BLACK & RED
Rubricating — Initial Pages or Title Pages — Prefaces & Notes in
Colour — Pages with Coloured Headings — Page or Column Heading &
Initial — Versals in Column or Marginal Bands — Stanzas or Verses
marked by Versals — Music with Red Staves — Tail-Pieces, Colophons,
&c. — Rubricating: General Remarks.
RUBRICATING
“_Red, either in the form of a pigment or fluid ink, is of very
ancient and common use. It is seen on the early Egyptian papyri;
and it appears in the earliest extant vellum MSS., either in titles
or the first lines of columns or chapters. The Greek term was_
μελάνιον κόκκινον; _Latin_ minium,[26] rubrica.”—(Thompson’s “G. & L.
Palæography,” p. 51.)
_Rubricating_, or the adding of Red, _or other coloured_, letters,
line-finishings, or signs, to a MS. or Book, in which the main body
of the text is already completed in black, constitutes in itself
a very useful and effective form of decoration. It is, moreover,
a connecting link between plain writing and illumination proper;
and we may safely assume that the artists who made the beautiful
illuminations of the Middle Ages were trained as _scribes_ and
_rubricators_.
INITIAL PAGES OR TITLE PAGES
Fig. 89 represents an _Initial Page_ in Red Capitals. (The same
arrangement may of course be used [p128] with a variety of colours
and with gold: see Note (4) below). Such a page is, as it were, an
“illumination” to _all_ the pages, following it in black text.
Title Pages came into fashion after printing was introduced. Early
MSS. commonly began with the _opening words_ written in large,
decorated capitals, the _title_ sometimes being written quite small,
near the top of the page: other details were commonly put in the
_colophon_ in early books (see p. 142).
When the title is more important, in a literary sense, than the
opening sentence, it may be well to follow the modern fashion. But
when there is a finely worded opening sentence—perhaps the key-note
to the rest of the text—while the title is merely for reference, it
seems reasonable to magnify and illuminate the actual beginning of
the book rather than the mere name of it (see p. 365).
‹Note› (1).—In fig. 89 the title—(JESU CHRISTI) _Evangelium Secundum
Joannem_—is written in as a decoration of the initial word; the old
form “IH[=V] XP[=I]” is used for “Jesu Christi” (these letters, it
will be noticed, are here employed to lighten the large capitals, see
p. 208).
(2) Where IN is an initial word, to enforce narrow initial I, both
letters may be magnified.
(3) The scale of the lettering corresponds with that of the ruled
lines (these do not show in the figure): the letters and the
interlinear spaces are each one line high; the initial word is four
lines high. Such a mode of spacing is very simple and effective,
and will save the rubricator much unnecessary trouble and fruitless
planning (see _footnote_, p. 221).
(4) _Other Colour Schemes._—All _Burnished Gold_ (or with Title in
_red_); or IN gold, with smaller capitals _Red_ (or in _Blue_ and
_Red_ lines alternately—or _Blue_, _Red_, _Green_, _Red_: see p.
181). [p129]
[Illustration: ‹Fig. 89.›]
[p130]
PREFACES & NOTES IN COLOUR
Fig. 90 represents a preface, or note, written in red.
It was a frequent practice in old MSS., where there were prefaces,
or prologues, or notes—not actually part of the text—to keep
these distinct by writing them in red. A somewhat similar usage
still exists in modern typography, where such parts are sometimes
distinguished by Italic type (see p. 315).
The distinction of a preface, “rubric,” or note from the main body
of the text makes a book more readable, and, as a page of red (or
blue) writing is very pleasant and effective, we may certainly take
advantage of such a reasonable excuse for introducing it. Entire
books have been written in red, but this is a questionable mode, as
too much red text would tire the eye.
‹Note› (1).—The writing is founded on the tenth-century English hand
given in Plate VIII.
(2) The flourishes on «s» and «e» fill gaps at the ends of the lines,
and the spread out _A M E N_ fills the last line.
(3) The Headline is in simple written capitals.
(4) The effect of colour contrast of the built-up Ps with the simple
writing: the solid Ps (though really the same colour) appear to
be a much deeper red than the writing, which is lightened by the
intermingled white of the paper.
(5) _Other Colour Schemes._—_The Versals_ («Pp») in burnished gold;
the rest in red or blue. [p131]
[Illustration: ‹Fig. 90.›]
[p132]
PAGES WITH COLOURED HEADINGS
Fig. 91 represents the first page of a chapter (or a book) with a
_Heading_ in red capitals.
It is convenient in practice clearly to distinguish between the two
modes of beginning—
(_a_) with an illuminated Initial-_Page_ (see fig. 89), or,
(_b_) with an illuminated _Heading_ (see fig. 91).
The former may be treated as though it were a decoration to the
_whole_ book. The latter is intended more particularly to decorate
_its own page_.
