Part 2 — INDEX
Reading edition
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 Form, 252 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
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 for Penwork, 176 proportions of, 182 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 of Colour, 327, 336 of Form, 330, 336, 352 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 Position of, 61 Writing level on, 62 Different slopes of, 68 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 “Arms & Branches,” 281 (C), 288, 331 Stems, 288 (drawn out), 282, 324, 331 Bows & Curves, 288 Serifs, 288 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 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 metal, 60 (footnote, 20) Quill, 52, 54, 59, 172, 20 23 Reed or Cane, 51, 52, 63, 84
Pen, cutting the, 52–60
Pen, holding the, 64–68
Pen, Nibs shape of, 56, 118 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 6th to 9th century, 40–45, 303, 305, (326), 412–415 10th century, 46, 130, (295), 305, 325, (326), 415, 482, 485 11th century, 46, 47, 305, 416 12th century, 46, 47, (116), 305, 331, 417–422 13th century, 46, 114, (116), 331, 423, 425, 426 14th century, 46, (114), 423, (427) 15th century, 46, 47, (326), 331, 428–483 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
THE END
Printed by Ballantyne, Hanson & Co.
Edinburgh & London
HOPTON-WOOD STONE
Is the most reliable of all
ENGLISH MARBLES
It is hard and of such fine and compact texture that the most intricate designs can be worked with sharpness and reliability, and it will take and retain a fine polish equal to any other Marble on the Market.
It is a good weathering stone, and has never been known to deteriorate.
Write for Descriptive Illustrated Brochure to—
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VELLUMS A SPECIALITY
ARTISTS’ VELLUM for Illuminated Addresses, &c.
KELMSCOTT VELLUM (not so heavy as Artists’), specially prepared for printing (as used by the late William Morris in his great work “Chaucer”).
ROMAN VELLUM, a lighter substance, and generally used by craftsmen and students, both for writing and illuminating as well as for printing.
OXFORD CLASSIC AND DARK COVERING VELLUMS.
Apply to—
H. BAND & Co., Kelmscott House,
Somerset Road, Brentford.
![Est.] [1840 A. COPLEY, 90 and 92 Oakley Street, London, S.E. Best and Largest Stock of Stone and Marble Working Tools in London. MAKERS TO THE L.C.C. Catalogues Free.](/illustrations/64339545790ae6b3.jpg)
THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY
Extract from Editor’s Preface.
“We would have this series put artistic craftsmanship before people as furnishing reasonable occupation for those who would gain a livelihood.... In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us “in the City,” and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.”
Projected as a Standard Series of Handbooks on the Artistic Crafts, suitable for Schools, Workshops, Libraries, and all interested in the Arts. Each Craft will be dealt with by an Expert, qualified to speak with authority on Design as well as on Workmanship.
See following pages.
PUBLISHED BY JOHN HOGG
13 Paternoster Row, London, E.C.
ARTISTIC CRAFTS SERIES
BOOKBINDING, AND THE CARE OF BOOKS. A TEXT-BOOK FOR BOOKBINDERS AND LIBRARIANS. BY DOUGLAS COCKERELL. With 122 Diagrams and Illustrations by Noel Rooke, and 8 Pages of Collotype Reproductions of Bindings. 352 Pages. Price 5s. net
PRESS NOTICES
“An excellent book opens ‘The Artistic Crafts Series of Technical Handbooks.’”—Times.
“It would be hard to find any technical book of this kind which gives more importance to considerations of good taste than this. . . . It leaves no part of its subject unaccounted for, and is in its own printing, binding, and illustration, a favourable example of good craftsmanship. Valuable in itself, it promises well for the series which it opens.”—Scotsman.
“A special word of praise must be bestowed upon the illustrations.”— Athenæum.
“The first of a new series of technical handbooks, and an admirable work it is.”—Pall Mall Gazette.
“In a manner lucid and practical the whole process of bookbinding is set forth, the matter being enhanced in usefulness by the drawings for which Mr. Noel Rooke is responsible. Altogether the volume gives the greatest promise for the success of the series.”—Newcastle Daily Journal.
“Workers of all degrees will find the book well worth acquisition alike from its valuable material and as inciting to a high standard of workmanship.”—The British Printer.
“Bookbinders and librarians will find much to interest them in this lucid, well-illustrated, and valuable little treatise.”—The Studio.
“Contains so much information useful to every book-owner that it will be found a very good investment even by the unprofessional.”—The Pilot.
PUBLISHED BY JOHN HOGG
13 Paternoster Row, London, E.C.
ARTISTIC CRAFTS SERIES
SILVERWORK AND JEWELLERY. A TEXT-BOOK FOR STUDENTS AND WORKERS IN METAL. BY H. WILSON. With 182 Diagrams by the Author, and 16 Pages of Collotype Reproductions. 348 Pages. Price 5s. net.
