gradated. A rather fine pen seems to have been used (p. 292), and
though the letters are upright, the natural tendency to slant the pen
can be detected in the thickening of the thin parts—_above_, on the
right, and _below_, on the left—giving the suspicion of a _tilt_ to
the O.
The «O»-part of each @ was made first, and the tail @ added. This is
very obvious in the «D» in the text, where a stem @ was added to «O»
to make «D».
Note the _dots_ inside the Versals, one above and one below.
Originally these may have been intended to effect—or hide—the
junction of the thin strokes, by a twirl of the pen at the end of
the first stroke and the beginning of the second, thus @ @. Their
use is very common in Versal forms (see fig. 189), and besides
being decorative in the ordinary sense, they may be said to [p421]
strengthen the thin parts (much as the weakest part of the loop in
an old key was thickened for strength).
* * * * *
Note the right-hand Bows of the @’s are made thinner, as though the
Rubricator had been afraid of running into the text in making their
last curves—such an expert, however, may well have had a better
reason for it.
_PLATE XII.—Illuminated Initial in a Flemish MS. ‹A.D.› 1148. (Latin
Bible). Brit. Museum, Addl. MS. 14790._
(Shown in Brit. Museum, Department of MSS., Case C, No. 91.)
THE VOLUME—the _third_, and most interesting, of this MS. Bible
(Numbered 14788–89–90)—contains 223 leaves (17 inches by 11-7/8
inches). MARGINS, approximately, _Inner_ 1-1/8 inch, _Head_ (_cut_)
1 inch, _Side_ 2-3/8 inches, _Foot_ 3-1/2 inches. (Between columns
15/16 inch.)
THE WRITING is a not very legible “Gothic.” The _zigzag_ tendency
exhibited, especially by the word _niniuen_ (Niniveh), second line,
is unsuited for such _formal_ writing (see p. 484). The rapid placing
of the Heads of the letters is such that they appear broken and
partly detached from the _stems_. The VERSALS are of a good type.
THE INITIAL is a monogrammatic ET. The arms of the round @ terminate
in leaves folded back, its form is _hollow_ and _inwoven_ (p. 208),
and gives rise to foliage, which fills the interior—passing over
the fish and behind Jonah. Note also how the jaws of the fish are
interlaced, and how compactly _all_ the parts are put together.
The close application of the background to the _curves_ adds to
the general compactness, and together with its spacing from the
_straight_ front _balances_ the masses (p. 424): it may be compared
to the even spacing of curved and straight strokes (see fig. 53).
There is an extension of the background to hold the fish’s tail.
[p422]
THE COLOURS—
Initial, Foliage, Fish: red: outlined & lined;
_Parchment left plain_.
Jonah: black: outlined & lined;
_Parchment left plain_.
Bands on Initial, _gold_, outlined _red_.
Hollows in Initial, _gold_, outlined _red_.
Backs of folded leaves: _gold_, outlined _red_.
Outer background: _paled green._
Dots on outer ground: _red._
Inner background: _paled blue._
[Illustration: ‹Fig. 220.›]
We may not, I think, attempt to imitate the complex 12th-century
decoration of this initial (see p. 196), but the treatment of the
_elements_ of form and colour is very suggestive, and the whole piece
of lettering is characteristic of the grand style in which a book was
at that time begun. The ARRANGEMENT of the letters themselves is very
simple, and might be made good use of (fig. 220). [p423]
_PLATE XIII.—English (2nd half) Thirteenth-century Writing and
Illumination. (Latin Bible). Ex libris S. C. Cockerell._
THE VOLUME—probably written at York—contains 427 leaves (8 inches by
5-1/2 inches): two columns to the page: MARGINS, approx.: Inner 5/8
inch, _Head_ 5/8 inch, _Side_ 7/8 inch, _Foot_ 1-7/16 inch. (Between
the columns 3/8 inch.) The pages have been cut down.
THE WRITING is very small, and there are many contractions.^* In the
thirteenth and fourteenth centuries the whole Bible, written in this
fashion, was often small enough to be carried in the pocket. Note
the closed @ and the 7 form of &. The page is RULED with 50 lines;
the 49 lines of writing lie between these, so that in each case the
_ascenders_ touch the line above, and the _descenders_, the line
below. Note the double lines in the Foot margin (see p. 343).
VERSALS.—A very narrow type is used in the narrow margins: the
example shown is in red, flourished blue; it begins the second
chapter (_‹Et› angelo ephesi, &c._), which is also marked by coloured
Roman Numerals at the side (II). The page heading is “APOCA” in small
red and blue Versals.
THE ILLUMINATED INITIAL is “historiated”—_i.e._ it contains a picture
illustrating the text, viz. a representation of S. John writing to
the Seven Churches—purely conventional forms, or rather symbols, for
the most part, are used and beautifully fitted into the available
space. The greater size and more careful drawing of the human figure
(the centre of interest) is characteristic of a fine convention. The
slope of the vellum page on which S. John is writing, and even the
manner in which the quill is held, are such as would naturally be
employed by a scribe (see _frontispiece_, & p. 67). [p424]
The _capitals_ of the pillars mark the position of the cross-bar of
A. The top serif is carried up and forms a bud, which gives rise
to leaf-like flourishes; the free thin stem runs down forming a
grotesque, which gives out a leaf-like tongue. In either case the
object—in every sense _recreative_—is a renewal of interest in the
designed, elongated, growth of the forms.
Note the curved thickening of A’s left stem ends nearly level with
the foot of the right stem. This gives balance to the letter (see R,
fig. 81 & A, fig. 189), and preserves the _essential form_, which
suffers no distortion by the thinner continuation below.
Note the balancing of the background mass on the _straight_ and
_curved_ sides of the Initial (as in Plate XII., see above); also
the extension and shape of the background accompanying the drawn out
parts of the letter.
COLOURS of Initial—
Right stem: _red_ with _white_ lines and patterns.
Left stem and serif: _blue_ with _white_ lines and patterns.
L. stem, lower half, &
dragon: _pale “lake.”_
The background (_counter-
charged_)
outer: _pale “lake.”_
inner: _blue_.
lower extension: _blue_.
final flourish: _pale “lake.”_
Band (dark) down left side,
dragon’s wings, 6 “berries,”
halo, seat, tops of pillar
caps: _burnished gold._
Leaves (dark) & pillar
caps: _red._
Small stems & leaves: _green._
Here again no natural work would come of a modern attempt to
imitate so complex a “design”—natural and even inevitable _600
years ago_. But the spirit of delicacy and fantasy, the ingenious
contrivance, and the balancing and disposal of form and colour shown
by the antique art, may well be matter for imitation by the modern
draughtsman-illuminator, and even by the mere penman.
――――――――――――――――――――
* The Apocalypse here begins “APocalipſis i@u x^i” (for I@U X@I,
derived from the Greek and used as a mediæval Latin contraction for
_Jesu Christi_). [p425]
_PLATE XIV.—Thirteenth-century Line-finishings: Pen-work. (Psalter).
Brit. Museum, Royal MS. 1. D. x._
THE LINE-FINISHINGS (see p. 205), of which there are very many
throughout the book, all in red or blue pen-work, are very varied.
Nine kinds are shown in the plate (which represents about a quarter
of a page), and three others from the same MS. are given in figs. 87
(_b_) and 126 (_f_, _g_).
The directions of the thick and thin strokes indicate a pen held at
right angles to its usual position (almost “upside down,” in fact:
see fig. 126, _g_), and the penmanship exhibits great speed and
lightness of hand—the rapidity and skill are indeed quite remarkable
(_e.g._ in the Lion in the eighth line).
Note that, though the writing occasionally runs into the margin, the
line-finishings stop at the marginal-line.
The photograph shows red _dark_ and blue _light_: _e.g._ the Bird
is red, the Lion and the Fish are blue. The fifth Line-finishing is
a red filigree with blue “berries”—it can hardly be described as
a “floral growth,” as the “branching” is reversed: the rubricator
gained speed and uniformity by the simple repetition of the
whorls all along the line—the upper branches were probably put in
afterwards, and the “berries” were added later when he was making the
_blue_ Line-finishings.