The _Heading_ should therefore be proportionate to the body of the
text below it. About _one-third_ Heading and two-thirds text make a
good proportion. A “Heading” occupying half, or more than half, of
the page is apt to look disproportionate, and it would be preferable
to this to have a complete, or nearly complete,[27] _Page_ of
coloured capitals.
‹Note› (1).—The full effect of black and red is obtained by an
arrangement of the two colours in marked contrast.
(2) The lines are used as a scale for the Heading, the red capitals
and interspaces each being one line high. If a Heading so spaced
appear too close to the first line of black writing, another line
space may be left.
(3) The round Es are used to fill out the second line, and the
square, narrow E to relieve the crowded third line.
(4) _Other Colour Schemes._—The entire _heading_, or the letters W,
H, B, O, R, in burnished gold; or the whole variegated (see p. 180).
[p133]
[Illustration: ‹Fig. 91.›]
[p134]
PAGE OR COLUMN HEADING & INITIAL
Fig. 92 represents the first page of a book or chapter in two
columns, beginning with a rather ornate Heading, in which the Initial
is made the principal feature, and having coloured Versals and
_line-finishings_ throughout the text.
It is more difficult to get a good effect in this way than by means
of a marked colour contrast (see p. 144), _or variegated colour, and
gold_ (see Note 7).
‹Note› (1).—The lines bounding the text would naturally be indented,
or pale (not black as in the block), and ruled from head to foot of
the page (see Note (2) on the next figure).
(2) The red ornamental line-finishings (see p. 205) would be more
effective if variegated.
(3) The Versals in the text are made about a line high, but are
dropped below the line (p. 122).
(4) The Versals in the Heading are made one line high, with one-line
spacing—between O and D increased to two lines (partly filled by
a flourish from the D), in order to fit the U, O, and D in evenly
beside the Initial.
(5) The Initial Q should project slightly up and out—beyond the
bounding lines—to mark the top, left corner more strongly (see
_footnote_, p. 211).
(6) _All_ the rubricating on this page is done with the same pen (see
pp. 205, 218).
(7) _Other Colour Schemes._ “‹Quod fuit ab initio›,” the _filigree
ornament_ and the V V in burnished gold (or the Q and VV in gold),
the rest of the Versals and line-finishings in _Red and Blue_, or
_Red and Green_, or _Red, Blue, and Green_ (see pp. 181, 185). [p135]
[Illustration: ‹Fig. 92.›]
[p136]
VERSALS IN COLUMN OR MARGINAL BANDS
Fig. 93 represents two columns of black text, consisting of short
verses, &c., which are marked by coloured capitals—forming bands of
colour—in the margins.
‹Note› (1).—The coloured capitals in the figure are made rather
larger than usual, to enforce the effect of the two lines of red and
mark their contrast with the columns of black text. In practice,
however, they would be better and more distinct if rather smaller.
(2) The lines bounding the text would naturally be faint, or
_grooved_ (p. 343); but, ruled from head to foot of the page, they
would be sufficiently apparent to add materially to the general
effect of orderly arrangement. (Lines are printed here to show
clearly the way the two columns are ruled and to _suggest_ this
effect, though the process block necessarily gives a false impression
in making them appear too short and too heavy).
(3) Extra width between the columns (and also in the margin) may be
allowed for the coloured capitals (compare fig. 92).
(4) Words in simple written capitals are used to mark slight
divisions, or changes of sense, in the text.
(5) A stiff Versal of a rather “Roman” type is used, partly because
of the number of the capitals (see p. 126).
(6) _Other Colour Schemes._—The larger capitals might be in burnished
gold, the rest in red (or in _red_, _blue_, and _green_); or all
might be in _red_, _blue_, and _green_. [p137]
[Illustration: ‹Fig. 93.›]
[p138]
STANZAS OR VERSES MARKED BY VERSALS
Fig. 94 represents a poem in two verses which are distinguished
by interspaces and by coloured capitals—a brief introductory line
also being in colour. (It is supposed that the poem occurs in a
book—mainly in prose—written in Roman small-letters.)
It is generally best to distinguish the verses of poems by one-line
interspaces. When this is done, coloured initials are not so
necessary, and their value become chiefly decorative (see 123).
‹Note› (1).—The writing is founded on “Italic” (see Plate XXI.),
and (it is supposed that) it would be used here wherever the songs
occurred; firstly, to distinguish them from the rest of the text, and
secondly, to keep the lines of the poem entire—_Italics occupying
less room than ordinary, round Small-Letters_ (see p. 315).
(2) The story opens with the first line, which may in this case be
regarded either as a _Title_ or as a prefatory note in red.
(3) The two red capitals are made of a rather “Roman” type to match
the Italic (and the small Roman text of the book). The difference
in height made between the W and the S is intended to balance the
difference in width, and to give them an appearance of equal weight.
This may be permitted where there are only a few capitals; where
there are many, their heights are generally kept more uniform.
