INDEX

Address, illuminated, 171–7

Advertisement, design for, 192

Advertisements, lettering for, 72, 192, 196–9

Air bubbles in raising preparation, 158

Alcuin Bibles, 89

Alfred the Great, 90

Alizarin crimson, 127

Alphabet, its development, 32

the Roman, 32, 70–83

from the Book of Kells, 66

Alphabets for study, 60–9

Altar tablets, 169

Aluminium leaf, 147

paint, 147

Ambrosian Iliad, 85

Anglo-Celtic illumination, 87, 102

Armenian Bole, 143–4

Arsenic, sulphide of, 115

Art paper, 232

Arzica, 120, 121

Athelstan’s Psalter, 90

Æthelwold, Benedictional of, 91

Aureolin, 124

Azurite, 115

Azzuro della magna, 121

oltre marino, 121

Babylonian characters, 25

Backgrounds, diaper, 95

Barium sulphate, 130

Beauty, 222

Bedford Book of Hours, 98

Benedictional of Æthelwold, 91

Biacca, 121, 142

Bianco Sangiovanni, 121

Bible of Robert de Bello, 95

Bible History, moralised, 95

Bichromate of potash, 208

Binding MSS., a simple method of, 225–231

Black pigments, 129

Blocks, line, 178–9

half-tone, 180

three-colour, 180–1

Blood, dragon’s, 116, 120

Blue pigments, 127

Body-colours, 135

Bole, Armenian, 143, 144

Book, the illuminated MS., 216–24

printed, illumination of, 232–37

printed, decoration of, 238–47

Book-hands, the study of, 60–9

Bookplate, 201

Borders, 245

Bridget, St., 87

British Museum publications, 106

Bronze gilding, 185–6

powder, 146

Brown pigments, 129

Brushes, 154, 155

Brush-formed lettering, 73, 110, 111, 208–12

Bubbles in raising preparation, 158

Building up letters, 71, 109–11

Burnisher, agate, 148, 151

Burnt sienna, 127

Burnt umber, 129

Byzantine illumination, 85–6

Cadmium yellows, 124

Calligraphy, its development, 23

Cambrensis, Giraldus, 87

Camel-hair mop, 148, 151

Capitals, square, 33

rustic, 33

Capital letters, 65, 66, 67, 110

Carbolic acid, 133

Carlovingian illumination, 89

writing, 40

Carmine, 127

Celtic and Anglo-Celtic illumination, 87, 102

Cennino Cennini, 120, 142

Cerulean Blue, 127

Ceruse, 118

Chalk, 115, 121

Chapter headings, 245

Charlemagne, 39, 89

Charta Pergamena, 30

Charter, Golden, 91

China slab, 132

Chinese vermilion, 126

Christmas cards, 185–191

Chrome yellows, 124, 125

Chromium oxide, 128

Chromo-lithography, 182

Cinabrese, 120

Cinnabar, 116, 120

Classical illumination, 84

Clay as writing material, 24

Clothlet tints, 122

Cobalt blue, 127

Cobalt violet, 128

Cobalt yellow, 124

Cochineal, 127

Cold tea for tinting paper, 153

Colophon, the, 221

Colours used by the mediæval illuminator, 115–122

their composition and permanence, 123–30

cake, 131

tube, 131

powder, 132

body, 135

their preparation and use, 131–7

Columba, St., 88

Commercial design, lettering for, 192–202

Compass, proportional, 68

Concluding remarks, 248–55

Copper blues and greens, 115, 118, 121, 122

Crimson, alizarin, 127

lake, 127

Cursive writing, 32

Cutting the pen, 42, 43

Cyperus papyrus, 28

Decoration, 156, 161–6, 222, 234

of printed book, 238–47

Designs in two colours, 246

Designing, 187

Designing a magazine cover, 200–2

Diagrams, lettering for, 195

Diaper backgrounds, 95

Dioscorides, The, 85

Dividers, spring, 107

Dragon’s blood, 116, 120

Durham Book, 37, 88, 102

Durrow, Book of, 88

Dutch metal, 147

Earth colours, 115

Edgar, Golden Charter of, 91

Egg, white of, 118–9

used for gilding, 139, 140, 141, 143

yolk, 119

Egyptian hieroglyphics, 27

writing materials, 27, 28

Eighth-century writing, 38, 39

Emerald green, 128

Eraclius, 119

Erasures, 152–3

Eumenes II., king of Pergamus, 30

Exercises in the use of the pen, 45

Family trees, 170

Fifteenth-century illumination, and later, 97–100

writing, 41, 79, 80

Fifth-century writing, 33–5

Figures, pen-formed, 57

Fish-glue for mixing with colours, 117

Fixed inks, 206, 208

Flake white, 130

Forming words and sentences, 54–9

Fourteenth-century illumination, 96

writing, 65

Fourth-century writing, 33

Framing illuminated work, 174

Gamboge, 125

Garcinia Cambogia, 125