The more complex decoration (not shown in the plate) in this MS. is
inferior to the penmanship: the small _background_ Capitals with
which the verses begin—presumably put in by a different hand—are more
pretentious, and do not match the Line-finishings.
_General Note._—When a space occurs at the end of a line of writing,
it is often best to leave it, and in a plain MS., if it be “well and
truly” written, there is no objection to varying lengths of line
(see pp. 263, 371). But a book, such as a _Psalter_, divided into
many short verses—in which the last line usually falls short of
the marginal [p426] line—offers a fair field for such simple and
effective decoration. (See also pp. 428, 486, fig. 130, and Plate
XXIII.)
_PLATE XV.—English Writing and Illumination, circa 1284 ‹A.D.›
(Psalter). Brit. Museum, Addl. MS. 24686._
THE WRITING is a fine, freely formed, “Gothic” (p. 331). Note, the
i’s are “dotted.” Note the double MARGINAL LINES (p. 343).
THE SMALL INITIALS are of the “Lombardic” type (p. 210), in which the
Serifs are much thickened and ornamented. Note the tails of the Q’s
are turned to the left to clear the writing. The LINE-FILLINGS match
the small initials (p. 193).
THE LARGE INITIAL, &c.—The plate shows the end of the fourteenth
and beginning of the fifteenth Psalm (@omine quis habitabit). Note
“_Arabic_” numerals (15) in margin.
The tail of the Initial @ is formed of a dragon, the head of which
rests on the O-part: its wings project into the inner margin (and
these in the plate, which shows a fragment of a _verso_ page, run
into the fold between the pages): the tail (together with the
background) descends till a convenient point is reached from which
the lower scroll-work springs. The tail, wing, and claws above,
belong to a magpie which is perched on the initial.
THE DRAWING: see reference to this at p. 203, and below.
Sir Edward Maunde Thompson (p. 39, “English Illuminated MSS.”) says
of this—
“—the Additional MS. 24686 in the British Museum, known as the
Tenison Psalter, from its having once formed part of the library
of Archbishop Tenison. This psalter is one of the most beautiful
illuminated English manuscripts of its time, but unfortunately
only in part, for it was not finished in the perfect [p427] style
in which it was begun . . . in the first quire of the text the
ornamentation is of peculiar beauty. . . .”^*
“—the progress of the art [since the earlier part of the thirteenth
century] . . . is . . . manifest. There is more freedom in the
drawing, the stiffness of the earlier examples is in great measure
overcome; and the pendant has thrown out a branch which has already
put forth leaves. A great variety of colours, blue, rose, vermilion,
lake, green, brown, as well as burnished gold, is employed in the
composition of the large initial and its accompanying pendant and
border, and the small initials are of gold laid on a ground of blue
or lake, and filled with lake or blue; while the ribbons which fill
up the spaces at the ends of the verses are alternately of the same
colours and are decorated with patterns in silver on the blue and in
gold on the lake.”
“The group of the dismounted knight despatching^† a gryphon, which
has proved too much for the horse, upon whose dying body the
expectant raven has already perched, is tinted in lighter colours.
It is an instance of the use to which marginal space was put,
particularly by English artists, for the introduction of little
scenes, such as episodes in romances or stories, games, grotesque
combats, social scenes, &c., often drawn with a light free hand and
most artistic touch. Without these little sketches, much of the
manners and customs, dress, and daily life of our ancestors would
have remained for ever unknown to us.”
――――――――――――――――――――
* It is supposed that the book was at first intended as a marriage
gift for Alphonso, son of Edward I.
† The characteristic _over and under_ arrangement of the gryphon’s
upper and lower bill, makes this doubtful.
_PLATE XVI.—Italian Fourteenth-century MS., Brit. Mus., Addl. MS.
28841._
THE VOLUME: one of two (the other numbered 27695), a _Latin_ treatise
on the Virtues and Vices (The miniatures, drawings, &c., probably by
“the Monk of Hyères,” Genoa). The vellum leaves have been separated,
and are now preserved in paper books. The leaf illustrated shows a
margin of vellum of less than 3/16 inch all round (the plate).
The decorative borders are much more naturalistic in [p428] form
and colouring than any other old illumination that I have seen (see
reference to Plate XVI., p. 203).
The foliage is a delicate green, the berries are dark purple, the
single fruits plain and pale orange-red; the two beetles in _crimson_
and _brown_ are made darker and too prominent in the photograph. The
bands of small “Lombardic” Capitals are in burnished gold.
Note how skilfully and naturally the upper corners of the border are
managed, and also the beautiful way in which the branches run into
and among the text (see p. 213).
_PLATE XVII.—French Fifteenth-century Writing, with Illuminated
Borders. Ex libris E. Johnston._
THE PAGE 9-1/2 inches by 6-1/8 inches: MARGINS, approx.: _Inner_
1-1/8 inch, _Head_ 1-3/8 inch, _Side_ 2-3/8 inches, _Foot_ 2-7/8
inches (the edges have been slightly cut down). The marginal lines
(from head to foot of the page) and the writing lines are RULED in
faint red.
THE WRITING is a late formal “Gothic”—the thin strokes have evidently
been added (p. 47). The written Capitals are blotted with yellow
(see p. 140). The ILLUMINATED INITIAL Q is in blue, white lined, on
a gold ground, contains a blue flower and five ornaments in “lake.”
The LINE-FILLINGS are in blue and “lake,” separated by a gold circle,
triangle, or lozenge.
THE FILIGREE ILLUMINATION springs from the initial in the narrow
margin, and from a _centre_ ornament (see “knot,” fig. 127) in
the wide side margin. The side margins are treated similarly on
either page (see p. 213); the inner margins are generally plain.
This repetition gives to the pages a certain sameness—which is a
_characteristic_ rather than a fault of the treatment.
The border on the _recto_ of the vellum leaf shows through on the
_verso_ or back of the leaf. The main lines of the first border,
however, are freely traced and [p429] followed on the _verso_ (and
so nearly hidden) by the second border. This is also suggestive of
the more rapid methods of book production in the 15th century.
COLOURS—
Stems, tendrils, &c.:
_black_.
Leaves
ivy-shaped lanceolate:
_burnished gold_, outlined black (p. 187).
_plain. furred._
Flowers, buds, centre ornaments, &c.: (See p. 182.)
_blue_, “_lake_,” or _green_ tempered with white, and shaded
with pure colour; white markings; the forms not outlined.
This type of illumination is discussed in pp. 197–202. Its chief
points are its simplicity and rapidity. A penman or a novice in
illuminating can, by taking a little pains, beautify his MSS. easily
and quickly; and he may perhaps pass on from this to “higher” types
of illumination.
_PLATE XVIII.—Italian Fifteenth-century Writing and Illumination.
(Perotti’s translation of Polybius). Ex libris H. Yates-Thompson._
THE VOLUME consists of 174 leaves (13-1/8 inches by 9 inches); 35
lines to the page. The plate shows a portion of the upper part of the
Initial (_recto_) page.
THE WRITING.—The Capitals are simple-written, slanted-pen
“Roman”—slightly ornamental—forms. They are freely copied on a
large scale in fig. 168: see p. 297. The Small-letters match the
Capitals—they are “Roman” forms with a slight “Gothic” tendency. Both
these and the Capitals would make very good models for free Roman
hands.
THE INITIAL is a “Roman” A in burnished gold. Note the exceedingly
graceful shaping of the limbs, the ornamental, V-shaped cross-bar,
and the absence of serifs (see fig. 116). [p430]
The “_White Vine Pattern_” (see p. 202), most delicately and
beautifully drawn, interlaces with the letter and itself, and covers
the BACKGROUND very evenly. The interstices of the background are
painted in blue, red, and green, and its edge is adapted to the
slightly projecting flowers and leaves. There are groups (@ and …) of
white dots on the blue parts of the background.
