdle_Book_Nuremberg.jpg/2" target="_blank">Wikimedia Commons</a>.</p>
   </div>
-    
+
     <p>These books have a secondary cover of leather that was gathered at the top and knotted; the knot allowed people to keep it tucked inside their belt. Late medieval paintings show many women reading from such books. In the painting below, Catherine of Alexandria, known for her erudition &#8212; as well as for the wheel on which she was to be tortured &#8212; holds a girdle book in her left hand.</p>
 
   <div class="illustration-block">
diff --git a/public/source/scripts/unit01.html b/public/source/scripts/unit01.html
index fbabfe1..ae863de 100755
--- a/public/source/scripts/unit01.html
+++ b/public/source/scripts/unit01.html
@@ -68,7 +68,7 @@ <h2 class="section-heading">Square Book Capitals</h2>
   </div>
 
     <div class="illustration-block">
-    <img src="Trajanic inscription.jpg">
+    <img src="Trajanic inscription.webp">
     <p class="illustration-caption">The inscription.</p>
   </div>
 
@@ -77,7 +77,7 @@ <h2 class="section-heading">Square Book Capitals</h2>
     <p>It is perhaps misleading to begin an overview of book scripts with square capitals. Square capitals, though based on a widely practiced inscribed script, were used for books only in a limited way. Only three surviving manuscripts hint at an entire book written in square capitals; all three are accidental survivals. One is a scrap of parchment from Egypt (CLA 10.1569); the other two survive as more extensive fragments, one of them reused as bookbinding material (CLA 1.13 + 8.**13; CLA 7.977). All three contain works of the Roman poet Vergil and date between the late fourth and late fifth centuries. Square capitals may have been employed at this time to honor a writer who had attained the status of a classic. Nevertheless, square capitals are treated first here because the script form is the most immediately recognizable to a modern reader. Moreover, the letter forms do appear as though they can be inscribed within a square, a rectangle, or — in the case of the round letters C, D, G, and O — a circle. When the monumental capitals first became book capitals, the letters were not uniformly fitted into a strict proportional grid; being adjusted to a smaller scale, the written forms tend to be broader than the inscribed ones.</p>
 
   <div class="illustration-block">
-    <img src="1_Saint_Gall_Vergil.jpg" alt="Fragment ot the Saint Gall Vergil">
+    <img src="1_Saint_Gall_Vergil.webp" alt="Fragment ot the Saint Gall Vergil">
   <p class="illustration-caption">The Saint Gall Vergil. Saint Gall, Stiftsbibliothek, 1394, p. 15. Available via <a href="https://www.e-codices.unifr.ch/de/csg/1394/15">e-codices</a>.</p>
   </div>
 
@@ -86,7 +86,7 @@ <h2 class="section-heading">Square Book Capitals</h2>
   and it becomes the governing rule of most calligraphic book hands throughout the Middle Ages. In square capitals, vertical strokes are heavy; horizontal strokes are fine. The contrast of strokes reflects the angle at which the broad pen was held.</p>
 
   <div class="illustration-block">
-<img src="1_Square_Capitals.jpeg">
+<img src="1_Square_Capitals.webp">
   </div>
 
   <p>Certain tall letters — I, F, and L — could be written taller than their companions, helping distinguish F from E and L from I. Curves were broken into constituent strokes to maintain the directional rule: C was written in two strokes, G in three. The two strokes of O reveal the full width of the pen nib. The contrast of strokes was an important part of the script aesthetic. The relatively fine vertical strokes of M and N, seemingly at odds with the overall style, may have been made by holding the pen at a steeper angle; these fine strokes introduce contrast, or chiaroscuro, into letters that would not otherwise display it conspicuously.</p>
@@ -116,7 +116,7 @@ <h3 class="sub-heading">Square Capitals as a Display Script</h3>
   <p>At this time square capitals were probably transmitted through model alphabets. The scholar Lupus of Ferrières (d. 862) obtained such a model from his mentor Einhard around 836. The examplar survives now in Bern. Note how K is formed like a roofless R.</p>
 
   <div class="illustration-block">
-    <img src="1_Einhard_Lupus.jpg">
+    <img src="1_Einhard_Lupus.webp">
     <p class="illustration-caption" alphabet associated with Lupus and Einhard: Bern, Burgerbibliothek, Cod. 250, fol. 11v. Available via <a href="http://e-codices.unifr.ch/en/bbb/0250/11v" target="https://www.e-codices.unifr.ch/loris/bbb/bbb-0250/bbb-0250_011v.jp2">e-codices.unifr.ch</p></a>.
   </div>
 
@@ -125,7 +125,7 @@ <h3 class="sub-heading">The Renaissance Recovery of Square Capitals</h3>
   <p>Stroke contrast and rectilinear proportions became central concerns when Renaissance scholars rediscovered this script through direct study of Roman monuments. The antiquary Felice Feliciano (1433–1479) undertook in the mid-fifteenth century what is often regarded as the earliest palaeographical study of Roman monumental capitals.</p>
 
   <div class="illustration-block">
-    <img src="1_Feliciano.jpg"> <p class="illustration-caption">The letter O in Feliciano's study of Roman inscriptions. Vatican, Biblioteca Apostolica Vaticana, Vat. lat. 6852, fol. 7v. Image available through the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.6852/0026">Digital Vatican Library</a>.</p></div>
+    <img src="1_Feliciano.webp"> <p class="illustration-caption">The letter O in Feliciano's study of Roman inscriptions. Vatican, Biblioteca Apostolica Vaticana, Vat. lat. 6852, fol. 7v. Image available through the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.6852/0026">Digital Vatican Library</a>.</p></div>
 
   <p>Renaissance scholars drew particular attention to the terminal strokes of letters — the
   <span class="glossary-term">serifs<span class="glossary-def">Short finishing strokes at the ends of the main strokes of a letter. In Roman square capitals, serifs probably originated in the brushwork used to sketch letters before they were incised in stone.</span></span>.
@@ -133,7 +133,7 @@ <h3 class="sub-heading">The Renaissance Recovery of Square Capitals</h3>
   <span class="glossary-term">adnate serifs<span class="glossary-def">Serifs that join the main stroke along a smoothly developed curve rather than at an abrupt angle. Characteristic of Roman square capitals and later revived in Renaissance and early modern typography.</span></span>.</p>
 
   <div class="illustration-block">
-    <img src="Pacioli.jpg">
+    <img src="Pacioli.webp">
     <p class="illustration-caption">An illustration from Pacioli's study of Roman capitals, showing letters constructed on a geometric grid. The original manuscript does not survive; the printed edition (<em>De divina proportione</em>, Venice, 1509) contains the letter plates.</p>
   </div>
 
diff --git a/public/source/scripts/unit02.html b/public/source/scripts/unit02.html
index 778b818..ea2d237 100755
--- a/public/source/scripts/unit02.html
+++ b/public/source/scripts/unit02.html
@@ -36,7 +36,7 @@ <h2 class="section-heading">Form and Ductus</h2>
   <p>Here are two letter Os with a similar ductus.</p>
     
       <div class="illustration-block">
-    <img src="2 Os Compared.jpg"
+    <img src="2 Os Compared.webp"
          style="max-width: 460px; width: 100%; margin-inline: auto; display: block;">
     <p class="illustration-caption">Two letter Os compared.</p>
   </div>
@@ -54,7 +54,7 @@ <h2 class="section-heading">Surviving Examples</h2>
   (c. 70–26 BCE). The document may be contemporary with his life. Gallus moved from Rome to Egypt to serve as prefect of Alexandria and Egypt (30–27 BCE). The papyrus roll may have been produced in Egypt, or it may have arrived through commercial networks from Italy.</p>
 
     <div class="illustration-block">
-    <img src="2_Gallus_Cropped.jpg"
+    <img src="2_Gallus_Cropped.webp"
          alt="Cairo, Egyptian Museum, P. Qasr Ibrim 78-3-11/1 (LI/2)"
          onerror="this.parentElement.innerHTML">
     <p class="illustration-caption">A poem by Cornelius Gallus, the oldest extant sample of Latin poetry. Cairo, Egyptian Museum, P. Qasr Ibrim 78-3-11/1 (LI/2).
@@ -70,7 +70,7 @@ <h2 class="section-heading">Surviving Examples</h2>
   <p>Vergil was ranked in Late Antiquity as the preeminent Latin classic. His works served to train students in writing, as papyrus fragments from the first century CE onward demonstrate. In one fragment a rustic capital is employed, but with a thinner-pointed pen, which did not permit the salient contrast of heavy and fine strokes characteristic of the calligraphic examples. Such fragments nonetheless illustrate the quick rustic script of an educated writer; some letter forms — notably A, B (with a left bow), and D — more closely resemble contemporary cursive forms.</p>
 
       <div class="illustration-block">
-    <img src="Hawara_Papyrus_24.jpg"
+    <img src="Hawara_Papyrus_24.webp"
          alt="  London, University College, Dept. of Greek and Latin, Papyrus 24"
          onerror="this.parentElement.innerHTML">
     <p class="illustration-caption"> School exercise based on Vergil, <em>Aeneid</em>, book 2, line 601. London, University College, Dept. of Greek and Latin, Papyrus 24.
@@ -84,7 +84,7 @@ <h2 class="section-heading">Letter Forms</h2>
   <p>In rustic capitals, the contrast of heavy and fine strokes is accentuated by a heavy diagonal sweeping from top left to bottom right. This recurrent diagonal determines the rhythm of the script. Combined with lateral compression, it gives the script a more rapid appearance — even if it remains a constructed or set script in which strokes are, as it were, painted with the same top-to-bottom and left-to-right ductus as square capitals. Even in early scripts, the arms of V can be broad (verging on a U-form) and the left arm may slope downward in the middle. In later book capitals, the vertical stroke — held nearly perpendicular to the baseline — tended also to be drawn with the full pen width, while curved strokes show smooth gradations between fine and heavy.</p>
 
   <div class="illustration-block">
-    <img src="2_Rustic_Cap.jpeg">
+    <img src="2_Rustic_Cap.webp">
   </div>
 
   <p>The letters can be imagined as written inside rectangles, sometimes overlapping one another to create a harmonious texture of ink on the surface. Some letters, such as N and H, tend toward a nearly square format. In the later phase, letters including N and O show greater compression. Some letters — L and F — may rise above the headline to distinguish them from I and E respectively.</p>
@@ -92,7 +92,7 @@ <h2 class="section-heading">Letter Forms</h2>
   <p>The rustic forms are subtly weighted toward the bottom. The top of each letter tends to be narrower: this is visible in the upper arms of Y and in the small bows of B, P, and R. The bow of P is not invariably closed. These letters may also rise slightly above the headline. Cross-strokes resemble enlarged serifs; the narrow versions can become quite small, almost a point, especially in the later phase, when a number of cross-strokes tend to be shortened and horizontal midstrokes placed somewhat above the midpoint of the letter. Early A may have a crossbar; later A typically does not. The ends of vertical strokes (F, H, L, R, T) and diagonal strokes (A, M, N) are terminated with serifs, often slightly wavy. These serifs reinforce the baseline and stop the eye from moving down past it (Parkes). Other diagonals — on A and R — may receive a finish stroke where the pen lifts from the page. The bottom of letters tends to be heavier not only because of the serifs but because of a subtle thickening of the stroke, perhaps caused by slowing the pen or, more controversially, by increasing pressure on a flexible pen nib.</p>
 
   <div class="illustration-block">
-    <img src="4_Rustic_Vatican_Vergil.jpg" alt="Vatican Vergil, fol. 31v"> <p class="illustration-caption">The Vatican Vergil. Vatican, B.A.V., 3225, fol. 31v. Image available through the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.3225/0067">B.A.V.</a></p>
+    <img src="4_Rustic_Vatican_Vergil.webp" alt="Vatican Vergil, fol. 31v"> <p class="illustration-caption">The Vatican Vergil. Vatican, B.A.V., 3225, fol. 31v. Image available through the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.3225/0067">B.A.V.</a></p>
   </div>
 
   <p>In the later phase of rustic capitals (fourth–sixth centuries), a few morphological changes emerge. G is finished by a long oblique tail rather than a hook. V broadens, resembling a U. The treatment of the upper right arm of H, already variable in the earlier phase, becomes an oblique extension of variable angle and expression, sometimes resembling a K — earning the description "K-shaped H."</p>
@@ -104,7 +104,7 @@ <h2 class="section-heading">Rustic Capitals as a Display Script</h2>
   <p>The only sustained use of rustic capitals for an entire manuscript in the Middle Ages is found in the Leiden Aratea and the Utrecht Psalter (both ninth century). Whether the ninth-century designers of these manuscripts chose a throwback script or were copying Late Antique models written in rustics remains unclear.</p>
 
   <div class="illustration-block">
-    <img src="2_Rustic_Utrecht_Psalter.jpg" alt="Utrecht Psalter, fol. 2r"> <p class="illustration-caption">The Utrecht Psalter. Utrecht, Universiteitsbibliotheek, MS Bibl. Rhenotraiectinae, I Nr 32. Image available through the <a href="https://psalter.library.uu.nl/page/11">Utrecht University.</a></p>
+    <img src="2_Rustic_Utrecht_Psalter.webp" alt="Utrecht Psalter, fol. 2r"> <p class="illustration-caption">The Utrecht Psalter. Utrecht, Universiteitsbibliotheek, MS Bibl. Rhenotraiectinae, I Nr 32. Image available through the <a href="https://psalter.library.uu.nl/page/11">Utrecht University.</a></p>
   </div>
 