Genesis of Vienna Library, 85–6

Codex in British Museum, 86

Gesso Sottile, 142–4

Giallorino, 120–1

Gilding methods of the Middle Ages, 138–145

raised, 142, 147, 157–60

bronze, 185–6

Gilder’s cushion, 147–8

knife, 148–50

tip, 148, 150–1

Giraldus Cambrensis, 87

Glycerine in colours, 131

Gold, the use of, 136–51

leaf, 139, 146–7

handling it, 148–9

shell, 146

paint, 146, 185

grinding, 141, 144

Gold size and raising preparation, 158–9

Gold-beating, its antiquity, 139

Golden Charter of King Edgar, 91

Gospels, The Lindisfarne, 37, 88, 102

Green pigments, 128

Gum, for mixing colours, 133

Half-tone blocks, 180

Half-uncials, 36

Irish, 36

English, 37

Handwriting, ordinary, 24

Harleian Psalter, 91

Heraldry, 175

Hiberno-Saxon illumination, 102

Hieroglyphic and hieratic characters, 27

Holding the pen, 44–6

Honey, mixed with colours, 131

in raising preparation, 186

I, THE LETTER, 59

Ichneumon brush, 158

Iliad, Ambrosian, 85

Illumination, the study of, 23, 166, 248–51

classical and Byzantine, 84–6

Celtic and Anglo-Celtic, 87–9, 102

Carlovingian, 89

Winchester, 89–92

twelfth-century, 93–4

thirteenth-century, 94–6

fourteenth-century, 96–7

fifteenth-century, 97–9

Italian, 99

in black and red, 107–14

with gold and colours, 152–60

the further development of, 161–70

Illuminated MS. book, 216–24

Illustrations, lettering under, 234

Indaco baccadeo, 121

Indian ink, 129

Indigo, 116, 121

Influence of the tool, 23–31

Initial letter, 101–6

Ink, 44

classical, 117

mediæval, 119

Invitation cards, 190

Isidore, St., 28

Ivory black, 129

J, THE LETTER, 59

Japanese brush, 208–9

Jehan le Bègue, MS. of, 119

Joshua Rotulus, 86

Kells, Book of, 88, 101

Kermes, 116

Kildare, Book of, 87

Kneaded rubber, 160

Knife for cutting the pen, 46

Labels, designs for, 198

Lakes, 116, 119

Lampblack, 129

Lapis Lazuli, 127

Laurie, Dr. A. P., 138

Lead, white, 121, 130

Leaf, gold, 139, 146–7

Lens, magnifying, 68

Letter, the initial, 101–6

Letters, pen-formed, 48–53

brush-formed, 73, 110–1, 208–9

building up, 73, 110–1

capital, 65–7, 110

Lettering, Roman, 70–83

for advertisements, 72, 192, 196–9

for commercial design, 192–202

Leucophoron, 139

Lighting of work, 50

Lindisfarne Gospels, 37, 88, 102

Line blocks, 178–9

Lithography, 181–2

Liturgical purposes, the value of illumination for, 169–70, 253

Lombardic writing, 38–9

Lucca MS., 117, 139

Machine, the, 251

Madder, purple, 128

rose, 127

scarlet, 127

Magazine covers, designing, 200–2

Magnifying lens, 68

Majuscule writing, 32

Manuscript books, illuminated, 216–24

Mappæ Clavicula, 117, 140

Maps and diagrams, lettering for, 195

Marriage Service, 170

Mary’s Psalter, 96

Mastery of the tool, 42

Menu, design for, 210–11

Merovingian writing, 39–40

Merrifield, Mrs., 119

Metaphrastes, Simeon, 86

Method of setting out page, 107–8

Miniature painting, 91, 100, 167–8, 222

Minium, 118

Minuscule writing, 38

Mixed uncials, 35

Muller for grinding colours, 133

Murex, 116

Ninth-century writing, 37

Naples yellow, 125

Natural History, Pliny’s, 115–6

Nature study, 163–6

New blue, 128

Note-heading, 199

Notices, 170

Ochre, yellow, 125

“Old English,” 65

Opus Anglicum, 90

Originality, 168–9

Orpiment, 115, 119, 122

Oxgall, 160

P, THE LETTER, 53

Pad for writing upon, 48

Page, method of setting out, 107–8

Palæography, 33

Palette knife, 133–4

Paper, 44, 153

art, 232

stretching, 154

Papyrus, 28

Parchment, derivation of the word, 30

tinting, 122

size, 140

Pattern, simple, 113–4

Pedigrees, 170

Pen, holding the, 44–6

cutting the, 42–3

exercises in the use of the, 45

the reed, 27–8, 42

the quill, first mention of, 28

-strokes, 45

-formed letters, 48–53

figures, 57

-wiper, 46

Pencils, 107, 152–3

Pezzuole colours, 122

Philippo de Maizières, Epistle of, 105

Phœnician alphabet, 32

Pigments, blue, 127

brown, 129

black, 129

green, 128

red, 125

white, 129

yellow, 124

Planning out MS. book, 217–20