THE BORDER (of which a small part is shown) is approximately 1/2 inch
wide in the narrow margin at the side of the text—it is separate from
the Initial. It extends above and below the text, where its depth is
greater, matching the greater depth of the margins. Its treatment is
similar to, though perhaps a little simpler than, that of the Initial
decoration.
_PLATE XIX.—Italian MS., dated 1481. Ex libris S. C. Cockerell._
“Part of a [verso] page from a book containing the Psalter of St.
Jerome and various Prayers, written and decorated by Joachinus de
Gigantibus of Rotenberg in 1481 for Pope Sixtus IV. Joachinus was
employed at Naples by Ferdinand I., and there are other fine examples
of his work at the British Museum and the Bibliothèque Nationale,
Paris. In each of these, as well as in the present book, he states
that he was both scribe and illuminator.”—[S. C. C.]
THE VOLUME contains 31 leaves (6-1/2 inches by 4-3/4 inches):
MARGINS, approx.: _Inner_ 7/8 inch, _Head_ 7/8 inch, _Side_ 1-1/2
inch, _Foot_ 1-3/4 inch. (The head margin, together with the edge of
the book-cover, is shown in the plate.)
THE WRITING.—Very clear, slightly slanted-pen “Roman.” Note the
blending of «b» and «p» with «e» and «o» (see fig. 76, & p. 77). The
CAPITALS are quite simple and plain, made (in _(A)NIMA CHRISTI_ and
in text) in black with the text pen. Note the long, waved serifs
(see p. 289). The last two lines of the preceding prayer are made in
burnished gold with a larger pen.
[_Continued on p. 481_
[p431]
THE COLLOTYPE PLATES
[Illustration: Plate I.—Portion of Inscription on base of Trajan
Column, Rome, _circa_ 114 A.D. Scale approx. 1/9th linear. (_See
also Plate II._)]
[Illustration: Plate II.—Alphabet from Trajan Inscription (_Circa_
114 A.D.) Scale approx. 1/6 linear. (_See also Plate I_). _Note.—L
and O are shown sideways in the 2nd line._]
[Illustration: Plate III.—Written Roman Capitals, Fourth or Fifth
Century. (Virgil’s “Æneid”).]
[Illustration: Plate IV.—Uncial Writing, probably Italian Sixth or
Seventh Century. (Latin Gospels). Brit. Museum, Harl. MS. 1775.]
[Illustration: Plate V.—Uncial Writing, probably Continental Seventh
Century (Gospel of S. John). Ex Libris Stonyhurst College. (See also
enlargement, fig. 169.)]
[Illustration: Plate VI.—Half Uncial (Irish), Seventh Century, “Book
of Kells” (Latin Gospels). Ex Libris Trinity College, Dublin.]
[Illustration: Plate VII.—Half Uncial (English), _circa_ 700 A.D.
“Durham Book” (Latin Gospels). Brit. Mus., Cotton MSS. Nero D. IV.]
[Illustration: Plate VIII.—English Tenth-century Writing. (Psalter).
Brit. Mus., Harl. MS. 2904. (See enlargement fig. 172.)]
[Illustration: Plate IX.—English Writing, dated 1018. Two portions
of a Charter of CNUT. Brit. Museum. (See also enlargement, fig.
173.)]
[Illustration: Plate X.—Italian (first half of) Twelfth-century
Writing. (Homilies and Lessons). Brit. Mus., Harl. MS. 7183. (See
also enlargement, fig. 174).]
[Illustration: Plate XI.—English (late) Twelfth-century Writing,
with flourished Capitals. (Breviary). Brit. Mus., Royal MS. 2.
A.X.]
[Illustration: Plate XII.—Illuminated Initial in a Flemish MS. A.D.
1148 (Latin Bible). Brit. Museum, Addl. MS. 14790.]
[Illustration: Plate XIII.—English (2nd half) Thirteenth-century
Writing and Illumination (Latin Bible). Ex. Libris S. C.
Cockerell.]
[Illustration: Plate XIV.—Thirteenth-century Line-finishings:
Penwork. (Psalter). Brit. Museum, Royal MS. 1, D.X.]
[Illustration: Plate XV.—English Writing and Illumination, _circa_
1284 A.D. (Psalter). Brit. Museum, Addl. MS. 24686.]
[Illustration: Plate XVI.—Italian Fourteenth-century MS., Brit.
Mus., Addl. MS. 28841.]
[Illustration: Plate XVII.—French Fifteenth-century Writing, with
Illuminated Borders. Ex. Libris E. Johnston.]
[Illustration: Plate XVIII.—Italian Fifteenth-century Writing and
Illumination (Perotti’s translation of Polybius). Ex libris H.
Yates-Thompson.]
[Illustration: Plate XIX.—Italian MS. dated 1481. Ex libris S. C.
Cockerell.]
[Illustration: Plate XX.—One page of an Italian (late)
Fifteenth-century MS. Ex. libris S. C. Cockerell.]
[Illustration: Plate XXI.—Italian (early) Sixteenth-century
“cursive” or “Italic” MS. Ex. libris S. C. Cockerell. (See
enlargement, fig. 178.)]
[Illustration: Plate XXII.—“Communion Service” written and
illuminated by E. Johnston, 1902 A.D. (“Office Book,” Holy Trinity
Church, Hastings). Reduced (nearly 3/4 scale).]
[Illustration: Plate XXIII.—The story of Aucassin and Nicolette,
written and illuminated by W. H. Cowlishaw, 1898 A.D.]
[Illustration: Plate XXIV.—Inscription cut in Stone by A. E. R.
Gill, 1903 A.D. Reduced (3/16 scale). _Note._—To view these incised
letters have the light on the left of the plate (_or cover with thin
tissue paper_).]
[p481]
THE INITIAL A, its frame, the frame of the border, and the “furred”
_berries_ (@) are all in burnished gold, outlined black. The “white
vine pattern” is rather simpler, and has a rather thicker stalk
(in proportion) than that in the previous plate (see above). Its
treatment is very similar, but it may be noted that the border is
in this case attached to the Initial, and the pattern has almost
an appearance of springing from the Initial. The pattern—save
one escaped leaf—is straitly confined, by gold bars, throughout
the length of the text, but at the ends it is branched out and
beautifully flourished in the free margins above and below. These
terminals of the pattern having a broad blue outline (dotted white)
may be said to carry their background with them.
The (recto) page opposite that shown in the plate has an initial
D and a border similarly treated, and each one of the Psalms and
Prayers throughout the book is begun in like manner.
_PLATE XX.—One page of an Italian (late) Fifteenth-century MS. Ex
libris S. C. Cockerell._
“From a book containing the Penitential Psalms in Italian, the
Psalter of St. Jerome, and various prayers. Written with great
delicacy by Mark of Vicenza for some one named Evangelista [see 11th
line] in the last quarter of the fifteenth century. Other works of
this accomplished scribe are known.”—[S. C. C.]
THE VOLUME—of which a complete (recto) page is shown—contains 60
leaves (5-1/2 inches by 3-3/4 inches): MARGINS, approx.: _Inner_ 1/2
inch, _Head_ 7/8 inch, _Side_ 1-3/16 inch, _Foot_ 1-13/16 inch.
This very fine WRITING is typical of the practical style and
beautiful workmanship which should be the aim of a modern scribe (see
pp. 47, 310).
It is written with a very narrow nib, hence the pen-forms [p482] are
not so obvious as in some early formal hands; and for this reason
alone it would be better to practise such a hand as the tenth-century
MS. (Plate VIII.) before seriously attempting to model a hand on the
above (see pp. 416, 311, 324).
The use of a fine pen is apt to flatter the unskilled penman, and he
finds it hard to distinguish between delicate pen-work which has much
character, and that which has little or none. And he will find, after
some knowledge of penmanship gained in practice with a broad nib,
that the copying of this fine Italian writing—while in reality made
much more feasible—may even _appear_ more difficult than before.
CONSTRUCTION.—The pen has a moderate slant—see thin stroke in «e».
