Writing & Illuminating, & Lettering

About this eBook

Author

Johnston, Edward, 1872-1944

Credits

Produced by Chris Curnow and RichardW and the Online Distributed Proofreading Team at www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

Language

English

LoC Class

NK: Fine Arts: Decorative and Applied Arts, Decoration and Ornament

Subject

Illumination of books and manuscripts

Category

Text

eBook-No.

47089

Project Gutenberg

https://www.gutenberg.org/ebooks/47089

Release Date

October 10, 2014

Copyright

Public domain in the USA.

Contents

1. 1.WRITING & ILLUMINATING, AND LETTERING — EDITOR’S PREFACE — AUTHOR’S PREFACE — WRITING — ILLUMINATING — LETTERING — MODERN DEVELOPMENT OF WRITING & ILLUMINATING — MODERN DEVELOPMENT OF LETTERING — THE SCOPE OF THIS HANDBOOK — ADDENDA & CORRIGENDA — CONTENTS — PART I WRITING ILLUMINATING — PART I WRITING ILLUMINATING CHAPTER I THE DEVELOPMENT OF WRITING — CHAPTER II ACQUIRING A FORMAL HAND: (1) TOOLS Acquiring a Formal Hand: Tools, &c. — The Desk — Paper & Ink — Pens: The Reed: The Quill — Of Quills generally — Pen-knife, Cutting-slab, &c. — ACQUIRING A FORMAL HAND: TOOLS, &C. — THE DESK — PAPER & INK — PENS — OF QUILLS GENERALLY — PEN-KNIFE, CUTTING-SLAB, &C. — CHAPTER III ACQUIRING A FORMAL HAND: (2) METHODS Position of the Desk — The Writing Level — Use of the Pen — Holding the Pen — Filling the Pen, &c. — POSITION OF THE DESK — THE WRITING LEVEL — USE OF THE PEN — HOLDING THE PEN — CHAPTER IV ACQUIRING A FORMAL HAND: (3) MODELS Models — Notes on Construction: Script I. — Coupling the Letters — Spacing: Letters, Words, & Lines — Uncial Capitals: Script II. — Numerals & Punctuation Marks — Of Copying MSS. Generally. — MODELS — A METHOD OF ANALYSIS. — COUPLING THE LETTERS — SPACING: LETTERS, WORDS, & LINES — UNCIAL CAPITALS: SCRIPT II. — NUMERALS & PUNCTUATION MARKS (See fig. 57 .) — OF COPYING MSS. GENERALLY — CHAPTER V ACQUIRING A FORMAL HAND: (4) PRACTICE Practice — Scripts I. & II. — Arranging & Ruling a Single Sheet — Problem I. (a Sheet of Prose) — Problem II. (a Sheet of Poetry) — Spacing & Planning Manuscript. — PRACTICE — SCRIPTS I. & II. — ARRANGING & RULING A SINGLE SHEET — PROBLEM I. (A SHEET OF PROSE) — PROBLEM II. (A SHEET OF POETRY) — SPACING & PLANNING MANUSCRIPT — CHAPTER VI MANUSCRIPT BOOKS 16 MS. Books: Tools & Materials — Methods & Proportions — The Size & Shape of the Book — The Widths of the Margins — The Size of the Writing, &c. — Ruling — MS. Books: General Remarks. — MS. BOOKS: TOOLS & MATERIALS — METHODS & PROPORTIONS — THE SIZE & SHAPE OF THE BOOK — THE WIDTHS OF THE MARGINS — THE SIZE OF THE WRITING, &C. — RULING — MS. BOOKS—GENERAL REMARKS — CHAPTER VII VERSAL LETTERS & COLOURED CAPITALS Development of Versals — General Analysis of Versals — Notes on Construction of Versals — Spacing & Arrangement of Versals. — DEVELOPMENT OF VERSALS — GENERAL ANALYSIS OF VERSALS — NOTES ON CONSTRUCTION OF VERSALS (See figs. 80 , 81 , 85 , 165 ) — SPACING & ARRANGEMENT OF VERSALS — CHAPTER VIII BLACK & RED Rubricating — Initial Pages or Title Pages — Prefaces & Notes in Colour — Pages with Coloured Headings — Page or Column Heading & Initial — Versals in Column or Marginal Bands — Stanzas or Verses marked by Versals — Music with Red Staves — Tail-Pieces, Colophons, &c. — Rubricating: General Remarks. — RUBRICATING — INITIAL PAGES OR TITLE PAGES — PREFACES & NOTES IN COLOUR — PAGES WITH COLOURED HEADINGS — PAGE OR COLUMN HEADING & INITIAL — VERSALS IN COLUMN OR MARGINAL BANDS — STANZAS OR VERSES MARKED BY VERSALS — MUSIC WITH RED STAVES — TAIL-PIECES, COLOPHONS, &C. — RUBRICATING: GENERAL REMARKS — CHAPTER IX LAYING & BURNISHING GOLD Tools & Materials — Laying the Ground — Laying the Gold-Leaf — Burnishing the Gold — Remedying Faults in Gilding — Gold Writing — Other Methods & Recipes for Gilding — Appendix on Gilding (by Graily Hewitt ). — TOOLS & MATERIALS — LAYING THE GROUND — LAYING THE GOLD-LEAF — BURNISHING THE GOLD — REMEDYING FAULTS IN