   <div class="pager">
diff --git a/public/source/scripts/unit03.html b/public/source/scripts/unit03.html
index 9776283..d8441c5 100755
--- a/public/source/scripts/unit03.html
+++ b/public/source/scripts/unit03.html
@@ -57,7 +57,7 @@ <h2 class="section-heading">Old Roman Cursive</h2>
 
 
   <div class="illustration-block">
-   <img src="3_ORC_Deed_of_slave_sale.jpg">
+   <img src="3_ORC_Deed_of_slave_sale.webp">
     <p class="illustration-caption">British Library, Papyrus 229 (sale of a slave, 166 CE). Image availabe from <a href="https://iiif.bl.uk/uv/#?manifest=https://bl.digirati.io/iiif/ark:/81055/vdc_100058108260.0x000001" target="_blank">BL Digital Collections</a></p>
   </div>
 
@@ -84,7 +84,7 @@ <h3 class="sub-heading">The Imperial Chancery and the <em>Litterae Caelestes</em
   the highly elaborated bureaucratic hand. The sole surviving example of this <em>litterae caelestes</em> dates to the fifth century (PLouvre 2404 + PLeiden 421, ChLA XVII 657).</p>
 
     <div class="illustration-block">
-   <img src="Litterae caelestes.jpg">
+   <img src="Litterae caelestes.webp">
     <p class="illustration-caption">PLouvre 2404 + PLeiden 421. Image in F. Steffens, <em>Paléographie latine</em> <a href="https://archive.org/details/paleographielatinesteffens/page/n87/mode/2up" target="_blank">, plate 16.</a></p>
   </div> 
 
@@ -109,7 +109,7 @@ <h3 class="sub-heading">The Four-Line Scaffold</h3>
   <p>Ligatures in NRC normally took place from the top of the middle zone downward. Letters terminating in the upper zone, the lower zone, or on the baseline were not well suited to ligature. Since many letters now extended across three zones, many that had allowed ligatures in ORC now excluded them. Fewer variants were thus disposed to ligature with the next letter, and the script proceeds across the line as cursive sequences with stops determined by the terminal strokes of particular letters. Over time, the letters a, l, and sometimes c tended increasingly to form ligatures in an ascending motion from the baseline — a fresh cursive expansion that had been uncustomary in old Roman cursive. It is already visible in the names <em>Achillio</em> and <em>Vitalis</em> at the top of an early example. </p>
 
       <div class="illustration-block">
-   <img src="NRC Vitalis.jpg">
+   <img src="NRC Vitalis.webp">
     <p class="illustration-caption">PStrasb. lat. 1 (ChLA XIX 687). Image in F. Steffens, <em>Paléographie latine</em> <a href="https://archive.org/details/paleographielatinesteffens/page/n81/mode/2up" target="_blank">plate 13.</a></p>
   </div> 
 
@@ -129,7 +129,7 @@ <h3 class="sub-heading">Later Elaboration</h3>
   <p>Another trend was the expansion of the middle zone by distancing its bounding lines, thus increasing the relative lengths of the verticals and producing rounder letters. In the so-called Butini papyrus, this tendency is so marked that the letters have been termed <em>litterae elongatae</em> ("elongated letters"): downstrokes are vertical, stroke junctions are distant from the baseline, and ligatures move from the top (Robertis 72).</p>
 
    <div class="illustration-block">
-   <img src="3_Butini_Papyrus.jpg">
+   <img src="3_Butini_Papyrus.webp">
     <p class="illustration-caption">Butini papyrus: Geneva, Bibliothèque de Genève, Archives BGE, Ms. Lat. inv. 75 recto. Image from <a href="https://archives.bge-geneve.ch/ark:/17786/vta9638fe4423e15b7a/dao/0/1" target="_blank">BGE digital archive</a></p>
   </div>
 
diff --git a/public/source/scripts/unit04.html b/public/source/scripts/unit04.html
index d2e623a..7a95ca8 100755
--- a/public/source/scripts/unit04.html
+++ b/public/source/scripts/unit04.html
@@ -36,8 +36,8 @@ <h2 class="section-heading">Uncial: Origins and Early Phase</h2>
   <p>The beginning of uncial script is lost in time, but a fragmentary text known as the <em>De bellis macedonicis</em> has served as a frequent starting point for discussion. On the basis of internal references, the text — which is not otherwise known — is identified by that title. It is one of our earliest literary texts on parchment. Originally dated to the third century CE (when parchment had become more common), arguments about its script morphology and use of the interpunct have urged an earlier date, even as early as the late first century CE (Mallon). Regular use of the interpunct ceases in the second century CE, though later manuscripts in rustic book capitals — such as the Medici Vergil (late fifth century) — employ it consistently, perhaps as a deliberate archaism. The early date of the <em>De bellis macedonicis</em> fragment is still widely accepted.</p>
 
   <div class="illustration-block">
-    <img src="De bellis macedonicis a.jpg">
-    <img src="De bellis macedonicis b.jpg">
+    <img src="De bellis macedonicis a.webp">
+    <img src="De bellis macedonicis b.webp">
     <p class="illustration-caption">Parchment fragment with unknown text called <em>De bellis macedonicis</em>. Forerunner of uncials?</p>
   </div>
 
@@ -48,14 +48,14 @@ <h2 class="section-heading">Uncial: Origins and Early Phase</h2>
   <p>Uncial writing falls into two phases: an early one extending from approximately 350 to 500 CE, and a later one from about 500 onward. The earlier group shows many connections to North Africa. The major witnesses of the earliest stratum include: the letters of Cyprian, the so-called k-Gospel now in Turin, and the St. Petersburg copy of Augustine's <em>De doctrina christiana</em>, which may have been used in Augustine's own time. The Vercelli Gospels, associated with Eusebius of Vercelli, belong to this early phase but do not display plain North African connections. In the earliest examples: h is formed of two strokes fused into a single curve; m still begins with a vertical downstroke and is not yet rounded; the tail of q is vertical; e resembles a rounded old Roman cursive E with an open eye; the bow of a is pointed; u/v is rounded.</p>
 
   <div class="illustration-block">
-    <img src="4_Uncial_Vercellensis.gif">
+    <img src="4_Uncial_Vercellensis.webp">
     <p class="illustration-caption">A leaf of the Vercelli Gospels. Vercelli, Biblioeca Capitolare, codex A. Image available at <a href="https://en.wikipedia.org/wiki/Codex_Vercellensis#/media/File:Vercellensis.gif">Wikimedia Commons</a>.</p>
   </div>
 
   <h2 class="section-heading">Later Uncial</h2>
 
   <div class="illustration-block">
-    <img src="Uncial.jpeg">
+    <img src="Uncial.webp">
   </div>
 
   <p>A later form of uncial appears around 500 CE. The rounding of letters, already present in the earlier phase, is accentuated in a, c, d, e, m, o, q, s, and u. The enlargement of the eye in a and the bows in b, p, and q intensifies this effect: the bow of a is round, larger, and less pinched; the bow of d is larger with an upper arm; the bottom arm of F sits on or just above the baseline, and its initial vertical stroke descends below it; the tail of G is now a diagonal (where earlier it was a hook); the baseline stroke of L is more pronounced; M is more rounded; the bows of P and Q fill the middle zone.</p>
@@ -63,7 +63,7 @@ <h2 class="section-heading">Later Uncial</h2>
   <p>While still predominantly a bilinear script, certain features tended over time to be organized over an implicit four-line scaffold. The example below was written around 547 CE in Capua, southern Italy. The letters d, h, and l show some ascenders; f, p, and q have descenders; R may occasionally extend into the lower zone.</p>
 
   <div class="illustration-block">
-    <img src="4_uncial_fuldensis_2.jpg">
+    <img src="4_uncial_fuldensis_2.webp">
     <p class="illustration-caption">Uncial sample from 546 or soon after. Fulda, Hessische Landesbibliothek, Bonifatianus 1 (Codex Fuldensis, Victor Codex), fol. 21r. Image from the <a href="https://fuldig.hs-fulda.de/viewer/image/PPN325289808/45/">Fuldaer Digitale Sammlungen</a>.</p>
   </div>
 
@@ -75,7 +75,7 @@ <h3 class="sub-heading">B-R Uncial</h3>
   <p>A variant of uncial letters from the eastern part of the Roman Empire is called <em>B-R uncial</em> because of the distinctive appearance of these two letters. The upper bow of B rises above the headline. The bow of R fills almost the entire middle zone; its vertical is upright and descends below the baseline; its tail is almost horizontal on the baseline. The <em>De bellis macedonicis</em> fragment already provides a good precedent for this R. The only surviving copies of Vergil in any uncial script use B-R uncial, and both contain signs that they were intended for Greek-speaking readers. B-R uncial appears frequently in legal codices, notably the Codex Florentinus of the sixth century.</p>
 
   <div class="illustration-block">
-    <img src="B-R Uncial, Justinian Code.jpg">
+    <img src="B-R Uncial, Justinian Code.webp">
     <p class="illustration-caption"> An example of B-R uncial. The Codex Florentinus (Florence, Biblioteca Medicea Laurenziana, s.n.). Image available at <a href="https://elmss.nuigalway.ie/catalogue/627">Early Latin Manuscripts</a> ("CLA online").</p>
   </div>
 
@@ -84,7 +84,7 @@ <h3 class="sub-heading">b-d Uncial</h3>
   <p>Another variant, connected with Greek-speaking readers, is named <em>b-d uncial</em> for its notable letters. The script is mainly uncial, but b and d deviate from other uncial models and have forms that probably derive ultimately from new Roman cursive — and may have been adopted from contemporary half-uncial writing, which is itself a calligraphic development of NRC. The principal witness is the Codex Claromontanus, a bilingual Greco-Latin manuscript usually ascribed to southern Italy, though Radiciotti has proposed an eastern, perhaps Egyptian, origin. A related example, the gospel book known as the Codex Bezae, has been located in Gaul, Italy, and Egypt by different scholars.</p>
 
     <div class="illustration-block">
-    <img src="4_Claromontanus.JPEG">
+    <img src="4_Claromontanus.webp">
     <p class="illustration-caption"> An example of b-d uncial. A Greek–Latin bilingual edition of the letters of Paul. Paris, B.N.F., grec 107, fol. 364r (Codex Claromontanus). Image from <a href="https://gallica.bnf.fr/ark:/12148/btv1b84683111/f691.item">Gallica</a>.</p>
   </div>
   
@@ -107,7 +107,7 @@ <h3 class="sub-heading">The Eastern Half-Uncial</h3>
   <p>A script type appearing in Latin sources from the eastern Empire resembles the Livy Epitome but is distinguished by a right inclination. A classic example is the legal text now called the <em>Formula fabiana</em> (CLA VIII, 1042). The text had been dated to the fourth century; a recent reappraisal by Tino Licht proposes a date around 500 CE.</p>
 
       <div class="illustration-block">
-    <img src="4_Half-Uncial, Formula Fabiana.png">
+    <img src="4_Half-Uncial, Formula Fabiana.webp">
     <p class="illustration-caption">Slanted eastern half-uncial. Berlin, Staatliche Museen P. 11753 + P. 21294 +Vienna, Österreichische Nationalbibliothek, L 90 (Formula Fabiana). Image availabe through the <a href="https://viewer.onb.ac.at/100B12BC/1">ÖNB.</a>.</p>
   </div>
 
@@ -129,14 +129,14 @@ <h3 class="sub-heading">The Western Half-Uncial</h3>
   <p>The earliest datable witness of the later western half-uncial is Vatican, B.A.V., Arch. Cap. S. Pietro, D.182, containing theological and polemical works of Hilary of Poitiers. It has been connected to Christian exiles from Africa living at Cagliari, Sardinia, and possibly to Fulgentius of Ruspe (462–527 CE). It is dated by a colophon to 509/510 CE.</p>
 
     <div class="illustration-block">
-  <img src="4_half-uncial_hilary.jpg">
+  <img src="4_half-uncial_hilary.webp">
   <p class="illustration-caption">Earliest datable western half-uncial. Vatican, B.A.V., Arch.Cap.S.Pietro, D.182, fol. 13r. Image available at the <a href="https://digi.vatlib.it/iiifimage/MSS_Arch.Cap.S.Pietro.D.182/Arch.Cap.S.Pietro.D.182_0031_fa_0013r.jp2">Digital Vatican Library</a>.</p>
 </div>
     
     <p>Folios 13r–27v and 34r–288r are written in half-uncial; folios 288v–311v contain a theological work in uncials. The half-uncial shows minuscule g, straight minuscule s, and a rounded t.</p>
 
 <div class="illustration-block">
-  <img src="half uncial.jpeg">
+  <img src="half uncial.webp">
 </div>
 
   <h3 class="sub-heading">The Later History of Half-Uncial</h3>
diff --git a/public/source/scripts/unit05.html b/public/source/scripts/unit05.html
index 2e1cff8..72a01ad 100755
--- a/public/source/scripts/unit05.html
+++ b/public/source/scripts/unit05.html
@@ -51,7 +51,7 @@ <h2 class="section-heading">Insular Half-Uncial (Majuscule)</h2>
   <p>The insular half-uncial was the most formal of the insular scripts and was used for a number of famous Gospel books usually dated to the late seventh or eighth century: the Lindisfarne Gospels, the Book of Durrow, and the Book of Kells. Its use faded after the eighth century except as a display script; thereafter, the highest grade for biblical and liturgical texts was the hybrid minuscule.</p>
 
     <div class="illustration-block">
-    <img src="5_Insular_Kells.jpg" width="800" height="600" allowfullscreen frameborder="0"
+    <img src="5_Insular_Kells.webp" width="800" height="600" allowfullscreen frameborder="0"
          alt="Book of Kells, fol. 10r — insular half-uncial"
          onerror="this.parentElement.innerHTML">
     <p class="illustration-caption">Book of Kells, Trinity College Dublin, MS 58, fol. 10r. Late seventh or eighth century. Insular half-uncial (majuscule). Available via <a href="https://digitalcollections.tcd.ie/concern/works/hm50tr726?locale=en" target="_blank">TCD Digital Collections</a>.</p>
@@ -60,7 +60,7 @@ <h2 class="section-heading">Insular Half-Uncial (Majuscule)</h2>
   <p>The half-uncial was written with a broad pen held at a straight angle, so that vertical strokes are heavy and horizontal strokes are fine. It is predominantly a bilinear script, with letters fitted between a headline and a baseline. It makes prominent use of circular and oval forms. 
     