The letters are very square, the tops flat (especially in «m», «n»,
and «r»), and the lower parts flat (as in «u»). This shows the same
tendency that there is in the tenth century and other hands _to avoid
thin or high arches in the letters_.
The feet in some of the letters (in «i», for example) are in the
nature of stroke-serifs, but the pen probably made these with an
almost continuous movement—from the stem.
_Note_—the fine form of the «a»;
that «b» and «l» have an angle where the stem joins the
lower part;
that «f» was made something like «t», and the upper
part was added: this was a common mode—see fig. 180 (the
«f» shown in plate is unfortunately not a good specimen);
that «g»—a very graceful letter—lacks the coupling serif;
that «i», «p», «u» have _triangular heads_, and
«m», «n», «r» _hooks_;
that the _ascenders_ have triangular heads, and the _descenders_
«p» and «q», stroke-serifs;
that the ascending and descending stems are longer than the
bodies, and the writing is in consequence fairly widely spaced.
[p483]
Like most of the finest writings, this bears evidences of considerable
speed (see pp. 84, 311). Besides the great uniformity of the letters,
the _coupling strokes_ are occasionally carried over the succeeding
stroke, the _arches_ of «b», «h», «m», «n», «p», «r» (and the _heads_
of the ascenders) frequently are separated from the stems, and the
«o» and «b» occasionally fail to join below. These broken forms are
the _results of speed_, and are not to be imitated except as to that
which is both a cause and a result—their _uniformity_ (p. 254).
The RULING is in faint ink: there are _two_ vertical marginal lines
on the left and _one_ on the right of every page.
The DECORATION of the MS. is very simple. The Initial (here shown) is
in green and powder-gold, on a lake ground, with white pattern: there
is a very fine brownish outline, probably drawn first. The two upper
lines of writing and ‖o[=r]ō are in red.
_PLATE XXI.—Italian (early) Sixteenth-century “cursive” or “Italic”
MS. Ex libris S. C. Cockerell._ (_See enlargement, fig. 178._)
“From the Poems of Cardinal Bembo, a fine example of the cursive
writing perfected in Italy in the first half of the sixteenth
century. The book measures 8-1/2 by 5-1/4 inches, and contains 79
leaves.”—[S. C. C.]
THE MARGINS of the page from which the plate is taken are
approximately: _Inner_ 5/8 inch, _Head_ 3/4 inch, _Side_ 2 inches,
_Foot_ 1-1/2 inch. _Note._—The lines of writing begin as usual at the
left margin, but do not extend to the (true) margin on the _right_,
hence the latter (the _side_ margin on the recto, and the _inner_
margin on the verso) would appear unnaturally wide, but the effect is
carried off by the (true) side margins being already exceptionally
wide (and by the writing on the backs of the leaves showing through
the semi-transparent vellum and so marking the true margins). [p484]
This mode is very suitable for a book of poems, in which the
lengths of the lines of writing may vary considerably, because the
_writing-line_ being longer than the _ordinary_ line of writing
allows room for extraordinarily long lines, and any appearance of
irregularity is carried off by the extra wide side margins.
THE WRITING is very beautiful, clear, and rapid—made with a “slanted
pen” (see “Italics,” p. 311, and fig. 178). Note the _slightness_ of
the slope of the letters (especially of the Capitals), and the length
of the stems and the wide spacing.
Note, also, the flatness of the curves in _a c d e g o q_ and the
horizontal top stroke in _a d g q_, oblique in _e c_ (giving angular
tops). The branching away from the stem of the first part of the
arch in _b h m n p r_ (seen also reversed in _a d g q u_), and the
pointed, almost angular, quality of the _arch_. This, which is apt
to become a fault in a more formal upright hand (see note on Plate
XXII.) is helpful in a more rapid running hand, and gives _clearance_
to the junctions of the strokes (@ @)—see fig. 182.
The _heads_, simple or built-up, _hooks_ tending to become triangular.
The letters in this MS. are rarely coupled.
The very graceful _g_ has a large pear-shaped lower loop touching the
upper part.
_PLATE XXII.—“Communion Service” written and illuminated by
E. Johnston, 1902 ‹A.D.› (“Office Book,” Holy Trinity Church,
Hastings). Reduced (nearly 3/4 scale)._
The MS. on 160 leaves (15 inches by 10 inches) of fine parchment
(“Roman Vellum,” see p. 173), contains the Communion Service and many
collects, epistles, and gospels for special festivals, &c. MARGINS:
_Inner_ 1-1/8 inch, _Head_ 1-3/4 inch, _Side_ 2-3/4 inches, _Foot_
3-3/4 inches. [p485]
THE WRITING—after tenth century model (see Plate VIII.)—has the fault
(referred to at p. 421) of showing too much _thin_ line (running up
obliquely), the upper and lower parts of the letters are not flat
enough. The tail of the «g» is inadequate, and the lines of writing
are too near together. The writing is readable, however, and fairly
regular. The CAPITALS are Uncials (after Plate V.) and occasional
“Romans.”
The RUBRIC (“¶ _Then shall be said or sung_”) is in red, fitted in
beside the round initial and marking the top left-hand corner of the
page (see _footnote_, p. 211).
The word “GLORY” (and decoration)—and also the F and T, showing in
recto page—are in raised burnished gold, which, it will be seen, has
cracked considerably in the G (see p. 164).
The STAVES are in red (p. 140), the _notes_ above GLORY in raised
_gold_, those in the lower stave, _black_.
The BOOK was of a special nature (see pp. 344–5), being intended for
use in a certain church and on certain special festivals: hence a
considerable degree of ornament and a generally decorative treatment
was permitted (p. 330). The Prayer of Consecration, together with a
miniature, occupied a complete _opening_, the eight margins of which
were filled with solid, framing borders (p. 213) in red, blue, green,
and gold. Coats-of-arms and other special symbols and devices were
introduced on the Title page and in other places.
_PLATE XXIII.—The Story of Aucassin and Nicolette, written and
illuminated by W. H. Cowlishaw, 1898 ‹A.D.›_
THE VOLUME consists of 50 + leaves of “Roman Vellum” (7-1/2 inches by
5-1/2 inches).
MARGINS, approx.: _Inner_ 3/4 inch, _Head_ 15/16 inch, _Side_ 1-3/8
inch, _Foot_ 2 inches.
THE WRITING, very legible, rather “Gothic-Roman.” [p486]
THE CAPITALS are illuminated throughout the text in _gold_ on blue
and red grounds. The backgrounds are square, with edges pointed or
indented, outlined _black_, and lined inside _white_. The INITIAL
«n» is in gold on blue: the moon and stars are in white and gold and
white.
THE LINE-FINISHINGS, mostly in black pen-work, consist of little
groups (sometimes of sprays) of flowers, &c. Sprays from the border
separate the “Song” from the “Tale.”
THE MUSIC.—_Staves_ black; _Clefs_, gold; _Notes_, red.
THE BORDERS (in the opening from which the plate is taken) frame
the text on both pages—nearly filling the margins (see p. 213): the
side and foot edges of the (verso) page are shown in the plate. The
main pattern is a wild rose, flowers and all, outlined with a rather
broad blue line: the stalks and leaves (lined white) are apple-green,
the flowers are _painted_ white with raised gold hearts, the thorns
are red. Through the wild rose is twined _honeysuckle and woody
nightshade_: stalks—(_h_) red, (_wn_) black; and flowers—(_h_) red
with yellow spots, (_wn_) purplish red with gold centres.
The whole effect is very brilliant and charming. The freedom and
naturalness of the “design” remind one of a country hedgerow (p.
213), and show that vital beauty which is the essence of true
illumination.
_PLATE XXIV.—Inscription cut in Stone by A. E. R. Gill, 1903 ‹A.D.›
Reduced (3/16 scale). ‹Note.›—To view these incised letters have
light on the left of plate (or cover with thin tissue-paper)._
The STONE—a slab of “Hopton Wood” (p. 395), 30 inches by 18 inches by
2 inches, is intended to go over a lintel. It has a simple moulding.