PRESS NOTICES
“A lucid text-book for students and workers, well illustrated, being the second volume in the series which made a successful opening with Mr. D. Cockerell’s ‘Bookbinding.’”—The Times.
“It teaches not only processes and workshop practice, but also good taste in the making of objects in which in these days vulgarity is none too seldom seen. Admirably illustrated, well written, and practically serviceable, the book should prove welcome alike to craftsmen and to amateurs.”—The Scotsman.
“. . . The book will have a fascination for all craftsmen, and may be read with advantage by every one who wishes to understand the underlying principles of the art crafts.”—The Morning Post.
“Not only to apprentices and learners, but also to experienced craftsmen, the book can be most cordially commended. Its value is enhanced by a full glossary and an index.”—Glasgow Herald.
“This volume, which belongs to the admirable Artistic Crafts Series of Technical Handbooks, gives practical instruction in one of the most beautiful of man’s handicrafts.”—The Newcastle Chronicle.
“We cannot imagine a better aid and supplement to practical experience in the workshop than this handbook. All necessary processes, from the simplest to the most complex, are explained in a methodical and logical order, with the aid of illustrations, in which each touch is eloquent and fresh from the master’s hand.”—The Athenæum.
PUBLISHED BY JOHN HOGG
13 Paternoster Row, London, E.C.
ARTISTIC CRAFTS SERIES
WOOD CARVING: DESIGN AND WORKMANSHIP. BY GEORGE JACK. With 78 Drawings by the Author, and 16 Pages of Collotype Reproductions. 320 Pages. Price 5s. net
PRESS NOTICES
“The study of some form of handicraft has become an important matter in the training of an art student, and those who practise wood-carving will find in this admirably written and illustrated book a comprehensive treatise on the subject.”—Morning Post.
“In this notable addition to the Handbooks on the Artistic Crafts, Mr. Jack deals thoroughly not only with the craftsmanship of wood-carving, but also with the theory of design, and the subject-matter which the artist should select to carve.”—Newcastle Daily Journal.
“The illustrations complete in a very appreciable way the value of one of the soundest text-books within the reach of the student of wood-carving.”—Glasgow Herald.
“Quite up to the level of its predecessors.”—Studio.
“His illustrations from both ancient examples and from his own work are excellently chosen and reproduced, and show that he has made himself the master and the pupil of the best traditions of his craft.”—Pall Mall Gazette.
“Clear instruction, profusely illustrated, and admirably presented by the publisher.”—Sheffield Daily Telegraph.
“Mr. Jack’s love of his art is evidenced by every one of his chapters . . . To read his book is a pleasure, and we can very heartily commend it. It is fully illustrated, and contains a number of fine collotype plates and a good index. It is exceedingly cheap at the published price of 5s.”—Furniture Record.
“In its affirmative aspect the book is entirely admirable, . . . and its value is immensely enhanced by the numerous and excellent illustrations. Its literary quality is greatly superior to that of the average text-book.”—Builder.
PUBLISHED BY JOHN HOGG
13 Paternoster Row, London, E.C.
THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS
EDITED BY W. R. LETHABY
STAINED GLASS WORK. A Text-Book for Students and Workers in Glass. By C. W. Whall. With 73 Diagrams by two of his Apprentices, and 16 pages of Collotype Reproductions. Now ready. 392 pages. Price 5s. net.
“No art student or art teacher could fail to derive benefit from a study of the book; and no connoisseur, whatever his special bent, could read it without profit as well as pleasure.”—The Aberdeen Daily Journal.
“The highest praise possible for this handbook would be to say that it is worthy of the remarkable series to which it belongs, and this, without reserve, we can affirm to be the case.”—Arts and Crafts.
“The book is thoroughly practical, describing in detail the whole process of stained-glass manufacture, with illustrations and a large number of diagrams.”—The Newcastle Daily Journal.
“Apart from the craftsman, also, this book should prove of great service to those interested in painted glass, whether as custodians of buildings containing fine old windows or as architects or clients intent on securing good modern work.”—The Glasgow Herald.
“Students will appreciate the excellent material found in this book and the beautiful plates that accompany it.”—The Educational Review.
EMBROIDERY AND TAPESTRY WEAVING: A Practical Text-Book of Design and Workmanship. By Mrs. A. H. Christie. With 187 Illustrations and Diagrams by the Author, and 16 pp. of Collotype Plates. 416 pp. Price 6s. net.
WRITING & ILLUMINATING, AND LETTERING. By E. Johnston. With 227 Illustrations and Diagrams by the Author and Noel Rooke. 8 pp. of Examples in Red and Black, and 24 pp. of Collotypes. 512 pp. Price 6s. 6d. net.
To be followed by others in due course.
PUBLISHED BY JOHN HOGG
13 Paternoster Row, London, E.C.