     <div class="illustration-block">
-      <img src="5_Insular_majuscule.jpeg">
+      <img src="5_Insular_majuscule.webp">
     </div>
     
     Although mainly a half-uncial script, variant forms were available: uncial forms of F, R, and S appear regularly; D and N had both uncial and half-uncial forms; G was usually half-uncial but the uncial form was also available (J. Brown 63). Ligatures are formed on A, E, L, R, and T but do not conspicuously alter the letter shapes. The minims of i, m, n, and u are very straight and regular, with a thick and flat base (Stokes 4). Serifs shaped like triangular wedges appear at the tops of ascenders and minims; these seem to derive from approach strokes (J. Brown 63).</p>
@@ -85,7 +85,7 @@ <h2 class="section-heading">Insular Minuscule</h2>
   </div>
 
   <div class="illustration-block">
-    <img src="5_Book_of_Dimma.jpg">
+    <img src="5_Book_of_Dimma.webp">
     <p class="illustration-caption">Cursive in the so-called Book of Dimma. Dublin, Trinity College, p. 20: <a href="https://digitalcollections.tcd.ie/concern/works/9306t370s?locale=en" target="_blank">TCD Digital Collections</a>.</p>
   </div>
 
diff --git a/public/source/scripts/unit06.html b/public/source/scripts/unit06.html
index 9212bfe..7e690b5 100755
--- a/public/source/scripts/unit06.html
+++ b/public/source/scripts/unit06.html
@@ -117,7 +117,7 @@ <h2 class="section-heading">The Luxeuil Minuscule</h2>
   A distinctive type of display capital appears there by 669 CE, and by the first half of the eighth century a distinctive minuscule accompanies it. The Luxeuil minuscule survives in about thirty witnesses.</p>
 
   <div class="illustration-block">
-    <img src="6_Luxeuil.jpeg">
+    <img src="6_Luxeuil.webp">
   </div>
   
   <p>It is rich in ligatures, particularly those formed from c, e, f, g, o, r, and t. Characteristic letter forms include: a cc-form; b usually closed and often with a right arm for ligature; c possibly in a broken-back form (two strokes joined at the upper left); d in both straight-back and curved-back forms; o with a right arm for ligatures; t in both its standard form with a left loop and, when in ligature, in a rotated form. The principal example is the Lectionary of Luxeuil.</p>
@@ -201,7 +201,7 @@ <h3 class="sub-heading">Chelles: b-type Minuscule and N-uncial</h3>
   <p>At the abbey of Chelles, two distinctive house types appeared in the second half of the eighth century: the b-type minuscule and the N-uncial. Both can be seen together on a page of the Gelasian Sacramentary (Vatican, BAV, Reg. lat. 316, fol. 2v). In the b-type minuscule: a has several variants — a form with a horn at the upper left, cc-, and oc-versions, and a suprascript form in ligature; b has a cross-stroke on the stem; r forms a ligature at the baseline. The accompanying N-uncial is characterized by: D with an uncial form resembling an apple with a stem; G with a sinuous tail; N with its second upright tipped backward, sometimes with a small foot at the lower right; S with a small top curve; X with a high junction point and a wavy left stroke.</p>
 
   <div class="illustration-block">
-    <img src="6_Chelles.jpg">
+    <img src="6_Chelles.webp">
     <p class="illustration-caption">
     Chelles N-uncial with b-type minuscule above. Gelasian Sacramentary, BAV, Reg. lat. 316, fol. 2v: <a href="https://digi.vatlib.it/view/MSS_Reg.lat.316/0016" target="_blank">digi.vatlib.it</a>.</p>
   </div>
@@ -210,7 +210,7 @@ <h3 class="sub-heading">Corbie Script Types</h3>
   <p>Several scribal developments have been connected to the abbey of Corbie during the eighth century. In the e-N minuscule, e is tall and shows an open upper loop in ligature; N is often written in uncial rather than minuscule form. The letter a is open; y is occasionally dotted, with both arms curving to the right.</p>
 
   <div class="illustration-block">
-    <img src="6_Cassiodorus_eN.JPEG">
+    <img src="6_Cassiodorus_eN.webp">
     <p class="illustration-caption"> Sample of e-N minuscule. Cassiodorus, <em>Commentary on the Psalms</em>. Paris, BNF, lat. 12239, fol. 1v-2r. Available at <a href="https://gallica.bnf.fr/ark:/12148/btv1b10720882f/f6.item.r=12239" target="_blank">Gallica</a>.</p>
   </div>
 
@@ -221,7 +221,7 @@ <h2 class="section-heading">Rhaetian and Alemannic Minuscule</h2>
   <p>Independent of developments in Gaul, another script type emerged in what is now Switzerland, at the confluence of North Italian and Gallic currents around the bishopric of Chur. The Rhaetian script shows a slight right inclination. Its characteristic letter forms include: a cc-a with occasional Caroline uncial a; upright g; o sometimes resembling a reversed uncial d; ri-ligature; t with a closed bow on the left, executed in three movements with the top element in two strokes; and a us-ligature from the Merovingian period.</p>
 
   <div class="illustration-block">
-    <img src="6_Rhaetian.jpg">
+    <img src="6_Rhaetian.webp">
     <p class="illustration-caption">Sample of Rhaetian script. Sankt Gallen, Stiftsbibliothek, 348, p. 368. Image available at<a href="https://www.e-codices.unifr.ch/en/csg/0348/368" target="_blank">e-codices.unifr.ch</a>
   </div>
 
@@ -230,14 +230,14 @@ <h2 class="section-heading">Rhaetian and Alemannic Minuscule</h2>
   <p>An early Alemannic hand is represented by the scribe Winithar of Saint Gall (c. 740–c. 790), whose hand appears in at least seven manuscripts.</p>
 
   <div class="illustration-block">
-    <img src="6_Winithar.jpg">
+    <img src="6_Winithar.webp">
     <p class="illustration-caption">Winithar's address to his fellow monks, giving his own name. Saint Gall, Stiftsbibliothek, 70, p. 250. Image from <a href="https://www.e-codices.unifr.ch/en/csg/0070//250">e-codices</a>.</p>
   </div>
 
   <p>Winithar's writing leans to the right and gives an impression of instability. The strokes are heavy and the letter modulus large; at its most calligraphic, the letters stand upright without leaning. A later example (Saint Gall, Stiftsbibliothek, 914, p. 50) shows a tendency toward more upright letters: a less scrawling, finer script that retains the large modulus and characteristic ligatures and abbreviations, but with calligraphic ideals of uniformity and display. Word separation is markedly better and approaches a division into syllables.</p>
 
   <div class="illustration-block">
-    <img src="6_Alemannic.jpg">
+    <img src="6_Alemannic.webp">
     <p class="illustration-caption">Alemannic minuscule from the first third of the ninth century. Saint Gall, Stiftsbibliothek, 914, p. 50. Image from <a href="https://www.e-codices.unifr.ch/en/csg/0914/50" target="_blank">e-codices.unifr.ch</a>.</p>
   </div>
 
diff --git a/public/source/scripts/unit07.html b/public/source/scripts/unit07.html
index cf3c7b0..fb0d93e 100755
--- a/public/source/scripts/unit07.html
+++ b/public/source/scripts/unit07.html
@@ -50,14 +50,14 @@ <h2 class="section-heading">The Calligraphic Book Hand</h2>
   <span class="glossary-term">clubbing<span class="glossary-def">A characteristic widening at the top of ascender strokes, formed by a short approach stroke from the left before the main downstroke. Clubbing is a marker of several early medieval scripts.</span></span>.</p>
 
   <div class="illustration-block">
-    <img src="7_1_Moralia-in-Job.jpg"><p class="illustration-caption">
+    <img src="7_1_Moralia-in-Job.webp"><p class="illustration-caption">
     Florencio de Valeránica writing in 945, <em>Moralia in Job</em>, Madrid, Biblioteca Nacional de España, MSS/80, fol. 4v. Image from the <a href="https://bdh.bne.es/bnesearch/detalle/bdh0000206931" target="_blank">BNE Digital Library</a>.
   </div>
 
   <h2 class="section-heading">Characteristic Letter Forms</h2>
 
   <div class="illustration-block">
-    <img src="visigothic.jpeg">
+    <img src="visigothic.webp">
   </div>
 
   <table class="letter-table">
@@ -87,10 +87,10 @@ <h2 class="section-heading">Two Comparative Examples</h2>
   <p>Two samples of Visigothic book hand allow comparison of an early and a later phase:</p>
 
   <div class="illustration-block">
-    <img src="7_2 Etymologies.jpg">
+    <img src="7_2 Etymologies.webp">
     <p class="illustration-caption">Isidore's <em>Etymologies</em>, copied between 780 and 820. Madrid, Biblioteca Nacional de España, VITR/14/3, fol. 3v. Image from the <a href="https://bnedigital.bne.es/bd/es/viewer?id=16d145c4-aaee-4440-a3a7-df1ce6623874&page=10">BNE Digital Library</a>.</p>
-    <img src="7_3_Etymologies_BNE Digital, 10008-1.jpg">
-    <img src="7_4_Etymologies_BNE Digital, 10008-2.jpg">
+    <img src="7_3_Etymologies_BNE Digital, 10008-1.webp">
+    <img src="7_4_Etymologies_BNE Digital, 10008-2.webp">
     <p class="illustration-caption">Isidore's <em>Etymologies</em>, copied during the eleventh century. Madrid, Biblioteca Nacional de España, MSS/10008, fol. 6r-6v. Image from the <a href="https://bnedigital.bne.es/bd/es/viewer?id=8bd655f3-16d8-4b0c-afca-8bebeb35789c&page=8">BNE Digital Library</a>.</p>
   </div>
 
diff --git a/public/source/scripts/unit08.html b/public/source/scripts/unit08.html
index 151845a..4e60461 100755
--- a/public/source/scripts/unit08.html
+++ b/public/source/scripts/unit08.html
@@ -67,7 +67,7 @@ <h2 class="section-heading">Morphological Features and Ligatures</h2>
   <p>The morphological features and ligatures of Beneventan script betray its origins in new Roman cursive, probably in the form practiced in Italy in the seventh and eighth centuries. Particular influences may derive from the distinctive minuscule of the abbey of Nonantola, near Modena. Here is an example of an early Beneventan manuscript, dating to the late eighth century.</p>
 
   <div class="illustration-block">
-    <img src="8_Early_Beneventan_Cropped.jpg">
+    <img src="8_Early_Beneventan_Cropped.webp">
     <p class="illustration-caption">
       A chapter entitled <em>De littera</em> ("On the letter") from a liberal arts collection. Paris, BNF, lat. 7530, fol. 133r. Image available at <a href="https://gallica.bnf.fr/ark:/12148/btv1b84900617/f261.item">Gallica</a>.
     </p>
@@ -76,7 +76,7 @@ <h2 class="section-heading">Morphological Features and Ligatures</h2>
   <p>While not all of the characteristics of Beneventant script are found in this early sample, some of the typical morphology is on display.</p>
 
   <div class="illustration-block">
-    <img src="beneventan.jpeg">
+    <img src="beneventan.webp">
   </div>
 
   <table class="letter-table">
@@ -98,13 +98,13 @@ <h2 class="section-heading">Morphological Features and Ligatures</h2>
   <p>Many ligatures were possible. By the end of the ninth century, certain of them came to be considered "obligatory" (in E. A. Lowe's term): above all, this applies to i when it follows e, f, g, l, r, or t. From the late ninth or early tenth century, two ligatures for ti were distinguished depending on whether the sound was assibilated or not. The unassibiliated ligature comprised a t with an i descending below the baseline. The assibilated form had the vertically-turned t, somewhat like a figure 8, before the i. Optional ligatures (in Lowe's terminology) that might also appear include: ae, ci, ct, ec, et, mi, ni, nt, or, rit, rp, sp, st, sti, ta, te, tu, xp.</p>
 