Note how the INSCRIPTION occupies the space (pp. 352, 394): the
LETTERS have approximately the same _apparent weight_ (p. 328)—the
large stems are more than twice the _height_ of the small; they are
only 1/3 _wider_. [p487]
Note the strongly marked and elegantly curved serifs; the
straight-tailed R; the I drawn out (marking the word IN); the
_beaked_ A, M, and N; the Capital form of «U».
The letters DEO would be rather wide for ordinary use (p. 270), but
as _special_ letters, occupying a wide space,^* are permissible.
Even in the collotype, I think this inscription shows to what a high
level modern inscription cutting might be raised by the use of good
models and right and simple methods.
――――――――――――――――――――
* Letters in early inscriptions separated as these are indicated
_each_ a word (contracted), as S. P. Q. R. (_Senatus Populus Que
Romanus_).
[p490]
INDEX
A, 189, 271, 274, 280, 410–11
A, Ancient & Modern, 195–196
Abbott, Rev. Dr. T. K., 413
Accidental words, 259, 384
Acquiring a Formal Hand:
(1) Tools, 48
(2) Methods, 61
(3) Models, 70
(4) Practice, 85
Addenda & Corrigenda, 23
Addresses, Illuminated, 353
Advertisements, &c., 340, 352, 389
Alabaster & Marbles, 395
Alcuin of York, 41
Aldus, 311, 373
Alphabet, derivation of the, 36
Alphabets, useful kinds of, 267, 377, 390
Aluminium leaf, 165
Amperzand (&), 361, 416
(Amperzand; _Examples._—Figs. 50, 79, 148, 172, 173, 208 & Plates)
Analysis of Versals, 115
Analysis of Writing, 72
Ancaster (stone), 393, 395
Angles in Writing, 43, 46, 118, 253, 416
Anglo-Saxon writing, 326
Annotations, &c., 144, 315, 317, 344
“Arabic Numerals,” 82, 426
_Arms_ or _branches_, 120 (v. _Letters_)
Arrangement of Lettering, 88, 122, 239, 255–268, 389
“_Ascenders_” and _Ascending strokes_, 79, 97, 119, 300, 314
_Asiso_ (gesso), 166
_Azzuro della magna_, 179
B, 189, 272, 273, 275–279, 280, 410–11
Backgrounds, 184, 186, 188–193, 211–213
Bands of lettering, 123, 136, 267
“Barbaric” illumination, 194
“Basket work,” 208, 209
Bath (stone), 395
Beauty, 237–240, (12)
Beauty of Arrangement, 255
Beauty of Form, 252
Beauty of Uniformity, 254
Bibliography, &c., 385
Binding books, 346, 103, 106, 110, 111, 171, 185, 197
Black and Gold, 185, 202
Black and Red, 127, 328
“Black letter,” 118, 141, 263, 331, 364
Black outlines, 182, 188, 212
Blake, William, (_footnote_) 343
“Block letter,” 384, 390
Blue, 176–180, 181, 182
Book-hands, 36
Book Marks, 142
Books, binding, 346, 103, 106, 110, 111, 171, 185, 197
Books, Manuscript, 98, 341, &c.
Books, size and shape of, 100–101
Books, size of writing in, 101, 107
Book typography, foundations of, 13, 98
Borders, Illuminated, 98, 198–203, 211, 214, 427–430
Borders, penwork, 25
Bows & Curves, 121
Brasses, 237, 340, 375
Brazil-Wood, 175
British Museum, MSS. in, 386, 409, &c.
_Broadsides_, 338, 350
Brushes, 172
Brush-made (painted) letters, 376, 280, (118), 292, 384
Bubbles, in size, 148
“Built-up” letters, 291, 118–119, 254, 289, 331
Burnished gold, 160, 184 (see also _Gold_)
Burnisher, the, 158, 166, 171
Burnishing slab, 146, 153
C, 270, 281, 410–11
Cake colours, 175
Calligraphy, 14, 368
Cane, or Reed pens, 52
Capitals (see also _Letters_)
Capitals, arrangement of, 256, 258;
(in Lines, Headings & Pages) 125–126, 128–136, 299, 422
Capitals, coloured, 113, 118, 122, 123, 134, 185
Capitals & _Small letters_, 40, 112, 122, 302
Capitals, severe type of, 294
Capitals, _simple-written_, 123, 297, 302
Capitals, sizes of, 108, 119, 122
Carbonate of Copper (blue), 179
Caroline (or Carlovingian) Writing, 41–43, 45, 305
Caslon, William, 373, (26)
Cennino Cennini, 165, 184, 386
Chalk, 395, 402
Chapters, beginnings of, 125, (_footnote_ 1) 342, (2) 343
Character, 237–240, 323
“_Characteristic Parts_,” 247, 252, 280
Characterization of letters, 278
Charlemagne, 41
Charter hands, 417
Chequers, 191, 197, 215–217
Chinese printing, 372
Chinese Vermilion, 178
Chinese White, 180
Chisel-made letters, 36, 196, 278, 280, 292, 375, 391, 396, 410
Chisel-shape of nib, 57, 63
Chiswick Press, the, 374
_Chronograms_, 363
Church Services, &c., 140, 345, 387, 484
Close spacing, 262–267
CNUT, charter of, 416
Cobden-Sanderson, T. J., (13), 368, 387
Cockerell, Douglas, 171, (on limp vellum bindings) 346, 387
Cockerell, S. C., 423, 430–483
Collotype plates, the, 407, 431
_Colophons_, 142, 342
Coloured “Inks,” 172, 322
Coloured Letters (_see Capitals, & Contrasts_)
Colour, cake & powder, 175
Colour, pan & tube, 176
Colour, preparations, 175–180
Colour, for Penwork, 176
Colour, proportions of, 182
Colour, Repetition & Limitation of, 181
Colours, Tints few & constant, 177
Colours, Use of, 195, 202, 203, 216, 422, 424, (389)
Colour-work Illumination, 17, 194
Columns, double, 104, 134, 136, 370
_Commonplace_, the, 268
Complex and simple forms, 195
Construction of writings, 73, 83–85, 118, 292, 311
(see also _the Notes on the Collotypes_)
Continental Writing, 41, 413
Contrasts, Decorative, 327, 363
Contrasts, Decorative, of Colour, 327, 336
Contrasts, Decorative, of Form, 330, 336, 352
Contrasts, Decorative, of Red & Black, 144
“Conventionalism,” 220
“Copy book” hands, 304, 305
Copying a hand, 71, 82, 311, 323
Copying early work, 83, 114, 195, 323, 414–417, 422–424, 482
Correcting mistakes, 174, 344
Countercharging, 188, 216, 424
Coupling-strokes, joining letters, 73
Cowlishaw, W. H., 485
_Cursive_ Writing, 37, 317, 483
Cutting sheets, 99
Cutting-slab, 61
Cutting the Pen, 52–60
“Cyphers” & Monograms, 361
D, 270, 281, 410–11
“_Deckle_” edge, 111
Decoration of Print, 194, 364, 371, 374
Decorative Contrasts, 327, 363
Decorative use of Red, 144
“_Descenders_,” and _Descending strokes_, 79, 97, 300, 314
“Design,” Decorative, 177, (183), 201, 210, 214–222
“Design” in illumination, 214
Designing in type, 365, 371
Desk, the, 49
Desk, Position of, 61
Desk, Writing level on, 62
Desk, Different slopes of, 68
Desk, Slope _for colour_, 118
Development of g, 325
Development of illumination, 16, 127, 204, 409
Development of illuminated initial, 48, 114, 205, 423
Development of Versals, 112
Development of Writing, the, 35, 409, & _Author’s Preface_
Devices in Letters, 362
Diaper patterns, 192, 215–217
“Display types,” 352
Distinct lines of writing, 326
Distinctiveness, 221, 247, 256
Divisions of the text, 123, 138, 256
Dividing Words, 258, 385
Dots, groups of, 188, 213
Drawing, 165, 203, 220, 227
Drawing letters, 118, 126, 146, 292, 293
“Durham Book,” 41, 71, 215, 415
E, 272, 273, 281, 410–11
Edges of Books, rough, or smooth and gilt, 111
Egg, white of, 163, 165, 166, 175, 179, 183
Egg, yolk of, 175, 179, 180
Egypt, Hieratic writing of, 36
Eleventh Century Writing, 46, 47, 305, 416
Elzevirs, the, 373
English Half-Uncials, 40
English, Writing, 40, 46, 47, 303, 305, (335), 415–417, 419, 423, 426
English, modern, writing in, 300, 326, 484, 485
Engraving, Metal, 365, 375
“_Essential Forms_,” 240, 275
Even Spacing, 265, 219
“Expression,” 240
F, 272, 274, 282, 410–11
“Face,” of type, 373, (26)
Fifteenth Century Writing, 46, 47, (326), 331, 428–483
“Filigree” Illumination, 197, 428
Filling the Pen, 51, 69
“Fine Writing” and “Massed Writing,” 260, 265, 299
Fine Pen Writing, 59, 86, 311, 324, 482, 26
Firth, C. M., 179
Flemish MS., 421
Floral Ornaments & Decoration, 182, 187, 191, 192, 198–203, 219
Fly-leaves, 111, 346
“Folder,” 64, 99, 348
Folding sheets for books, 99, 101–103, 111
_Folio_, 102
_Foot margin_, 106, 352, &c.