Plant drawing, 163–5

Plaster of Paris, 144

Platinum leaf, 147

Pliny, 115–6

Plum-tree gum, 117–8

Poetry, illumination of, 223, 253

Posters, lettering for, 197

hand-written, 203–13

Potash, bichromate of, 208

Pounce for vellum, 155

Powder colours, 132

Practise in writing, 52

Preparing colours, 131–7

Printed book, the ideal, 254

the illumination of, 232–7

the decoration of, 238–47

Printing and illumination, 254

Process blocks, 178–81

work, white for, 130

Proportional compass, 68

Psalter, Athelstan’s, 90

Queen Mary’s, 96

of Westminster Abbey, 94

Harleian, 91

Pumice powder, 155

Queen Mary’s Psalter, 96

Quill pen, the earliest allusion to it, 28

cutting it, 42–3

Rabula MS., 86

Raised gilding, 142, 147, 157–60

Raising preparation, 158–9

Raw sienna, 125

umber, 129

Red and black, the use of, 107–14, 250

Red pigments, 125

Reed pens, 27–8, 42

Reproduction, the various methods of, 178–84

Risalgallo Realgar, 121

Roman bronze pens, 28

lettering, 70–83

made with simple pen-strokes, 73–4

Rose madder, 127

Rubber, kneaded, 160

Rustic capitals, 33

S, THE LETTER, 57–8

Sable writer, 83, 212

Saffron, 121–2

St. Bridget, 87

Columba, 88

Isidore, 28

Swithin, 90

Salt green, 118

Sap of Iris, 118

Saucers for colour, 135

Scarlet madder, 127

Schedula Diversarum Artium, 117

Scraper, 133, 135

Scriptoria, the two Winchester, 90

Sections for MS. books, 217

Sepia, 129

Service books, 169

Service, Marriage, 170

Set square, 107–8

Setting out page, 107–8

Seventh-century writing, 36

Sewing sections, 226–7

Show-cards, 214–5

Sienna, burnt, 127

raw, 125

Silver leaf, 147

Simeon Metaphrastes, 86

Sinopia, 120

Sixteenth-century writing, 83

Size and raising preparation, 158–9

parchment, 140

Sketch book, the use of a, 166

Skins of animals as writing material, 28

Slope for writing, 49

Somme le Roi, 95

Spacing words and letters, 57

Spanish green, 118

Spring dividers, 107

for pen, 43

Square capitals, 33

Stretching paper, 154

vellum, 154

Stylus, the use of the, 25–6

Success in illumination, 248

Tablets, writing, 28

Tail-pieces, illuminated, 235

printed, 244–5

Tea, for tinting paper, 153

Tee square, 107–8

Tenth-century writing, 38, 62

Texts for churches, 170

Theophilus, 117

Theophrastus, 115

Thirteenth-century illumination, 94

writing, 41, 64

Three-colour blocks, 180–1

Tinting parchment, 122

Title-page, 234, 238–40

Tool, the influence of the, 23–31

the mastery of the, 42

Trajan column, 76

Tube colours, 131

Turkey quill, 44

Twelfth-century illumination, 93–4

writing, 41, 63

U, THE LETTER, 59

Ultramarine, 121, 127–8

ash, 128

French, 128

Umber, burnt, 129

raw, 129

Uncials, 34

mixed, 35

half-, 36

Irish, 36

English, 37

V, THE LETTER, 59

Vandyke brown, 129

Vellum, 152–6, 216–7

limp, binding MSS. with, 225–31

reputed origin of, 28

Verde azzuro, 121

Verde terra, 115

Verderame, 121

Verdigris, 118, 121

Vermilion, 117, 119, 125–7

Vienna Genesis, 85–6

Violet, cobalt, 128

Virgil MS. in the Vatican, 85

Viridian, 128

Visigothic writing, 39

Vitruvius, 115

Wedge-shaped Characters, 25

Westminster Abbey, Psalter of, 94

White of egg, 118–9

used for gilding, 139–41, 143

White lead, 121, 130

White pigments, 129–30

Winchester School of Illumination, 90

Window tickets, 213

Wood-engraving, 238

Words, forming, 54–9

Workmanship, good, 255

Writer, sable, 83, 212

Writing, beautiful, the foundation of true illumination, 23–4, 248

expression in the, 223

majuscule, 32

cursive, 32

minuscule, 38

Lombardic, 38–9

Visigothic, 39

Merovingian, 39–40

Carlovingian, 40

fourth-century, 33

fifth-century, 33–5

seventh-century, 36

eighth and ninth-century, 38–9

tenth-century, 38, 62

twelfth-century, 41, 63

thirteenth-century, 41, 64

fourteenth-century, 65

fifteenth-century, 41, 79–80

sixteenth-century, 83

Yellow pigments, 124

Yolk of egg, 119

Zafferano, 121

Zinc white, 129–30

PRINTED BY THE ANCHOR PRESS, LTD., TIPTREE, ESSEX, ENGLAND.