   <div class="illustration-block">
-    <img src="beneventan_ligature.jpeg">
+    <img src="beneventan_ligature.webp">
   </div>
     
     <p>As a later example of Beneventan, here is a sample from a homiliary from Monte Cassino, created under Abbot Desiderius, probably around 1072.</p>
 
   <div class="illustration-block">
-    <img src="8_Beneventan_mature.jpg">
+    <img src="8_Beneventan_mature.webp">
     <p class="illustration-caption">Homiliary for liturgical use. Cassino, Biblioteca statale del Monumento nazionale di Montecassino, Manoscritti, Cod. 98, p. 9. Image availble via the <a href="https://omnes.dbseret.com/montecassino/iiif/2/IT-FR0084_ams_0098_0015_pa_009/full/2201,/0/default.jpg?download=true">Memory of Montecassino</a>.</p>
   </div>
 
diff --git a/public/source/scripts/unit09.html b/public/source/scripts/unit09.html
index d4f2325..6a2219e 100755
--- a/public/source/scripts/unit09.html
+++ b/public/source/scripts/unit09.html
@@ -43,7 +43,7 @@ <h2 class="section-heading">The Leutchar Type and Berlin MS Theol. Lat. fol. 354
   <p>The manuscript Berlin, Staatsbibliothek, MS Theol. Lat. fol. 354 was completed before the death of Leutchar, abbot of Corbie, in 769 CE (Licht, "Die älteste karolingische Minuskel"). The half-uncial on its first page takes the name "Leutchar type" from the abbot. If Caroline minuscule is the product of a minuscule tradition disciplined by half-uncial ideals, the Leutchar type gives an idea of what that disciplining might have involved. It is far more compact than other half-uncial forms, and it is difficult to identify its organizing scaffold as either two-line or four-line. The clubbing on the ascenders marks out an upper zone, but it is compressed.</p>
 
  <div class="illustration-block">
-    <img src="9_Half_uncial_toward_minuscule.jpg">
+    <img src="9_Half_uncial_toward_minuscule.webp">
     <p class="illustration-caption">
     Half-uncial in Berlin, Staatsbibliothek, MS Theol. Lat. fol. 354, fol. 1r. Available at <a href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN821946358&PHYSID=PHYS_0001" target="_blank">Staatsbibliothek Digitalisierte Sammlungen</a>.</p>
   </div>
@@ -51,7 +51,7 @@ <h2 class="section-heading">The Leutchar Type and Berlin MS Theol. Lat. fol. 354
   <p>The script on the following page is plainly different.</p>
   
      <div class="illustration-block">
-    <img src="9_First_Caroline.jpg">
+    <img src="9_First_Caroline.webp">
     <p class="illustration-caption">
     Early Caroline minuscule in Berlin, Staatsbibliothek, MS Theol. Lat. fol. 354, fol. 1v. Available at <a href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN821946358&PHYSID=PHYS_0001" target="_blank">Staatsbibliothek Digitalisierte Sammlungen</a>.</p>
   </div>
@@ -64,7 +64,7 @@ <h2 class="section-heading">The Maurdramnus Bible</h2>
   <p>An early minuscule form, considered by some scholars a primitive Caroline minuscule, appears in a monumental form in the Maurdramnus Bible, a multi-volume Old Testament of which five volumes are preserved at Amiens. The colophon in Amiens 11 identifies the patron as Abbot Maurdramnus, who headed Corbie until 781. The script was written slowly, probably with a pen held nearly perpendicular to the page. As a large lectern Bible, it is designed for communal reading: letters are large, round, distinct, and regular. About sixty manuscripts survive of this type; some also show, in correctors' or marginal interventions, the Leutchar type and the Corbie ab-type.</p>
 
   <div class="illustration-block">
-    <img src="9_Maurdramnus.JPEG">
+    <img src="9_Maurdramnus.webp">
     <p class="illustration-caption">
     Maurdramnus Bible. Amiens, Bibliothèque municipale, 11, fol. 66r. Image available at <a href="https://gallica.bnf.fr/ark:/12148/btv1b8452188r/f115.item" target="_blank">Gallica</a>.</p>
   </div>
@@ -82,7 +82,7 @@ <h2 class="section-heading">Caroline Minuscule at the Court of Charlemagne</h2>
   <p>The earliest datable witness is the dedicatory page at the end of the Godescalc Evangeliary, executed between 781 and 783. This luxury Gospel book is written in gold uncials on purple-dyed parchment. The minuscule n is regular despite one capital in line 4. The letter A shifts inconsistently between uncial and cc-form. Y is dotted. The ligatures rt and st persist throughout Caroline minuscule, but apart from these the letters are set and non-cursive.</p>
 
   <div class="illustration-block">
-    <img src="9_Godescalc.JPEG">
+    <img src="9_Godescalc.webp">
     <p class="illustration-caption">First datable Carolingian minuscule. Dedicatory page of the Godescalc Evangeliary: Paris, BNF, n.a. lat. 1203, fol. 126v. Image available at <a href="https://gallica.bnf.fr/ark:/12148/btv1b6000718s/f252.item" target="_blank">Gallica</a>.</p>
   </div>
 
@@ -93,8 +93,8 @@ <h2 class="section-heading">The Achievement of Caroline Minuscule</h2>
   <p>Between 800 and 1200, Caroline minuscule spread across Europe. Bischoff's catalogue of ninth-century manuscripts contains about 9,000 entries, the overwhelming majority representing Caroline minuscule. In the early years, the diffusion may have been aided by the export of high-quality Bibles from Tours. By around 830, during the reign of Louis the Pious, variation in the canon of letterforms had largely stabilized. As an example, one might turn to the Alcuin Bible illuminated at Tours in the 830s. A number of scribes copied this codex. The first shows “archaic” features in their script: minuscule a, g of half-uncial influence shaped like a flat-topped 3, capital N. This hand appears for display purposes through the end of fol. 8r, the first page of Genesis. On the first verso, the scribe uses the minuscule forms of these three letters.</p>
 
   <div class="illustration-block">
-    <img src="9_Tours_Bible_1.jpg">
-    <img src="9_Tours_Bible_2.jpg">
+    <img src="9_Tours_Bible_1.webp">
+    <img src="9_Tours_Bible_2.webp">
     <p class="illustration-caption">
       The beginning of a Genesis in a Tours Bible, a display page and a standard page. Bamberg, Staatsbibliothek, Msc.Bibl.1, fol. 8r-8v. Image availbel through the <a href="https://www.digitale-sammlungen.de/en/details/bsb00140662">Münchener Digitalisierungszentrum</a>.
     </p>
@@ -116,7 +116,7 @@ <h2 class="section-heading">Petrarch and the Retrospective Appreciation of Carol
   <p>Much later, in a letter of 1366, the Italian poet Francesco Petrarca wrote to Giovanni Boccaccio lamenting the writing styles current in their day. A manuscript sent by Boccaccio to Petrarch — today Paris, BNF, lat. 1989, a copy of Augustine's Commentary on the Psalms — survives with Petrarch's ownership note praising the beauty of the book, its ancient lettering, and the simple elegance of its decoration. The manuscript dates to the last half of the eleventh century.</p>
 
   <div class="illustration-block">
-    <img src="9_Augustine_owned_by_Petrarch.JPEG">
+    <img src="9_Augustine_owned_by_Petrarch.webp">
   <p class="illustration-caption">The eleventh-century Caroline minuscule praised by Petrarch. Paris, BNF, lat. 1989, fol. 2r. Image available at <a href="https://gallica.bnf.fr/ark:/12148/btv1b10039273p/f8.item.r=manuscrit%20latin%201989" target="_blank">Gallica</a>.</p>
   </div>
 
@@ -125,7 +125,7 @@ <h2 class="section-heading">Pregothic Caroline Minuscule</h2>
   <p>A Vergil manuscript copied around 1140 (Vatican, BAV, Vat. lat. 1580) illustrates Caroline minuscule at the pregothic stage. The morphology of the Caroline canon is still recognizable, yet several elements signal the modification underway: ascenders have become noticeably shorter relative to minim height, especially l and sometimes b; ascenders and minims receive an upward finishing stroke from the baseline; the top stroke of uncial d is long and reaches down; diagonal hairlines are visible in e and g; the ascenders b, straight-backed d, and l are forked at the top; the top of uncial d is almost flattened; the arch of h sometimes turns back to the left at the baseline; x is executed in three strokes.</p>
 
   <div class="illustration-block">
-    <img src="9_Pregothic_Vergil.jpg">
+    <img src="9_Pregothic_Vergil.webp">
     <p class="illustration-caption">The beginning of Vergil's <em>Aeneid</em>. Vatican, BAV, Vat. lat. 1580, fol. 40v. Image available at the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.1580/0011" target="_blank">Vatican Digital Library</a>.</
   </div>
 
diff --git a/public/source/scripts/unit10.html b/public/source/scripts/unit10.html
index 6e1637c..3a4ba72 100755
--- a/public/source/scripts/unit10.html
+++ b/public/source/scripts/unit10.html
@@ -41,7 +41,7 @@ <h2 class="section-heading">From Caroline to Gothic</h2>
   greater lateral compression, and enhanced central weight, accompanied by shallower descenders and lower ascenders.</p>
 
   <div class="illustration-block">
-    <img src="10_Protogothic.jpeg">
+    <img src="10_Protogothic.webp">
     <p class="illustration-caption">Sample alphabet of pregothic Caroline minuscule.</p>
   </div>
 
@@ -50,7 +50,7 @@ <h2 class="section-heading">From Caroline to Gothic</h2>
   <p>In northern Europe — particularly in northern France, the Low Countries, and England — Caroline minuscule begins showing signs of fundamental change in the later eleventh and twelfth centuries. A pregothic manuscript from Cîteaux, dating to the mid-twelfth century, already demonstrates an advanced stage in this transition. 
   
     <div class="illustration-block">
-      <img src="10 Citeaux.jpg">
+      <img src="10 Citeaux.webp">
       <p class="illustration-caption">Troyes, Bibl. Mun., 441, fol. 112v-113r, s. xii med. Image available via the <a href="https://arca.irht.cnrs.fr/ark:/63955/md741r66k87g">IRHT</a>.
  </p>
     </div>
@@ -70,27 +70,27 @@ <h3 class="sub-heading">Textus Quadratus</h3>
   <p>The most calligraphic form of northern textualis is textus quadratus, the principal variety of textualis formata.</p>
 
   <div class="illustration-block">
-    <img src="10_GothicTextualis.jpeg">
+    <img src="10_GothicTextualis.webp">
   </div>
     
     <p>Its defining feature is the systematic addition of quadrangular feet to minims and ascenders, and quadrangular heads to the tops of ascenders. An accomplished example is the pontifical of Renaud de Bar, bishop of Metz (1302–1316), which shows numerous fusions: de (as in <em>cedens</em>), ha, oR (including the -orum abbreviation), pe, and po. Hairline ornamentation is frequent, and the straight a (the "box a") is consistently employed.</p>
 
 <div class="illustration-block">
-<img src="10_Quadrata_Renaud.jpeg">
+<img src="10_Quadrata_Renaud.webp">
 <p class="illustration-caption">The Pontifical of Renaud de Bar. Cambridge, Fitzwilliam Museum, 298, fol. 2v. Image available at the <a src="https://qi.fitzmuseum.cam.ac.uk/illuminated/manuscript/discover">digital collection</a> of the Fitzwilliam Museum.</p>
 </div>
 
 <p>One of the chief aspects of textualis formata is the changed ductus, now entailing a composition of each letter stroke by stroke. A rare witness to the ductus of textus quadratus survives in the writing manual of the scribe and writing master Bock, preserved at Yale's Beinecke Library. Each letter is analyzed by the sequence of its constituent strokes. The construction of b, h, k, and s shows that the shoulder-level spur was added as a final stroke. In one instance, Bock mistakenly executed the full letter o prematurely; the strokes were subsequently relabeled in their correct order.</p>
 
   <div class="illustration-block">
-    <img src="10_Bock_Writing_Manual.jpg">
+    <img src="10_Bock_Writing_Manual.webp">
     <p class="illustration-caption"> Bock's writing manual from c. 1510–1517. Yale, Beinecke Library, MS 439. Image available at <a href="https://collections.library.yale.edu/catalog/10450154" target="_blank">Yale Library Digital Collections</a>.</p>
   </div>
 
   <p>A specimen of the complete alphabet in textualis formata (quadrata) is preserved in a fragment collected by the writer Samuel Pepys around 1700. The sample shows both forms of a: the double-bowed a and the box a.</p>
 
   <div class="illustration-block">
-    <img src="10_Pepys_Alphabet.jpg">
+    <img src="10_Pepys_Alphabet.webp">
 <p class="illustration-caption">Model alphabet from the Pepys collection fragment. Cambridge, Magdalene College, Pepys Library, PL 2981, p. 19, no. 56, fol. 1v. Image available in <a href="https://fragmentarium.ms/view/page/F-q7fv/8469/65099" target="_blank">Fragmentarium</a>.</p>
   </div>
 
@@ -103,7 +103,7 @@ <h3 class="sub-heading">Textus Semiquadratus and Textus Praescissus</h3>
   <p>A specimen from the advertisement of a scribe named Hagen illustrates further varieties. The textus semiquadratus (Hagen's term) resembles textus rotundus except that its a is a double bow rather than a box. The textus praescissus — a name perhaps meaning "cut off in advance" — resembles textus quadratus but lacks the additional serifs at the baseline: minims and ascenders end bluntly on the line without feet.</p>
 