Formal Hand, acquiring a—
(1) Tools, 48
(2) Methods, 61
(3) Models, 70
(4) Practice, 85
Formal Writing, 36, 317, 323
Formal Writing, Modern, 71, 86, 114, 310, 315, 323, 414–417, 481
Foundation Stones, 393
Fourteenth Century Writing, 46, (114), 423, (427)
Framed parchments, 356
Framing borders, 25, 213, 371
Freedom, 122, 126, 239, 258, 264, 324, 327, 342, 369, 21
“French chalk,” 167, 174
French Writing, 41, 305, 428
Froben, (_footnote_) 365, 373
G, 270, 282, 410–11
g, Development of, 325
“Geometrical” patterns, 205
_Gesso Sottile_, 166
Gilding (see _Gold_)
Gill, A. E. R., 383, 486, (on Inscriptions in Stone) 389
Gilt edges, 111
Gold-leaf, 151, 165, 169
Gold-leaf, Laying & Burnishing, 145–171, 184
“Gold Ink,” 165
Gold letters, 148, 166, 168, 186, 188, 299, 416, (405)
Gold powder, “paint,” or matt gold, 163, 183, 187
Gold, spots, bars, frames, 183
Gold, use of, 183–193
(see also _Other Colour Schemes_, 127–145)
Gold Writing, 164, 299
“Golden Psalter,” the, 218
“_Gothic lettering_,” 46, 118, 282, 331, 336, 373
Greek Writing, 36, 320
Green, 176–178, 181, 182, (202)
Gum arabic, 147, 175
Gutenberg, 372
H, 271, 273, 282, 411
Half-Uncials, 37, 40, 71, 238, 302, 413–415
Ham-Hill (stone), 393, 395
Hand-made paper, 111, 51
Handwriting, ordinary, 14, 15, 77, 280, 315, 323, 374
Headings in Capitals and Colour, 125, 132, 134, 297, (_footnote_ 2)
343, 353
_Heads, feet, serifs_, 84, 244, 311, 414, 416, 418, 482
Heraldry, 216, 360, 361, 336
Herbal, A, 221, 369
Herringham, Christiana J., 165, 386
Hewitt, Graily, 386, (Appendix: On Gilding) 167
_Historiated_ Initial, 423
Holding the Pen, 64–68
Holding the Horizontal shaft, 61, 67
Hollow letters, 119, 208
Holy Trinity Church, Hastings, Office Book, 484
_Hooks_, or _beaks_, 244, 280, 289
Hoptonwood (Stone), 395, 486
Horizontal thin strokes, 65, 66, 72, 73, (_footnote_) 304
Hübner’s _Exempla_, 378–380, 388
I, 189, 283
I for J., use of, 283
Illuminated Addresses, 353
Illuminated borders, 199, 211, 214
Illuminated Initials, 214
(see _Initial_, also _Collotype Notes_)
Illumination, 14, 486, 98
Illumination, a definition of, 193, 194
Illumination, a theory of, 193
Illumination, heavy, 263
Illumination, origin & development of, 48, 127, 204, 409, 16
Illumination, tools for, 172
Illustrations in MS. books, 13, 14, 221, (374)
Incised Letters, 377–384, 403–405, 392
_Indented_ (set in) lines, 113, 264
Initial, illuminated, development of, 48, 114, (134), 205, 330, 333,
423
Initials, round or square, 210
_Initial Pages, &c._, 112, 128, 365
Initial word (‹IN›), 128
Inks, 51, 70
(see also _Coloured_ “inks” and _Gold_)
_Inner margin_, 106
Inscription, modern, 487
Inscriptions, size & arrangement of, 88, 265, 351, 392
Inscriptions in stone, 389
Inscriptions on metal, stone, wood, &c., 375, 377, 264
“_Inside Shapes_,” 253, 281 (C)
Irish Half-Uncials, 40
Irish Writing, 34, 40, 302, 413-(415)
Italian Writing, 47, 305, 312, 317, 412, 417–419, 429–484
Italics, 311, 48, 130, 263
Italic Capitals, 315
“Italic” Writing, 138, 483
J, 283, 411
Joachinus de Gigantibus, 430
Jonah & fish, 195, 421
K, 273, 284, 401, 411
Ketton (stone), 395
Kells, Book of, 413, 40
Kelmscott Press, the, 364
Knife for pen cutting, 60
L, 273, 284, 410–11
Lamb’s skin, 167, 173–74
_Lapis Lazuli_, 178
Learning to Write, 48
Legibility, 86, 390 (see _Readableness_)
Lettering, arrangement of, 88, 122, 239, 255–268, 389
Lettering, construction & arrangement of, 237, 17–19
Lettering, contrasts of size, weight, &c., 327–328, 353
Lettering, divers uses of, 337
Lettering for Reproduction, 365
Letters in Bands, 123, 136, 267
Letters, Brush-made, (118), 292, 376
Letters, “Built-up,” 291, 254, 289, 331, 118–119
Letters, Characterization of, 278
Letters, Characterization of, “Arms & Branches,” 281 (C), 288, 331
Letters, Characterization of, Stems, 288 (drawn out), 282, 324, 331
Letters, Characterization of, Bows & Curves, 288
Letters, Characterization of, Serifs, 288
Letters, Characterization of, Tails, 289, 251, 331
Letters, drawn, 292–93, 146, 118
Letters, gold (see _Gold_)
Letters, “Hollow,” 119, 208, 333
Letters, incised & raised, 377–384, 403
Letters in inscriptions, size of, 351, 393
Letters, “Lombardic,” 119
Letters, monogrammatic, 260
Letters in outline, (294), 378–380
Letters, round (see _Round or Square types_)
Letters, Upper & Lower Parts, 273
Letters, Varied types of, 114, 119, 209, 377;
(on one page), 352
Letters, Wide & narrow, 270, 278
“_Library gilt_,” 111
Lighting, 62
Limitation in decoration, 177, 181, 198, 215, 220, 352
“Limner’s” Illumination, 202
_Line-Finishings_, 205, 123, 134, 193, 263, 425, 486
Lines of Writing, 262, 326, 343
Lines, red, 144
Line-spaces in text, 123, 138, 256
Linked letters, 260, 361
“Lombardic” Capitals, 119, 210
Loumyer, G., 147
M, 271, 284, 410–11
Magnifying glass, use of, 57, 61, 84
_Majuscules_, (_footnote_) 300
Marbles & Alabasters, 395
Marginal lines, 109, 111, 136, 343
Margin, the Foot, 352, (106)
Margins, proportions of, 256, 89, 94, 95, 97, 103, 265, 394
Margins, wide, 89, 103, 213, 222, 265, 299, 317, 351, 483
“Massed writing,” 79, 260
Matt gold, 183, 187
Methods and Proportions, 100, 221, 256, 267
Middle Ages, the, 196
Miniatures, 98, 127, 165, 203, 220
_Minuscule_, 37, 302
Models of lettering, 70, 114, 237
Modern Handwriting, 315–323
(see also _Formal Writing & Handwriting, Ordinary_)
Monograms & Devices, 361, 260
Morris, William, 368, 386-7
MS. Books, 98, 256, 341
Music with red staves, 140, 345
N, 271, 285, 410–11
Narrow letters, 269–273, 278
“Natural” illumination, 202
Nib (see _Pen_)
Notes in red, &c., 130, 144
Numbering pages, 110, 142, 144, 342
Numerals, “Arabic,” 82
O, 270, 285, 411
“_Oblong_” shaped book, 103
Obsolete letters, &c., 86, 323
_Octavo_, 102
_Openings_, 101, 106, 213, 365
“Originality,” 268, 20
Ornament of backgrounds, 191
Ornament of backgrounds, use of, 123, 222, 254, 330
Ornament, “woven,” 208
Ornaments (see also _Design & Decoration_)
Ornamental Letters, 330, 48, 114, 208, 276, 298, 364, 25
Outlines, 186, &c.