(4) _Another Colour Scheme._—W and S would look better in burnished
gold. [p139]
[Illustration: ‹Fig. 94.›]
[p140]
MUSIC WITH RED STAVES
Fig. 95 is a reproduction, in facsimile, showing quarter of a page of
a folio Service Book (probably French, early sixteenth century). The
page consists of two columns of ten staves each, and is headed @ _In
vigi_ (lia), _natiuitatis dnī_. The book is printed on vellum in red
and black; the columns of music have faint red bounding lines ruled
by hand (not shown in the figure).
The red stave is very effective, and it was commonly used in early
MSS. and printed books. There appears to be some doubt, however,
as to its practical value, and I have been advised that it is not
so legible as the black line stave, and also that, in _Church
Service Books_ (see p. 345), in order to make an absolutely clear
distinction, red should be reserved entirely for the _rubrics_.
The “plain-song” chant, with its four-line stave, has a simpler
and finer appearance than the more modern and elaborate five-lined
stave and tailed notes. The latter, however, may yet be treated very
effectively.
‹Note 1.›—The mark @ and the capitals @, @ and @ were blotted—it can
scarcely be called “painted”—with yellow. Yellow or red were often
used in this way to mark the small black capitals in printed books
(p. 428, & _comp._ p. 302). It is a questionable method. (These blots
have been removed from the figure—except, by an oversight, in the
case of @).
(2) _Other Colour Schemes._—(_a_) The title, or (_b_) the text and
the notes, might be in burnished gold (the other parts in either case
remaining in _red_ and _black_). [p141]
[Illustration: ‹Fig. 95.›]
[p142]
TAIL-PIECES, COLOPHONS, &C.
Fig. 96 represents a coloured Tail-piece or decorative finish at the
end of a book (or chapter).
_The Colophon_ (see p. 128 & figs. 13, 191), generally distinguished
from the text by a smaller or different hand, and—especially in early
printed books—by _colour_ or other decorative treatment, occurs at
the end of a book, where it is the traditional right of the penman
and the printer to add a statement or a symbolical device. The _Name_
(of craftsman and assistants), _Time_, and _Place_ are commonly
stated—preferably quite simply—_e.g._ “_This book, written out by me,
A.B., in LONDON, was finished on the 31st day of DECEMBER 1900._” Any
reasonable matter of interest concerning the _text_, the _materials_,
_methods_, _lettering_, or _ornament_, and an account of the _number
of leaves and their size, &c._, may be added. But the craftsman,
properly and modestly keeping his name off the title-page, is at
liberty to exercise his right, marking the end of, and _signing_ his
work in any way he chooses—even in a speech or a sentiment—provided
the form of the colophon be unobtrusive and its language natural.
_Printer’s devices_ or _book-marks_, consisting of symbols,
monograms, &c. (p. 362), were likewise used.
The opportunity generally provided by the final
margin, and the natural wish to close the book with
a fitting ornament, also led to the use of colour
or capitals in the concluding lines; and sometimes
the “tail” of the text was given a triangular form,
the lines becoming shorter and shorter
till they ended in a single
word, or even one
letter.
[Illustration: ‹Fig. 96.›]
[p144]
RUBRICATING: GENERAL REMARKS
_Contrast of Red and Black._—The most effective arrangement of red
lettering with black text involves a sharp contrast, and, as a rule,
the concentration of the red in a line or mass (see figs. 91, 93, and
96, where the red lettering is massed at the head, side, and foot
of the black). Too many red capitals scattered through a page lose
their effect, and appear as though they were _brown_-red rather than
bright red (see pp. 134, 185). Printed title-pages, &c., may be seen
with promiscuous lines of black and red, in which the fine effects
obtainable by the use of bright colour is dispersed and lost; while
the same, or even a less, amount of red, massed in one or two places
in the page, would show to great advantage.
_Notes in Red in Margins._—Red lettering, and particularly small red
writing, may be used freely in the margins; being much lighter than
black, it appears there as a _marginal decoration_, not interfering
with the regular look of the page. Indeed, red may be used more
freely, and I think its decorative effect is greater, in the form
of rubrics, than in any other simple form of ornament (see _Red
in Church Service Books_ (pp. 140, 345) and _Red substituted for
Italics_ (p. 315)).
_Paragraph and other Marks._—Various symbols, numerals, and marks
(such as ☛ ¶ @ * † ‡ § @ [/V] ℞—_Addenda_, p. 25) may be made in red.
_Red Lines._—Lines made to divide, or outline, pages (“rules” or
“rule borders”) should be sparingly used, and then rather in black
than in red (see p. 364). If in red, particularly between lines of
writing, these should be “ruled feint” with diluted colour. [p145]
_Red for Ornaments._—Red may be used pretty freely _with_ other
colours (blue, green, and gold), but by itself more sparingly.
_OTHER COLOURS._—The foregoing remarks refer mainly to contrasts of
black and red, but apply, to a certain extent, to black with any
bright colour (or gold) (see “_Other Colour Schemes_” given above,
and p. 180).