   <div class="illustration-block">
-    <img src="10_Hagen_Scribe_Advertisement.jpg">
+    <img src="10_Hagen_Scribe_Advertisement.webp">
     <p class="illustration-caption">Scribe Advertisement of Johann von Hagen. Berlin, Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, Inventar-Nr. Ms. Lat. Fol. 384. Image available at <a href="https://www.bildindex.de/document/obj00022977" target="_blank">Bildindex</a>.</p>
   </div>
 
@@ -112,7 +112,7 @@ <h2 class="section-heading">Southern Textualis: Rotunda</h2>
   <p>In southern Europe, particularly Italy, Gothic textualis — known as Rotunda — remained more closely aligned with Caroline minuscule. Despite its name, it bears no relation to the northern textus rotundus. Rotunda preserves the broad, rounded aspect of Caroline. A defining difference from northern textualis formata is the absence of pronounced feet at the baseline. Letters frequently terminate in a manner reminiscent of textus praescissus. As Derolez (103) observes, "neither the baseline nor the headline have the marked visual importance in Rotunda that they have in Northern Textualis."</p>
 
   <div class="illustration-block">
-    <img src="10_Rotunda.jpeg">
+    <img src="10_Rotunda.webp">
   </div>
 
   <p>Ascender tops and descender bases are typically undecorated. Several letters end flat on the baseline: f, the stem of h, the first two minims of m, the first minim of n, straight r, straight s, and usually the Tironian et. Decorative spurs and hairlines are rare. The minuscule a consists of a minim with a low bow, its top open or lightly closed with a hairline. Letters b, c, and e are markedly round; e is closed with a hairline tongue. Uncial d predominates before curved letters; straight d appears when the neighboring stroke of the next letter is vertical. The letter g is formed with a long curved stroke on the right extending from the middle into the lower zone. Straight r ends on the line; round r appears after bows. Straight s ends on the baseline with a shoulder-height spur, while round s is typical in final position; a narrow trailing s of two strokes may descend below the line. Curved u is common, whereas angular v is comparatively rare. Rotunda favors overlapping strokes rather than fused double strokes. Common combinations include bb, bc, bd, be, bo; dc, de, do (with uncial d); he, ho; oc, od, oe, og, oo, oq; pc, pe, pg, po, and pp. The only true ligature is st.</p>
@@ -134,7 +134,7 @@ <h2 class="section-heading">Gothic Textualis and Early Printing</h2>
   <p>With the advent of printing in the mid-1450s, early typographers adopted textualis formata as their model. The first major production using movable type, the Gutenberg Bible (Mainz, c. 1455), exemplifies this choice. Typography reinforced the even and highly regulated execution that characterizes textualis formata above all other Gothic scripts. The Göttingen copy of the Bible — one of the few surviving vellum copies and the only complete example — illustrates the script's formal clarity in typographic form.</p>
 
   <div class="illustration-block">
-    <img src="10_Göttingen_Gutenberg.jpg"> 
+    <img src="10_Göttingen_Gutenberg.webp"> 
     <p class="illustration-caption">The Göttingen copy of the Gutenberg Bible. Göttingen, SUB, 2 BIBL I, 5955:1 INC RARA, fol. 1r. Image available via the
  <a href="https://gdz.sub.uni-goettingen.de/id/PPN898741912" target="_blank">Göttingen Digitization Centre</a>.</p>
   </div>
diff --git a/public/source/scripts/unit11.html b/public/source/scripts/unit11.html
index cdaa37d..f4db3ee 100755
--- a/public/source/scripts/unit11.html
+++ b/public/source/scripts/unit11.html
@@ -183,7 +183,7 @@ <h3 class="sub-heading">Cursiva Antiquior</h3>
   <p>Cursiva antiquior retains the two-compartment a, a feature that keeps it closer to textualis than other cursive types. It originated in England in the thirteenth century, developed from the local documentary script of the royal chancery. During the fourteenth century it spread to northern France, the German-speaking countries, and Scandinavia, but it never reached southern Europe or the Low Countries. The only fully canonized script derived from cursiva antiquior is Anglicana, which appeared in England in the thirteenth century and remained in use until the sixteenth. Anglicana was made famous by the studies of the English palaeographer Malcolm Parkes.</p>
 
 <div class="illustration-block">
-  <img src="11_Antiquior.jpg"
+  <img src="11_Antiquior.webp"
     alt="Cambridge, Gonville and Caius College, Ms. 59/153, f. 435r">
   <p class="illustration-caption">
     A 14th-century manuscript containing the work <em>De legibus et consuetudinibus Angliae</em>.
@@ -236,7 +236,7 @@ <h3 class="sub-heading">Cancelleresca (Italy)</h3>
 
 <div class="illustration-block">
   <img 
-    src="11_Paradiso.jpg"
+    src="11_Paradiso.webp"
     alt="Vatican, Vatican Library, Ms. Urb.lat.378, f. 61r"
     onerror="this.parentElement.innerHTML='';"
   >
@@ -256,14 +256,14 @@ <h3 class="sub-heading">Bastarda (France, Flanders, England)</h3>
   <p>The term "bastarda" in the Lieftinck-Derolez system does not refer generically to all late medieval Gothic cursive book hands, as it does in much palaeographic usage. Here it designates a specific book-hand style developed in the fifteenth century in certain regions of France, characteristic of luxury manuscripts produced at the court of the Dukes of Burgundy — hence also known as "lettre bourguignonne." In addition to Burgundy, Franche-Comté, and Flanders, it was widespread in France generally and was later exported to England. It derives from two main sources: the French book hand of the fourteenth and fifteenth centuries, and the script of the royal chancery.</p>
 
   <div class="illustration-block">
-    <img src="11_Batarde.jpeg">
+    <img src="11_Batarde.webp">
   </div>
 
   <p>Distinctive features include bold and generally slanted f and s, creating marked contrast with the more uniform letterforms; and a pronounced angularity produced by sharp projecting points at the top strokes of certain letters (e.g., e, o, t).</p>
 
 <div class="illustration-block">
   <img 
-    src="11_Bastarda.jpg"
+    src="11_Bastarda.webp"
     alt="France, Abbeville, fonds principal, Ms. 16, f. 6r"
     onerror="this.parentElement.innerHTML='';"
   >
@@ -284,7 +284,7 @@ <h3 class="sub-heading">Secretary (England)</h3>
 
 <div class="illustration-block">
   <img 
-    src="11_Secretary.jpg"
+    src="11_Secretary.webp"
     alt="London, Wellcome Collection, Ms. 411, ff. 11v-12r"
     onerror="this.parentElement.innerHTML='';"
   >
diff --git a/public/source/scripts/unit12.html b/public/source/scripts/unit12.html
index 5d87c52..9386d65 100755
--- a/public/source/scripts/unit12.html
+++ b/public/source/scripts/unit12.html
@@ -48,14 +48,14 @@ <h2 class="section-heading">Poggio Bracciolini and the <em>Littera Antiqua</em><
   <p>His early training script (Fig. 1), used to copy a Ciceronian oration, can be classified as a hybrid. It is characterized by f and s descending below the baseline, shafts without loops, and a strongly cursive ductus. The use of a Roman capital in the rubric is, however, a typically humanistic feature.</p>
 
   <div class="illustration-block">
-    <img src="12_1_Poggio_Cicero.jpg">
+    <img src="12_1_Poggio_Cicero.webp">
     <p class="illustration-caption">Fig. 1 — Poggio, early hand. Vatican, BAV, Vat. lat. 11458. Image available from the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.11458/0004" target="_blank">Digital Vatican Library</a>.</p>
   </div>
 
   <p>A manuscript of Valerius Maximus (Fig. 2) represents an initial, fully developed attempt at the <em>littera antiqua</em>, though the textualis matrix remains strong: the writing is still bilinear, with limited development of ascenders; thin connecting strokes between letters within words are clearly visible; adjacent curves are often fused; and abbreviations remain numerous, drawn from the Gothic repertoire including the Tironian sign shaped like a "9" for the sequence <em>con-</em>.</p>
 
   <div class="illustration-block">
-    <img src="12_2_Poggio_Valerius.jpg">
+    <img src="12_2_Poggio_Valerius.webp">
     <p class="illustration-caption"> Fig. 2 — Poggio, transitional script. Vatican, BAV, Pal. lat. 903. Image available through the <a href="https://digi.vatlib.it/view/bav_pal_lat_903/0005" target="_blank">Digital Vatican Library</a>.</p>
   </div>
 
@@ -72,14 +72,14 @@ <h2 class="section-heading">Poggio Bracciolini and the <em>Littera Antiqua</em><
   </ul>
 
   <div class="illustration-block">
-  <img src="12_3_Poggio.jpg">
+  <img src="12_3_Poggio.webp">
   <p class="illustration-caption">Fig. 3 — Poggio, mature <em>antiqua</em>. Vatican, BAV, Vat. lat. 3245, fol. 1v. Image available through the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.3245/0012" target="_blank">Digital Vatican Library</a>.</p>
   </div>
 
   <p>Compared to the late Carolingian minuscule of the eleventh century (Fig. 4), Poggio's <em>antiqua</em> differs in its more orderly <em>mise en page</em>, in the simplification of abbreviations, and in the survival of Gothic-derived feet linking letters on the baseline within words.</p>
 
   <div class="illustration-block">
-    <img src="12_4.jpg">
+    <img src="12_4.webp">
     <p class="illustration-caption">Fig. 4. Late Carolingian comparandum. Vatican, BAV, Vat. lat. 84. Image available through the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.84/0001" target="_blank">Digital Vatican Library</a>.</p>
   </div>
 
@@ -88,7 +88,7 @@ <h2 class="section-heading">Niccolò Niccoli and Humanistic Cursive</h2>
   <p>Niccolò Niccoli (Florence, 1365–1437) was another key figure in the humanistic graphic reform. After coming into contact with the most refined intellectual circles of his time, he turned from commerce to the study of ancient books. Thanks to his friendship with Cosimo de' Medici, he assembled an extremely rich library, now part of the Biblioteca Medicea Laurenziana in Florence. Niccoli is credited with the invention of humanistic cursive — also called <em>all'antica</em> — found primarily in manuscripts intended for his own private use. His autograph copy of Lucretius's <em>De rerum natura</em> is the principal witness.</p>
 
   <div class="illustration-block">
-    <img src="12_5.png">
+    <img src="12_5.webp">
     <p class="illustration-caption">Niccolò Niccoli, Lucretius' <em>De rerum natura</em>. Florence, Biblioteca Medicea Laurenziana, Plut. 35.30. Image available from the <a href="https://tecabml.contentdm.oclc.org/digital/collection/plutei/id/665871/rec/1" target="_blank">Teca Digitale BML</a>.</p>
   </div>
 
@@ -119,7 +119,7 @@ <h2 class="section-heading">Humanistic Scripts beyond Poggio and Niccoli</h2>
   <p>In the first half of the fifteenth century, other scribes also devoted themselves to graphic experimentation inspired by ancient models. Antonio di Mario, for example, proposed a form of <em>antiqua</em> different from Poggio's, characterized by a thin and delicate stroke.</p>
 
   <div class="illustration-block">
-    <img src="12_6.jpg">
+    <img src="12_6.webp">
     <p class="illustration-caption">
     Antonio di Mario. Vatican, BAV, Vat. lat. 1969. Image available from the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.1969/0045" target="_blank">Digital Vatican Library</a>.</p>
   </div>
@@ -127,7 +127,7 @@ <h2 class="section-heading">Humanistic Scripts beyond Poggio and Niccoli</h2>
   <p>With the recovery of Greek culture, some humanists integrated Greek characters into their scripts or composed entire manuscripts in Greek. Among them were Guarino of Verona and Ciriaco of Ancona (1391–1452), a merchant with a passion for archaeology. Inspired by the Greek inscriptions he observed during his travels, Ciriaco developed highly personal and fanciful scripts.</p>
 
   <div class="illustration-block">
-    <img src="12_7.jpg"><p class="illustration-caption">Ciriaco of Ancona. Vatican, BAV, Vat. lat. 10672. Image available from the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.10672/0007" target="_blank">Digital Vatican Library</a>.</p>
+    <img src="12_7.webp"><p class="illustration-caption">Ciriaco of Ancona. Vatican, BAV, Vat. lat. 10672. Image available from the <a href="https://digi.vatlib.it/view/MSS_Vat.lat.10672/0007" target="_blank">Digital Vatican Library</a>.</p>
   </div>
 
   <p>In the second half of the century, manuscript production in <em>antiqua</em> increased, partly because of the cultural projects of Italian rulers and popes who commissioned court scribes to assemble rich personal libraries (Milan, Mantua, Ferrara, Cesena, Rome, Naples, Urbino). From a graphic standpoint, scripts tended toward uniformity and standardization. In the final decades of the century, this writing was also influenced by the advent of printing.</p>
@@ -137,15 +137,15 @@ <h2 class="section-heading">The Development of Italic</h2>
   <p>In the evolution of humanistic cursive in the second half of the fifteenth century, the contributions of Antonio Sinibaldi and Bartolomeo Sanvito were particularly important.</p>
 