Outlines, in black, 182
Oxgall, 175
P, 273–274, 285, 411
Page, proportions of a, 317
Pages in Capitals, 125, 128, 132, 299, 363–365
Pages, thickness of, 99
Painted (brush-made) letters, 376, 280, (118), 292, 384
Palæographical Society’s Publications, The, 388, 412, 413
Pan colours, 176
Paper, hand-made, 51, 111
Paper Sheets, sizes of, 103
Paragraphs & Paragraph marks, 112, 113, 123, 141, 144
Parchment & “Vellum,” 173, 38, 107, 110, 167
Parchment, framing of, 356
Patterns, elementary, 215, 205
Patterns, indented in gold, 191
Pens, for colour, 172, 180
Pens, metal, 60 (_footnote_, 20)
Pens, Quill, 52, 54, 59, 172, 20 23
Pens, Reed or Cane, 51, 52, 63, 84
Pen, cutting the, 52–60
Pen, holding the, 64–68
Pen, Nibs shape of, 56, 118
Pen, Nibs, width of, 84, 118, 292, 324
Pen, Pressure on, 63, 23
Pen-knife, 60
Pen-wiper, 61
Pen-work illumination, 197
Penmanship (or use of the pen), 35–38, 84–85, 118, 197, 198, 204,
218, 238, 239, 241–247, 254, 262, 278, 291, 311, 317, 375, 414,
418, & _Author’s Preface_
Personality, 239, 323
Phrasing, 384
“Plain song,” 140
Planning MS., Spacing, &c., 97, 100, 358
(see also _Scribes’ Methods_)
Planning sections & pages, 342
Plaster of Paris, 166
Platinum leaf, 165
Poetry, long lines in, 95, 97, 138, 484
Poetry, general treatment of, 95, 123, 138, 263, 337, 338, 371
“Pointed” Writing, 40, 41
_Pounce_, 145, 146, 167, 174
Portland Stone, 395
Powder Colours, 175
Powder gold or “gold paint,” 146, 163, 170,
(see _Matt Gold_, 183, 187)
Practice (in _Lettering_), 21–22, 385
Practice, acquiring a formal hand, 85, 327
Practice & theory, 267
Prayer Book, 345
Prefaces in colour, &c., 130, 315
“Primary Colour Sensations,” 182
Printed books, Decoration of, 194, 369–372, 374
Printers’ marks, 142
Printers’ methods, 101, 113, 258, 264, 267, 363–374
Printing, 367
Proportion, 221, 251
Proportions and Methods, 100, 221, 256, 267, 358
Pumice, powdered, 146
Punctuation marks, 82, 384
Purple, 175, 177, 180
Purple Vellum, 299
Q, 270, 286, 411
Qualities of good Writing, 239
_Quarto_, 102
Quill pens, 52, 54, 59, 172, 20, 23
R, 272, 274, 286, 401, 411
Raised Letters in stone, &c., 377, 384, 403
Raising preparation (or “Size”), 145, 146, 166, 168
Readableness, 237–240, 254, 259, 260, 264, 265
_Recto_ (right-hand page), 105, 112, 181, 365
Red (paint), 176–78, 181, 182
Red & Black, 127, 328, 364, 372
Red lines, 144
Red writing, 130, 144, 194, 315, 328, 345
Reed or Cane pens, 51, 52, 63, 84
Renaissance, the, and writing, 47, 419
Repetition in decoration, 181, 215, 185, & see _Limitation_
“Rivers,” (_footnote_) 262
Roman Alphabet, the, 36, 114, 268, 390
Roman Capitals, 189, 210, 238, 294, 297, 299, 302, 377, 390–391,
409–412
Roman Capitals, _Written_, 297, 302
“Roman” characters, 118, 241, 263, 278
_Roman Small Letters_, 310, 47
Roman Uncials, 38
“_Roman Vellum_,” 173
Roman Writing, 36–40, 297, 412
Rooke, Noel, 227, 5
“Round” and “Square” letters, 269
Round or Square types of D, E, H, M, U, &c., 40, 119, 132, 210, 282,
300
Round, Upright, Formal Hands, 65, 302
Roundness in Writing, 38, 44, 45, 47, 304, 414
Rubricating, 127, 98, 130, 144, 180, 194, 344, 345, 372
“_Rules_,” 144, 364
Ruling, double, 88, 304, 414
Ruling pages, &c., 89, 99, 108, 258, 299, 343
Ruling stylus, 89, 100, 108, 110, 343
_Rustic Capitals_, 38, 297
Rustic Capital in Stone, 378
Rye, Slate at, 363, 382
S, 273, 274, 286, 411
“St. Albans Psalter,” the, 419
_Sandarach_ (resin), 174
Scale for ruling, 99, 25
Scalpel for pen-knife, 60
Scribes’, methods, 65, 88, 101, 103, 113, 128, 130, 221, 258, 268
_Scriptorium_, 4, 368
Scroll work, 203
“_Section_,” “_Gathering_”, (or “_Quire_”), 102, 110, 346
Sections of Letters in stone, 405, 403
Semi-formal Writing, 317
Semi-Uncials, see _Half-Uncials_
_Serifs_, 73, 84, 120, 241, 244–247, 288, 311, 314, 392
Service Books, 140, 345, 387, 484
_Set Inscriptions_, 350
Setting out & spacing, 126, 128, 221, 258, 351, 384–5, 396
Sgraffito, lettering in, 339
Sharpening stones, 61, 399
Sheets, cutting, folding & ruling, 99
Sign Writing & Brush-Work, 376
Silver leaf, 165, 299
Simple and complex forms, 195, 323
_Simple Written_ Capitals, 123, 297, 302
_Simple-Written Letters_, 291
Simplicity, 240, 255
“Size” or Raising preparation, 145, 146, 166, 168
Size & arrangement of inscriptions, 88, 265, 351, 392
Size & Shape of book, 100–101
Sizes of Capitals, 119, 122, 256
Sizes of paper sheets, 103
Skeleton forms, 240, 247, 275
“Sketching,” 126, 218, 258, 292
“_Slanted-Pen_” or _Tilted Writing_, 43, 73, 241, 247, 304, 310, 415
Slate, 382, 395
Sleight of hand, 23, 85, 311, 322
_Small-letters_ and Capitals, 40, 112, 122, 302
Small or Fine-pen Writing, 59, 86, 311, 324, 482, 26
Spacing close, 262–67
Spacing evenly, 265, 219
Spacing letters, words & lines, 77, 128, 256, 394: _see also_—
Spacing & planning MS., 89, 97
Spacing & setting out, 126, 128, 221–22, 258, 351, 385, 396
Spacing wide, 262–67, 314, 327
Special Books, 300, 304, 344–346, 412, 485, 299
Special words and letters, 123, 352
Speed in writing, 84, 305, 311, 315, 322, 324, 483
_Spots_, in “design,” 187–88
“_Spring_” for pens, 54, 59
“_Square Capitals_,” 37, 412
“Square and Round” letters, 269
Square or round types of D, E, H, M, U, &c., 40, 119, 132, 210, 282,
300
Stanzas or Verses, 123, 138 (see also _Poetry_)
Stones, best kinds of, for inscriptions, 395
Stones, Foundation, 393
Stonyhurst College, Gospel of S. John, in Uncials, 413
Straightforwardness, 97, 101, 221–22, 258, 264, 267, 327, 342, 344,
351, 396
“_Straight pen_,” 44, 241, 304
_Stylographic_ writing, 317
“_Swash Letters_,” 315
Symbolical devices, 142
“Symmetrical” arrangement, 264, 389
T, 272, 286, 411
Tail-pieces, 142, 342
“_Tailiness_,” 300
Tenison Psalter, the, 426
Tenth Century Writing, 46, 130, 295, 305, 325, (326), 415, 482, 485
Theory & practice, 267
_Thicks & Thins_, 43, 63, 83–85, 118, 292, 317, 375, 377, 392
