Illumination and Its Development in the Present Day

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