   <div class="illustration-block">
-    <img src="12_8.jpg">
+    <img src="12_8.webp">
     <p class="illustration-caption">Vatican, BAV, Vat. gr. 1626. Image available from the <a href="https://digi.vatlib.it/view/MSS_Vat.gr.1626/0007" target="_blank">Digital Vatican Library</a>.</p>
   </div>
 
   <p>Their scripts represent the first examples of the Italian chancery or Italic hand. Despite its cursive origins, this writing was mostly executed with an interrupted ductus, giving it an extremely calligraphic appearance. Italic became the preferred subject of study and debate among the most important sixteenth-century calligraphers, who established strict rules for its execution and developed various stylizations.</p>
 
 <div class="illustration-block">
-  <img src="12_9_a.jpeg">
-  <img src="12_9_b.jpeg">
+  <img src="12_9_a.webp">
+  <img src="12_9_b.webp">
   <p class="illustration-caption">The calligraphic manual of Ludovico Vicentino (1522-1524). Image available through the <a href="https://archive.org/embed/laoperinadiludou00arri">Internet Archive</a>.</p></div>
   <p>Over the course of the sixteenth century, Italic established itself as a fundamental writing system, gradually replacing other script types and giving rise to the modern European cursive hands that descend to the present day.</p>
 
diff --git a/src/config/landingHotspots.js b/src/config/landingHotspots.js
index 18388bb..d19eb9b 100644
--- a/src/config/landingHotspots.js
+++ b/src/config/landingHotspots.js
@@ -82,7 +82,7 @@ const sparkleConfig = {
 }
 
 export const landingArtwork = {
-  src: '/images/tree/tree-portrait-soft.png',
+  src: '/images/tree/tree-portrait-soft.webp',
   alt: 'Illustrated eManuSkript tree with apples for applications, oak galls for tutorials, and roots for informational pages.',
   ratio: {
     width: 1279,
diff --git a/src/content/about/about.js b/src/content/about/about.js
index a2e8d2e..77adf53 100644
--- a/src/content/about/about.js
+++ b/src/content/about/about.js
@@ -116,7 +116,7 @@ export const aboutContent = {
         id: 'ifdh',
         label: 'Institute for Digital Humanities',
         alt: 'Logo of the Institute for Digital Humanities.',
-        src: '/images/partners/ifdh.png',
+        src: '/images/partners/ifdh.webp',
       },
     ],
   },
diff --git a/src/content/team/team.js b/src/content/team/team.js
index 882fd67..0debdf6 100644
--- a/src/content/team/team.js
+++ b/src/content/team/team.js
@@ -23,7 +23,7 @@ export const teamContent = {
           name: 'Dr. Anna Dorofeeva',
           title: 'Principal Investigator',
           description: 'Principal Investigator',
-          photo: '/images/team/anna.png',
+          photo: '/images/team/anna.webp',
           photoAlt: 'Portrait of Dr. Anna Dorofeeva',
           links: [
             {
@@ -37,7 +37,7 @@ export const teamContent = {
           name: 'Dr. Jeremy Thompson',
           title: 'Project Coordinator',
           description: 'Project Coordinator',
-          photo: '/images/team/jeremy.jpg',
+          photo: '/images/team/jeremy.webp',
           photoAlt: 'Portrait of Dr. Jeremy Thompson',
           links: [
             {
@@ -51,7 +51,7 @@ export const teamContent = {
           name: 'Mohamed Basuony',
           title: 'Software Engineer',
           description: 'Software Engineer',
-          photo: '/images/team/mo.jpg',
+          photo: '/images/team/mo.webp',
           photoAlt: 'Portrait of Mohamed Basuony',
           photoMirror: true,
           links: [
@@ -66,7 +66,7 @@ export const teamContent = {
           name: 'Sergio Gonzalez Orjuela',
           title: 'Software Engineer',
           description: 'Software Engineer',
-          photo: '/images/team/sergio.jpg',
+          photo: '/images/team/sergio.webp',
           photoAlt: 'Portrait of Sergio Gonzalez Orjuela',
           links: [],
         },
@@ -83,7 +83,7 @@ export const teamContent = {
           name: 'Aşina Aleyna Yıldız',
           description:
             'General project coordination, multispectral imaging tutorial, Mergen (layout annotation and data organization), Fenius, script tutorial & model alphabets, scientific outreach and publicity, blog, Proteus (development)',
-          photo: '/images/team/aleyna-ashina.jpg',
+          photo: '/images/team/aleyna-ashina.webp',
           photoAlt: 'Portrait of Aşina Aleyna Yıldız',
           photoMirror: true,
           links: [],
@@ -93,7 +93,7 @@ export const teamContent = {
           name: 'Nuray Haskilic',
           description:
             'Mergen (layout annotation), multispectral imaging tutorial, digital palaeography tutorial, Proteus (concept development), Fenius (concept development), script tutorial (research), bibliography, scientific outreach and publicity',
-          photo: '/images/team/nuray.jpg',
+          photo: '/images/team/nuray.webp',
           photoAlt: 'Portrait of Nuray Haskilic',
           links: [],
         },
@@ -101,7 +101,7 @@ export const teamContent = {
           id: 'yiyang-huang',
           name: 'Yiyang Huang',
           description: 'Proteus, digital palaeography tutorial, scientific outreach',
-          photo: '/images/team/yiyang.jpg',
+          photo: '/images/team/yiyang.webp',
           photoAlt: 'Portrait of Yiyang Huang',
           links: [],
         },
@@ -109,7 +109,7 @@ export const teamContent = {
           id: 'peter-evans',
           name: 'Peter Evans',
           description: 'Script tutorial (research), digital palaeography tutorial, Mergen (layout annotation), bibliography',
-          photo: '/images/team/peter.jpg',
+          photo: '/images/team/peter.webp',
           photoAlt: 'Portrait of Peter Evans',
           links: [],
         },
@@ -131,7 +131,7 @@ export const teamContent = {
           id: 'zhiling-dong',
           name: 'Zhiling Dong',
           description: 'Publicity, outreach, blog',
-          photo: '/images/team/zhiling.jpg',
+          photo: '/images/team/zhiling.webp',
           photoAlt: 'Portrait of Zhiling Dong',
           links: [],
         },
@@ -139,7 +139,7 @@ export const teamContent = {
           id: 'luise-heise',
           name: 'Luise Heise',
           description: 'Fenius, bookbinding research, Mergen (layout annotation)',
-          photo: '/images/team/luise.jpg',
+          photo: '/images/team/luise.webp',
           photoAlt: 'Portrait of Luise Heise',
           links: [],
         },
@@ -154,7 +154,7 @@ export const teamContent = {
           id: 'arianna-pastorini',
           name: 'Arianna Pastorini',
           description: 'Script tutorial, scientific outreach',
-          photo: '/images/team/arianna.jpg',
+          photo: '/images/team/arianna.webp',
           photoAlt: 'Portrait of Arianna Pastorini',
           links: [],
         },
@@ -176,7 +176,7 @@ export const teamContent = {
           id: 'abs',
           name: 'ABS - Alternative Bold Solutions UG',
           description: 'Technical refinements on apps',
-          photo: '/images/team/abs.png',
+          photo: '/images/team/abs.webp',
           photoAlt: 'Logo of ABS - Alternative Bold Solutions UG',
           photoContain: true,
           links: [],
@@ -185,7 +185,7 @@ export const teamContent = {
           id: 'natalia-brockey',
           name: 'Natalia Brockey',
           description: 'Bookbinding and scriptorium illustrations',
-          photo: '/images/team/natalia-brockey.png',
+          photo: '/images/team/natalia-brockey.webp',
           photoAlt: 'Natalia Illustration logo',
           photoContain: true,
           links: [],
diff --git a/src/content/tutorials/bookbinding/bookbinding.js b/src/content/tutorials/bookbinding/bookbinding.js
index 252ed2e..71b1308 100644
--- a/src/content/tutorials/bookbinding/bookbinding.js
+++ b/src/content/tutorials/bookbinding/bookbinding.js
@@ -2,32 +2,32 @@ const bookbindingSourcePath = '/source/bookbinding/tutorial.html'
 
 export const bookbindingSourceAssetMap = {
   // Remote sources remapped to local copies for stable rendering.
-  'https://nbn-resolving.org/urn:nbn:de:bvb:22-dtl-0000025604': '/images/bookbinding/bamberger-schreiberbild.jpg',
+  'https://nbn-resolving.org/urn:nbn:de:bvb:22-dtl-0000025604': '/images/bookbinding/bamberger-schreiberbild.webp',
   'http://digital.bib-bvb.de/webclient/StreamGate?folder_id=0&dvs=1773092214098~122':
-    '/images/bookbinding/bamberger-schreiberbild.jpg',
-  'https://bibliotheque-numerique.ville-laon.fr/idviewer/1465/26': '/images/bookbinding/laon-diagram.png',
-  'https://digi.vatlib.it/view/MSS_Pal.lat.1993/0005': '/images/bookbinding/opicinus-sheet.jpg',
+    '/images/bookbinding/bamberger-schreiberbild.webp',
+  'https://bibliotheque-numerique.ville-laon.fr/idviewer/1465/26': '/images/bookbinding/laon-diagram.webp',
+  'https://digi.vatlib.it/view/MSS_Pal.lat.1993/0005': '/images/bookbinding/opicinus-sheet.webp',
   'https://books.google.de/books/content?id=mNOBekGmmpQC&pg=PA22&img=1&zoom=3&hl=en&sig=ACfU3U0mCh32-yLR1V6CWJbjSnlfuS_1TQ&w=1025':
-    '/images/bookbinding/tagliente-scribal-tools.jpg',
-  'https://upload.wikimedia.org/wikipedia/commons/c/c8/Busto_maschile.JPG': '/images/bookbinding/Busto_maschile.JPG',
-  'https://upload.wikimedia.org/wikipedia/commons/a/ab/Mendel_I_034_v.jpg': '/images/bookbinding/Mendel_I_034_v.jpg',
+    '/images/bookbinding/tagliente-scribal-tools.webp',
+  'https://upload.wikimedia.org/wikipedia/commons/c/c8/Busto_maschile.JPG': '/images/bookbinding/Busto_maschile.webp',
+  'https://upload.wikimedia.org/wikipedia/commons/a/ab/Mendel_I_034_v.jpg': '/images/bookbinding/Mendel_I_034_v.webp',
   'https://upload.wikimedia.org/wikipedia/commons/8/8c/Folio-Quarto-Octavo_Compared.svg':
     '/images/bookbinding/Folio-Quarto-Octavo_Compared.svg',
   'https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Marie_de_France_1.tif/lossy-page1-714px-Marie_de_France_1.tif.jpg?_=20120509143945':
-    '/images/bookbinding/Marie%20de%20France.jpg',
-  'https://www.e-codices.unifr.ch/en/fmb/cb-0127/244r': '/images/bookbinding/Henry%20Gospel.jpg',
-  'https://www.conservation-wiki.com/wiki/File:Sewing-frame.jpg': '/images/bookbinding/Sewing-frame.jpg',
-  'https://www.conservation-wiki.com/w/images/1/15/Sewing-frame.jpg': '/images/bookbinding/Sewing-frame.jpg',
-  'https://www.conservation-wiki.com/w/images/8/83/SecondaryEndband01.JPG':
-    '/images/bookbinding/SecondaryEndband01.JPG',
-  'https://www.conservation-wiki.com/w/images/b/bc/Germanforedlg.jpg': '/images/bookbinding/Germanforedlg.jpg',
-  'https://www.conservation-wiki.com/w/images/d/d6/Fragmentarium_F-boql_1r.jpg_medium.jpg':
-    '/images/bookbinding/Fragmentarium_F-boql_1r.jpg_medium.jpg',
-  'https://upload.wikimedia.org/wikipedia/commons/4/4a/Buchbinder-1568.png': '/images/bookbinding/Buchbinder-1568.png',
-  'https://upload.wikimedia.org/wikipedia/commons/2/2a/Codex_of_Uta.png': '/images/bookbinding/Codex_of_Uta.png',
-  'https://upload.wikimedia.org/wikipedia/commons/5/5a/Landauer_I_021_v.jpg': '/images/bookbinding/Landauer_I_021_v.jpg',
+    '/images/bookbinding/Marie%20de%20France.webp',
+  'https://www.e-codices.unifr.ch/en/fmb/cb-0127/244r': '/images/bookbinding/Henry%20Gospel.webp',
+  'https://www.conservation-wiki.com/wiki/File:Sewing-frame.jpg': '/images/bookbinding/Sewing-frame.webp',
+  'https://www.conservation-wiki.com/w/images/1/15/Sewing-frame.webp': '/images/bookbinding/Sewing-frame.webp',
+  'https://www.conservation-wiki.com/w/images/8/83/SecondaryEndband01.webp':
+    '/images/bookbinding/SecondaryEndband01.webp',
+  'https://www.conservation-wiki.com/w/images/b/bc/Germanforedlg.webp': '/images/bookbinding/Germanforedlg.webp',
+  'https://www.conservation-wiki.com/w/images/d/d6/Fragmentarium_F-boql_1r.jpg_medium.webp':
+    '/images/bookbinding/Fragmentarium_F-boql_1r.jpg_medium.webp',
+  'https://upload.wikimedia.org/wikipedia/commons/4/4a/Buchbinder-1568.png': '/images/bookbinding/Buchbinder-1568.webp',
+  'https://upload.wikimedia.org/wikipedia/commons/2/2a/Codex_of_Uta.png': '/images/bookbinding/Codex_of_Uta.webp',
+  'https://upload.wikimedia.org/wikipedia/commons/5/5a/Landauer_I_021_v.jpg': '/images/bookbinding/Landauer_I_021_v.webp',
   'https://upload.wikimedia.org/wikipedia/commons/0/0b/Santa_Caterina_d%27Alessandria_%28Torino%298244.jpg':
-    '/images/bookbinding/Santa_Caterina_d%27Alessandria_%28Torino%298244.jpg',
+    '/images/bookbinding/Santa_Caterina_d%27Alessandria_%28Torino%298244.webp',
 