Thin strokes, horizontal, 65, 66, 72, 304
Thirteenth Century Illumination, 185, 114, 195, 203, 210, 423–427
Thirteenth Century Writing, 46, 114, (116), 331, 423, 425, 426
Thompson, H. Yates-, 227, 429
Thompson, Sir E. M., 385 (quotations from), 36, 37, 41, 127, 418, 426
“Tilted” letters (O, &c.), 285, 44, 290
Title pages, 128, 142, 258, 363
Tombstones, 237, 394
Tool-forms, 278, 292, 323, 392
Tools and Materials for acquiring a formal hand, 48
Tools & Materials for illumination, 172, 20
Tools & Materials for laying & burnishing gold, 145
Tools for inscriptions in stone—
Chisels, 396–403
Mallets, &c., 399–402
_Top margin_ (or _Head_), 106, 111, 343
Trajan Column, Inscription on, 409–411
Turkey’s Quill, a, 54
Twelfth Century Illumination, 195, 205, 218, 420–422
Twelfth Century Writing, 46, 47, (116), 305, 331, 417–422
“_Tying up_,” 260
Typography, book, foundations of, 13, 98
U, 271, 287, 411
Ultramarine Ash, 178
Uncials (Examples, &c.), 300
Uncials, Roman, 38
Uncials, Script II., 79
Uniformity, 244, 254, 311, 324, 181
Upright Round-hand, 44, 65, 70, 302–304, 412, 413–415
“_Upright_” shaped book, 103
V, 271, 287, 411
V for U, use of, 283
Variety, 177, 255, 352
Variety in initials, 209
Varied types of letters, 114, 119, 209, 377;
(on one page) 352
“Vellum” & Parchment, 173, 38, 107, 110, 167:
framing of, 356
Vellum for bindings, 348
Verdigris, 178
Vermilion, 177
_Versal Letters_, 34, 112–126, 205, 208, 218, 294, 296, 331, 420, 423
(see also Chapter VIII.)
_Versal Letters_, Examples of, 114 (and Plates)
Verses, see _Versals_, _Paragraphs_, _Stanzas_, &c.
Vicenza, Mark of, 481
W, 287, 411
Walker, Emery, 372, 387
Wall Inscriptions, 350, 406
Waterproof Ink, 51, 172
“Weight” of lettering, 327–328, 353, 377
Whall, C. W., 17
White, Chinese, 180
White, use of, 180, 182, 183, 212
“Whiting,” 147, 174
Whitelead (_biacca_), 166
White-of-egg, 163, 165, 166, 175, 179, 183
“White vine pattern,” 202, 430, 481
Wide Margins, 89, 103, 213, 222, 265, 299, 317, 351, 483
Wide spacing, 262–67, 314, 327
Wood Engraving, 364, 365, 371, (221)
Words in Capitals, 126, 136, 297
(see also _Headings & Spacing_)
Words to the line, number of, 85, 107
Working _in situ_, 405
Writing, 1st to 5th century, 36–39, 412
Writing, 6th to 9th century, 40–45, 303, 305, (326), 412–415
Writing, 10th century, 46, 130, (295), 305, 325, (326), 415, 482, 485
Writing, 11th century, 46, 47, 305, 416
Writing, 12th century, 46, 47, (116), 305, 331, 417–422
Writing, 13th century, 46, 114, (116), 331, 423, 425, 426
Writing, 14th century, 46, (114), 423, (427)
Writing, 15th century, 46, 47, (326), 331, 428–483
Writing, 16th century, 310–323, (326), 483
Writing, Analysis of, 72, (115)
Writing, Anglo-Saxon, 326
Writing, Fine & Massed, 260, 299
Writing, ordinary Hand, 14, 15, 77, 280, 315, 323, 374
Writing, size of, &c., 101, 107
Writing, the Development of, 35, 409, & _Author’s Preface_
Writings, construction of, 73, 83–85, 118, 292, 311
(see also _Collotype Notes_)
_Writing-Level_, the, 62
Writing-line, length of, 105, 107, 109, 262, 343
“_Writing-Pad_,” 50, (fur or cloth for) 51
X, 273, 287, 411
Y, 273, 275, 287, 411
Yolk of egg, 175, 179, 180
Z, 272, 288, 411
Zincotype process, the, 367
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TRANSCRIBER'S ENDNOTE.
Original spelling and grammar has been generally retained, with
some exceptions noted below. Illustrations are moved from inside
paragraphs to between paragraphs. Original printed page numbers are
shown like these: "[p-xiv]" or "[p052]". Original small caps ‹LOOKS
Like This›. Italics look _like this_. Original bolded text «Looks
like this». The code "<f>abc xyz</f>" means that the text "abc xyz"
was printed in a special font or style not available in this edition.
The code "@" denotes a special symbol not available in this edition.
The html edition contains images or characters for all of these.
Most of the footnotes are renumbered into a single sequence and
moved from the ends of pages to the ends of major sections, which
are: the Author’s Preface, Part I, Part II, Appendix A, and Appendix
B. Footnotes in the section "Notes on the Collotype Plates" are not
renumbered, but are relocated to the end of each Plate description.
Ditto marks are generally deleted, and replaced with repeated text
if necessary. Large curly brackets, "{" or "}", used to indicate
combination or grouping of information on two or more lines, have
been eliminated from this ebook. Such information has been recast
if necessary, preferring minimal changes, to retain the original
meaning. The complex tables on page 72 and pages 162–3 are examples
of such recasting.
Page viii: "ornamention" was changed to "ornamentation".
Pages xxv, 144, etc.: the symbol {U+A75E LATIN CAPITAL LETTER V WITH
DIAGONAL STROKE} is coded "[/V]" herein. Elsewhere, a code like this:
"[=V]" indicates a Capital V with Macron.
Page 214: "illluminated borders" changed to "illuminated borders".
Page 227: The Figure originally marked "Fig. 134_a_" on this page
was changed to "Fig. 134_d_."
Page 239: The complex table was recast as a nested list.
Page 271: In the fifth paragraph, the enlarged U has been rendered
herein as a capital letter, although the original looked more like an
enlarged typical modern "u".
Page 284: "occasionly" changed to "occasionally".
Page 430. The section "NOTES ON THE COLLOTYPE PLATES" was broken off
in the midst of a paragraph on page 430, and continued on page 481,
after the section "THE COLLOTYPE PLATES". Herein, this structure was
retained, but the broken paragraph was closed, with all of it on page
430.
Index, "Black outlines": "88" changed to "188".
Index, "Proportions and Methods": this entry was repeated, once
between "Letters in Bands" and "Letters, Brush-made", and once in its
proper alphabetical order. The first entry was deleted.