   // Relative references from the source export.
   '15 Herringbone Stitch Slit Leather Thong copy.svg':
@@ -59,10 +59,10 @@ export const bookbindingOverview = {
     'From the oak gall on the landing page, the codicology tutorial opens onto a workshop scene. You can follow a guided tour through the numbered zones or explore the scriptorium freely and open fuller lessons from each region.',
     'Units I to IX trace the making of a western medieval codex from writing supports to covering and decoration. Unit X extends the tutorial with a comparative introduction to Islamic codicology and bookbinding by Narges Pourmohammadian Roudsari.',
   ],
-  coverImage: '/images/bookbinding/scriptorium-clean.png',
+  coverImage: '/images/bookbinding/scriptorium-clean.webp',
   coverAlt: 'Illustrated medieval workshop used as the gateway to the codicology tutorial.',
   coverCaption: 'The scriptorium scene acts as the tutorial gateway and maps the first nine codicology units.',
-  workshopImage: '/images/bookbinding/scriptorium-clean.png',
+  workshopImage: '/images/bookbinding/scriptorium-clean.webp',
 }
 
 const islamicReferences = [
@@ -302,25 +302,25 @@ export const bookbindingChapters = [
         type: 'figure-grid',
         figures: [
           {
-            image: '/images/bookbinding/islamic/type-i-binding.png',
+            image: '/images/bookbinding/islamic/type-i-binding.webp',
             alt: 'Diagram of a Type I Islamic binding.',
             caption: 'Figure 1. Type I binding.',
             detail: 'From Déroche 2015, p. 262, fig. 79.',
           },
           {
-            image: '/images/bookbinding/islamic/type-ii-binding.png',
+            image: '/images/bookbinding/islamic/type-ii-binding.webp',
             alt: 'Diagram of a Type II Islamic binding.',
             caption: 'Figure 2. Type II binding.',
             detail: 'From Déroche 2015, p. 260, fig. 78.',
           },
           {
-            image: '/images/bookbinding/islamic/type-ii-full-leather.jpeg',
+            image: '/images/bookbinding/islamic/type-ii-full-leather.webp',
             alt: 'Full leather Type II Islamic binding.',
             caption: 'Figure 3. Full leather binding of Type II.',
             detail: 'From Scheper 2019b, p. 57, fig. 13.',
           },
           {
-            image: '/images/bookbinding/islamic/type-iii-binding.png',
+            image: '/images/bookbinding/islamic/type-iii-binding.webp',
             alt: 'Diagram of a Type III Islamic binding.',
             caption: 'Figure 4. Type III binding.',
             detail: 'From Déroche 2015, p. 258, fig. 76.',
@@ -348,7 +348,7 @@ export const bookbindingChapters = [
       },
       {
         type: 'figure',
-        image: '/images/bookbinding/islamic/ruling-board-mistarah.jpeg',
+        image: '/images/bookbinding/islamic/ruling-board-mistarah.webp',
         alt: 'Board for ruling paper used in Islamic manuscript preparation.',
         caption: 'Figure 5. Board for ruling paper.',
         detail: 'The Metropolitan Museum of Art, New York, Gift of H. P. Kraus, 1973.',
@@ -400,25 +400,25 @@ export const bookbindingChapters = [
         type: 'figure-grid',
         figures: [
           {
-            image: '/images/bookbinding/islamic/link-stitch-scheper.jpeg',
+            image: '/images/bookbinding/islamic/link-stitch-scheper.webp',
             alt: 'Diagram of Islamic link-stitch sewing on two stations.',
             caption: 'Figure 6. Link-stitch on two stations.',
             detail: 'From Scheper 2019b, p. 63, fig. 25.',
           },
           {
-            image: '/images/bookbinding/islamic/link-stitch-gacek.jpeg',
+            image: '/images/bookbinding/islamic/link-stitch-gacek.webp',
             alt: 'Diagram of Islamic link-stitch sewing from Gacek.',
             caption: 'Figure 7. Link-stitch on two stations.',
             detail: 'From Gacek 2009, p. 248, fig. 177.',
           },
           {
-            image: '/images/bookbinding/islamic/spine-structure-endband.jpeg',
+            image: '/images/bookbinding/islamic/spine-structure-endband.webp',
             alt: 'Structure of an Islamic manuscript spine with primary and secondary endbands.',
             caption: 'Figure 8. Structure of the spine with primary and secondary endbands.',
             detail: 'From Scheper 2019b, p. 58, fig. 15.',
           },
           {
-            image: '/images/bookbinding/islamic/secondary-endband-diagram.png',
+            image: '/images/bookbinding/islamic/secondary-endband-diagram.webp',
             alt: 'Diagram of secondary endband weaving.',
             caption: 'Figure 9. Diagram of secondary endband weaving.',
             detail: 'From Fischer 1986, p. 191, fig. 5.',
@@ -491,25 +491,25 @@ export const bookbindingChapters = [
         type: 'figure-grid',
         figures: [
           {
-            image: '/images/bookbinding/islamic/type-ii-full-leather.jpeg',
+            image: '/images/bookbinding/islamic/type-ii-full-leather.webp',
             alt: 'Type II Islamic binding with one-piece full leather covering.',
             caption: 'Figure 10. Type II binding with one-piece full leather covering.',
             detail: 'From Scheper 2019b, p. 57, fig. 13.',
           },
           {
-            image: '/images/bookbinding/islamic/type-ii-two-piece.jpeg',
+            image: '/images/bookbinding/islamic/type-ii-two-piece.webp',
             alt: 'Type II Islamic binding with two-piece full leather covering.',
             caption: 'Figure 11. Type II binding with two-piece full leather covering.',
             detail: 'From Scheper 2019b, p. 57, fig. 14.',
           },
           {
-            image: '/images/bookbinding/islamic/partial-leather-binding.jpeg',
+            image: '/images/bookbinding/islamic/partial-leather-binding.webp',
             alt: 'Partial leather Islamic binding with leather frame and paper panels.',
             caption: 'Figure 12. Partial leather binding.',
             detail: 'From Scheper 2019b, p. 59, fig. 17.',
           },
           {
-            image: '/images/bookbinding/islamic/leather-spine-lining-doublure.jpeg',
+            image: '/images/bookbinding/islamic/leather-spine-lining-doublure.webp',
             alt: 'Structure of an Islamic binding showing leather spine lining and doublure.',
             caption: 'Figure 13. Structure with leather spine lining and leather doublure.',
             detail: 'From Scheper 2019b, p. 60, fig. 20.',
diff --git a/src/content/tutorials/scripts/scripts.js b/src/content/tutorials/scripts/scripts.js
index 49bb8be..fa7e23f 100644
--- a/src/content/tutorials/scripts/scripts.js
+++ b/src/content/tutorials/scripts/scripts.js
@@ -1,104 +1,104 @@
 const scriptAssetMaps = {
   unit01: {
-    '1_Einhard_Lupus.jpg': '/images/scripts/unit01/1-einhard-lupus.jpg',
-    '1_Feliciano.jpg': '/images/scripts/unit01/1-feliciano.jpg',
-    '1_Saint_Gall_Vergil.jpg': '/images/scripts/unit01/1-saint-gall-vergil.jpg',
-    '1_Square_Capitals.jpeg': '/images/scripts/unit01/1-square-capitals.jpeg',
-    'Pacioli.jpg': '/images/scripts/unit01/pacioli.jpg',
-    'Trajanic inscription.jpg': '/images/scripts/unit01/trajanic-inscription.jpg',
+    '1_Einhard_Lupus.jpg': '/images/scripts/unit01/1-einhard-lupus.webp',
+    '1_Feliciano.jpg': '/images/scripts/unit01/1-feliciano.webp',
+    '1_Saint_Gall_Vergil.jpg': '/images/scripts/unit01/1-saint-gall-vergil.webp',
+    '1_Square_Capitals.jpeg': '/images/scripts/unit01/1-square-capitals.webp',
+    'Pacioli.jpg': '/images/scripts/unit01/pacioli.webp',
+    'Trajanic inscription.jpg': '/images/scripts/unit01/trajanic-inscription.webp',
   },
   unit02: {
-    '2 Os Compared.jpg': '/images/scripts/unit02/2-os-compared.jpg',
-    '2_Gallus_Cropped.jpg': '/images/scripts/unit02/2-gallus-cropped.jpg',
-    '2_Rustic_Cap.jpeg': '/images/scripts/unit02/2-rustic-cap.jpeg',
-    '2_Rustic_Utrecht_Psalter.jpg': '/images/scripts/unit02/2-rustic-utrecht-psalter.jpg',
-    '4_Rustic_Vatican_Vergil.jpg': '/images/scripts/unit02/4-rustic-vatican-vergil.jpg',
-    'Hawara_Papyrus_24.jpg': '/images/scripts/unit02/hawara-papyrus-24.jpg',
+    '2 Os Compared.jpg': '/images/scripts/unit02/2-os-compared.webp',
+    '2_Gallus_Cropped.jpg': '/images/scripts/unit02/2-gallus-cropped.webp',
+    '2_Rustic_Cap.jpeg': '/images/scripts/unit02/2-rustic-cap.webp',
+    '2_Rustic_Utrecht_Psalter.jpg': '/images/scripts/unit02/2-rustic-utrecht-psalter.webp',
+    '4_Rustic_Vatican_Vergil.jpg': '/images/scripts/unit02/4-rustic-vatican-vergil.webp',
+    'Hawara_Papyrus_24.jpg': '/images/scripts/unit02/hawara-papyrus-24.webp',
   },
   unit03: {
-    '3_Butini_Papyrus.jpg': '/images/scripts/unit03/3-butini-papyrus.jpg',
-    '3_ORC_Deed_of_slave_sale.jpg': '/images/scripts/unit03/3-orc-deed-of-slave-sale.jpg',
-    '3_Ravenna Papyrus 1.jpg': '/images/scripts/unit03/3-ravenna-papyrus-1.jpg',
-    'Litterae caelestes.jpg': '/images/scripts/unit03/litterae-caelestes.jpg',
-    'NRC Vitalis.jpg': '/images/scripts/unit03/nrc-vitalis.jpg',
+    '3_Butini_Papyrus.jpg': '/images/scripts/unit03/3-butini-papyrus.webp',
+    '3_ORC_Deed_of_slave_sale.jpg': '/images/scripts/unit03/3-orc-deed-of-slave-sale.webp',
+    '3_Ravenna Papyrus 1.jpg': '/images/scripts/unit03/3-ravenna-papyrus-1.webp',
+    'Litterae caelestes.jpg': '/images/scripts/unit03/litterae-caelestes.webp',
+    'NRC Vitalis.jpg': '/images/scripts/unit03/nrc-vitalis.webp',
   },
   unit04: {
-    '4_Claromontanus.JPEG': '/images/scripts/unit04/4-claromontanus.jpeg',
-    '4_Half-Uncial, Formula Fabiana.png': '/images/scripts/unit04/4-half-uncial-formula-fabiana.png',
-    '4_Uncial_Vercellensis.gif': '/images/scripts/unit04/4-uncial-vercellensis.gif',
-    '4_half-uncial_hilary.jpg': '/images/scripts/unit04/4-half-uncial-hilary.jpg',
-    '4_uncial_fuldensis_2.jpg': '/images/scripts/unit04/4-uncial-fuldensis-2.jpg',
-    'B-R Uncial, Justinian Code.jpg': '/images/scripts/unit04/b-r-uncial-justinian-code.jpg',
-    'De bellis macedonicis a.jpg': '/images/scripts/unit04/de-bellis-macedonicis-a.jpg',
-    'De bellis macedonicis b.jpg': '/images/scripts/unit04/de-bellis-macedonicis-b.jpg',
-    'Uncial.jpeg': '/images/scripts/unit04/uncial.jpeg',
-    'half uncial.jpeg': '/images/scripts/unit04/half-uncial.jpeg',
+    '4_Claromontanus.JPEG': '/images/scripts/unit04/4-claromontanus.webp',
+    '4_Half-Uncial, Formula Fabiana.png': '/images/scripts/unit04/4-half-uncial-formula-fabiana.webp',
+    '4_Uncial_Vercellensis.gif': '/images/scripts/unit04/4-uncial-vercellensis.webp',
+    '4_half-uncial_hilary.jpg': '/images/scripts/unit04/4-half-uncial-hilary.webp',
+    '4_uncial_fuldensis_2.jpg': '/images/scripts/unit04/4-uncial-fuldensis-2.webp',
+    'B-R Uncial, Justinian Code.jpg': '/images/scripts/unit04/b-r-uncial-justinian-code.webp',
+    'De bellis macedonicis a.jpg': '/images/scripts/unit04/de-bellis-macedonicis-a.webp',
+    'De bellis macedonicis b.jpg': '/images/scripts/unit04/de-bellis-macedonicis-b.webp',
+    'Uncial.jpeg': '/images/scripts/unit04/uncial.webp',
+    'half uncial.jpeg': '/images/scripts/unit04/half-uncial.webp',
   },
   unit05: {
-    '5_Book_of_Dimma.jpg': '/images/scripts/unit05/5-book-of-dimma.jpg',
-    '5_Insular_Kells.jpg': '/images/scripts/unit05/5-insular-kells.jpg',
-    '5_Insular_majuscule.jpeg': '/images/scripts/unit05/5-insular-majuscule.jpeg',
+    '5_Book_of_Dimma.jpg': '/images/scripts/unit05/5-book-of-dimma.webp',
+    '5_Insular_Kells.jpg': '/images/scripts/unit05/5-insular-kells.webp',
+    '5_Insular_majuscule.jpeg': '/images/scripts/unit05/5-insular-majuscule.webp',
   },
   unit06: {
-    '6_Alemannic.jpg': '/images/scripts/unit06/6-alemannic.jpg',
-    '6_Cassiodorus_eN.JPEG': '/images/scripts/unit06/6-cassiodorus-en.jpeg',
-    '6_Chelles.jpg': '/images/scripts/unit06/6-chelles.jpg',
-    '6_Luxeuil.jpeg': '/images/scripts/unit06/6-luxeuil.jpeg',
-    '6_Rhaetian.jpg': '/images/scripts/unit06/6-rhaetian.jpg',
-    '6_Winithar.jpg': '/images/scripts/unit06/6-winithar.jpg',
+    '6_Alemannic.jpg': '/images/scripts/unit06/6-alemannic.webp',
+    '6_Cassiodorus_eN.JPEG': '/images/scripts/unit06/6-cassiodorus-en.webp',
+    '6_Chelles.jpg': '/images/scripts/unit06/6-chelles.webp',
+    '6_Luxeuil.jpeg': '/images/scripts/unit06/6-luxeuil.webp',
+    '6_Rhaetian.jpg': '/images/scripts/unit06/6-rhaetian.webp',
+    '6_Winithar.jpg': '/images/scripts/unit06/6-winithar.webp',
   },
   unit07: {
-    '7_1_Moralia-in-Job.jpg': '/images/scripts/unit07/7-1-moralia-in-job.jpg',
-    '7_2 Etymologies.jpg': '/images/scripts/unit07/7-2-etymologies.jpg',
-    '7_3_Etymologies_BNE Digital, 10008-1.jpg': '/images/scripts/unit07/7-3-etymologies-bne-digital-10008-1.jpg',
-    '7_4_Etymologies_BNE Digital, 10008-2.jpg': '/images/scripts/unit07/7-4-etymologies-bne-digital-10008-2.jpg',
-    'visigothic.jpeg': '/images/scripts/unit07/visigothic.jpeg',
+    '7_1_Moralia-in-Job.jpg': '/images/scripts/unit07/7-1-moralia-in-job.webp',
+    '7_2 Etymologies.jpg': '/images/scripts/unit07/7-2-etymologies.webp',
+    '7_3_Etymologies_BNE Digital, 10008-1.jpg': '/images/scripts/unit07/7-3-etymologies-bne-digital-10008-1.webp',
+    '7_4_Etymologies_BNE Digital, 10008-2.jpg': '/images/scripts/unit07/7-4-etymologies-bne-digital-10008-2.webp',
+    'visigothic.jpeg': '/images/scripts/unit07/visigothic.webp',
   },
   unit08: {
-    '8_Beneventan_mature.jpg': '/images/scripts/unit08/8-beneventan-mature.jpg',
-    '8_Early_Beneventan_Cropped.jpg': '/images/scripts/unit08/8-early-beneventan-cropped.jpg',
-    'beneventan.jpeg': '/images/scripts/unit08/beneventan.jpeg',
-    'beneventan_ligature.jpeg': '/images/scripts/unit08/beneventan-ligature.jpeg',
+    '8_Beneventan_mature.jpg': '/images/scripts/unit08/8-beneventan-mature.webp',
+    '8_Early_Beneventan_Cropped.jpg': '/images/scripts/unit08/8-early-beneventan-cropped.webp',
+    'beneventan.jpeg': '/images/scripts/unit08/beneventan.webp',
+    'beneventan_ligature.jpeg': '/images/scripts/unit08/beneventan-ligature.webp',
   },
   unit09: {
-    '9_Augustine_owned_by_Petrarch.JPEG': '/images/scripts/unit09/9-augustine-owned-by-petrarch.jpeg',
-    '9_First_Caroline.jpg': '/images/scripts/unit09/9-first-caroline.jpg',
-    '9_Godescalc.JPEG': '/images/scripts/unit09/9-godescalc.jpeg',
-    '9_Half_uncial_toward_minuscule.jpg': '/images/scripts/unit09/9-half-uncial-toward-minuscule.jpg',
-    '9_Maurdramnus.JPEG': '/images/scripts/unit09/9-maurdramnus.jpeg',
-    '9_Pregothic_Vergil.jpg': '/images/scripts/unit09/9-pregothic-vergil.jpg',
-    '9_Tours_Bible_1.jpg': '/images/scripts/unit09/9-tours-bible-1.jpg',
-    '9_Tours_Bible_2.jpg': '/images/scripts/unit09/9-tours-bible-2.jpg',
+    '9_Augustine_owned_by_Petrarch.JPEG': '/images/scripts/unit09/9-augustine-owned-by-petrarch.webp',
+    '9_First_Caroline.jpg': '/images/scripts/unit09/9-first-caroline.webp',
+    '9_Godescalc.JPEG': '/images/scripts/unit09/9-godescalc.webp',
+    '9_Half_uncial_toward_minuscule.jpg': '/images/scripts/unit09/9-half-uncial-toward-minuscule.webp',
+    '9_Maurdramnus.JPEG': '/images/scripts/unit09/9-maurdramnus.webp',
+    '9_Pregothic_Vergil.jpg': '/images/scripts/unit09/9-pregothic-vergil.webp',
+    '9_Tours_Bible_1.jpg': '/images/scripts/unit09/9-tours-bible-1.webp',
+    '9_Tours_Bible_2.jpg': '/images/scripts/unit09/9-tours-bible-2.webp',
   },
   unit10: {
-    '10 Citeaux.jpg': '/images/scripts/unit10/10-citeaux.jpg',
-    '10_Bock_Writing_Manual.jpg': '/images/scripts/unit10/10-bock-writing-manual.jpg',
-    '10_GothicTextualis.jpeg': '/images/scripts/unit10/10-gothictextualis.jpeg',
-    '10_Göttingen_Gutenberg.jpg': '/images/scripts/unit10/10-gottingen-gutenberg.jpg',
-    '10_Hagen_Scribe_Advertisement.jpg': '/images/scripts/unit10/10-hagen-scribe-advertisement.jpg',
-    '10_Pepys_Alphabet.jpg': '/images/scripts/unit10/10-pepys-alphabet.jpg',
-    '10_Protogothic.jpeg': '/images/scripts/unit10/10-protogothic.jpeg',
-    '10_Quadrata_Renaud.jpeg': '/images/scripts/unit10/10-quadrata-renaud.jpeg',
-    '10_Rotunda.jpeg': '/images/scripts/unit10/10-rotunda.jpeg',
+    '10 Citeaux.jpg': '/images/scripts/unit10/10-citeaux.webp',
+    '10_Bock_Writing_Manual.jpg': '/images/scripts/unit10/10-bock-writing-manual.webp',
+    '10_GothicTextualis.jpeg': '/images/scripts/unit10/10-gothictextualis.webp',
+    '10_Göttingen_Gutenberg.jpg': '/images/scripts/unit10/10-gottingen-gutenberg.webp',
+    '10_Hagen_Scribe_Advertisement.jpg': '/images/scripts/unit10/10-hagen-scribe-advertisement.webp',
+    '10_Pepys_Alphabet.jpg': '/images/scripts/unit10/10-pepys-alphabet.webp',
+    '10_Protogothic.jpeg': '/images/scripts/unit10/10-protogothic.webp',
+    '10_Quadrata_Renaud.jpeg': '/images/scripts/unit10/10-quadrata-renaud.webp',
+    '10_Rotunda.jpeg': '/images/scripts/unit10/10-rotunda.webp',
   },
   unit11: {
-    '11_Antiquior.jpg': '/images/scripts/unit11/11-antiquior.jpg',
-    '11_Bastarda.jpg': '/images/scripts/unit11/11-bastarda.jpg',
-    '11_Batarde.jpeg': '/images/scripts/unit11/11-batarde.jpeg',
-    '11_Paradiso.jpg': '/images/scripts/unit11/11-paradiso.jpg',
-    '11_Secretary.jpg': '/images/scripts/unit11/11-secretary.jpg',
+    '11_Antiquior.jpg': '/images/scripts/unit11/11-antiquior.webp',
+    '11_Bastarda.jpg': '/images/scripts/unit11/11-bastarda.webp',
+    '11_Batarde.jpeg': '/images/scripts/unit11/11-batarde.webp',
+    '11_Paradiso.jpg': '/images/scripts/unit11/11-paradiso.webp',
+    '11_Secretary.jpg': '/images/scripts/unit11/11-secretary.webp',
   },
   unit12: {
-    '12_1_Poggio_Cicero.jpg': '/images/scripts/unit12/12-1-poggio-cicero.jpg',
-    '12_2_Poggio_Valerius.jpg': '/images/scripts/unit12/12-2-poggio-valerius.jpg',
-    '12_3_Poggio.jpg': '/images/scripts/unit12/12-3-poggio.jpg',
-    '12_4.jpg': '/images/scripts/unit12/12-4.jpg',
-    '12_5.png': '/images/scripts/unit12/12-5.png',
-    '12_6.jpg': '/images/scripts/unit12/12-6.jpg',
-    '12_7.jpg': '/images/scripts/unit12/12-7.jpg',
-    '12_8.jpg': '/images/scripts/unit12/12-8.jpg',
-    '12_9_a.jpeg': '/images/scripts/unit12/12-9-a.jpeg',
-    '12_9_b.jpeg': '/images/scripts/unit12/12-9-b.jpeg',
+    '12_1_Poggio_Cicero.jpg': '/images/scripts/unit12/12-1-poggio-cicero.webp',
+    '12_2_Poggio_Valerius.jpg': '/images/scripts/unit12/12-2-poggio-valerius.webp',
+    '12_3_Poggio.jpg': '/images/scripts/unit12/12-3-poggio.webp',
+    '12_4.jpg': '/images/scripts/unit12/12-4.webp',
+    '12_5.png': '/images/scripts/unit12/12-5.webp',
+    '12_6.jpg': '/images/scripts/unit12/12-6.webp',
+    '12_7.jpg': '/images/scripts/unit12/12-7.webp',
+    '12_8.jpg': '/images/scripts/unit12/12-8.webp',
+    '12_9_a.jpeg': '/images/scripts/unit12/12-9-a.webp',
+    '12_9_b.jpeg': '/images/scripts/unit12/12-9-b.webp',
   },
 }
 
diff --git a/src/styles/base.css b/src/styles/base.css
index 09ab65e..5afb756 100644
--- a/src/styles/base.css
+++ b/src/styles/base.css
@@ -20,7 +20,7 @@ body {
   background-image:
     radial-gradient(circle at top left, rgba(151, 120, 70, 0.08), transparent 30%),
     radial-gradient(circle at bottom right, rgba(98, 72, 37, 0.06), transparent 32%),
-    url('/images/tree/parchment-texture-4k.png');
+    url('/images/tree/parchment-texture-4k.webp');
   background-size:
     auto,
     auto,
diff --git a/src/views/AboutPage.vue b/src/views/AboutPage.vue
index 2dc6b7f..91b5175 100644
--- a/src/views/AboutPage.vue
+++ b/src/views/AboutPage.vue
@@ -24,7 +24,7 @@ import { aboutContent } from '../content/about/about'
               >
                 <img
                   class="about-page__manuscript-image"
-                  src="/images/bibliography/bern-burgerbibliothek-cod-9.png"
+                  src="/images/bibliography/bern-burgerbibliothek-cod-9.webp"
                   alt="Manuscript page from Bern, Burgerbibliothek, Cod. 9."
                 />
               </a>
diff --git a/src/views/LandingPage.vue b/src/views/LandingPage.vue
index 7b37262..583c639 100644
--- a/src/views/LandingPage.vue
+++ b/src/views/LandingPage.vue
@@ -6,7 +6,7 @@ import { landingArtwork, landingCopy, landingHotspots } from '../config/landingH
 const DRAFT_STORAGE_KEY = 'emanuskript-landing-calibration-draft'
 const FINAL_STORAGE_KEY = 'emanuskript-landing-calibration-final'
 const legendArtwork = {
-  src: '/images/legend/guide-panel-replacement.png',
+  src: '/images/legend/guide-panel-replacement.webp',
   alt: 'Legend explaining applications, tutorials, and further information in the eManuSkript tree.',
 }