GILDING — GOLD WRITING — OTHER METHODS & RECIPES FOR GILDING — APPENDIX: ON GILDING ( By Graily Hewitt ) — CHAPTER X THE USE OF GOLD & COLOURS IN INITIAL LETTERS & SIMPLE ILLUMINATION Tools & Materials for Simple Illumination — Parchment, “Vellum,” & Pounce — Colours — Simple Colour Effects — Matt Gold — Burnished Gold — Burnished Gold Forms, & Outlines — Background Capitals — Applying the Background — Ornament of Backgrounds. — TOOLS & MATERIALS FOR SIMPLE ILLUMINATION — PARCHMENT, “VELLUM,” & POUNCE ( See also Appendix on Gilding, p. 167 and pp. 98 , 356 ) — COLOURS — SIMPLE COLOUR EFFECTS — MATT GOLD — BURNISHED GOLD — BURNISHED GOLD FORMS & OUTLINES — BACKGROUND CAPITALS — APPLYING THE BACKGROUND — ORNAMENT OF BACKGROUNDS — CHAPTER XI A THEORY OF ILLUMINATION Illumination — “Barbaric, or Colour-Work, Illumination” — “Filigree, or Pen-Work, Illumination” — “Natural, or Limner’s, Illumination.” — ILLUMINATION — “BARBARIC, OR COLOUR-WORK, ILLUMINATION” ( See also pp. 203 , 208 , 209 , 215 – 18 , 414 , 421 , 422 ) — “FILIGREE, OR PEN-WORK, ILLUMINATION” ( See also pp. 205 – 208 , 209 , 218 – 20 , 425 , 428 – 29 ; figs. 79 , 92 , 125 – 26 , 150 , 188 – 89 ; Plates XI. , XIII. , XIV. , XVII. ) — “NATURAL, OR LIMNER’S, 42 ILLUMINATION” ( See also pp. 212 , 219 – 21 , 227 , 423 – 24 , 426 – 28 , 486 ; figs. 131a – 141 ; Plates XV. , XVI. , XXIII. ) — CHAPTER XII THE DEVELOPMENT OF ILLUMINATION 44 The Development of Illumination — Line-Finishings — Initial Letters — Borders & Backgrounds. — THE DEVELOPMENT OF ILLUMINATION — LINE-FINISHINGS — INITIAL LETTERS ( See also pp. 16 , 48 , 112 – 14 , 124 , 134 , 181 , 188 – 193 , 193 – 99 , 211 – 15 , and the Collotype Plates ) — BORDERS & BACKGROUNDS — CHAPTER XIII “DESIGN” IN ILLUMINATION “Design” — Elementary Patterns in Decoration — Scale & Scope of Decoration — Of “Designing” Manuscripts, Generally. — “DESIGN” — ELEMENTARY PATTERNS IN DECORATION — SCALE & SCOPE OF DECORATION — OF “DESIGNING” MANUSCRIPTS GENERALLY — PART II LETTERING — CHAPTER XIV GOOD LETTERING——SOME METHODS OF CONSTRUCTION & ARRANGEMENT Good Models — The Qualities of Good Lettering — Simplicity — Distinctiveness — Proportion — Beauty of Form — Beauty of Uniformity — Right Arrangement — Setting Out & Fitting In — “Massed Writing” & “Fine Writing” — Even Spacing — Theory & Practice. — GOOD MODELS — THE QUALITIES OF GOOD LETTERING — THE QUALITIES OF GOOD WRITING — SIMPLICITY ( As having no unnecessary parts ) — DISTINCTIVENESS ( As having the distinguishing characteristics of each letter strongly marked ) — PROPORTION ( As having no part of a letter wrongly exaggerated or dwarfed —see pp. 274 , 277 – 78 ) — BEAUTY OF FORM ( As having beautiful shapes and constructions, so that each letter is an individual and living whole (not a mere collection of parts) fitted for the position, office, and material of the object bearing the inscription ) — BEAUTY OF UNIFORMITY ( As the assimilation of the corresponding parts—“bodies,” “limbs,” “heads”—and as the “family likeness,” of the different letters, so that they go well together ) — RIGHT ARRANGEMENT — SETTING OUT, & FITTING IN — “MASSED WRITING” & “FINE WRITING” — EVEN SPACING — THEORY & PRACTICE — CHAPTER XV THE ROMAN ALPHABET & ITS DERIVATIVES The Roman Alphabet — Proportions of Letters: Widths — Upper & Lower Parts—Essential or Structural Forms — Characterisation of Forms — Built-Up Forms — Simple-Written Capitals — Uncials — Capitals & Small-Letters — Early, Round, Upright, Formal Hands — Slanted-Pen Small-Letters — Roman Small-Letters — Italics — Semi-Formal Hands — Of Formal Writing Generally — Decorative Contrasts — Ornamental Letters. — The Roman Alphabet — PROPORTIONS OF LETTERS: WIDTHS — UPPER & LOWER PARTS — ESSENTIAL OR STRUCTURAL FORMS The essential or structural forms (see p. 240 ) are the simplest forms which preserve the characteristic structure, distinctiveness, and proportions of each individual letter . — CHARACTERISATION OF FORMS ( See also Built-Up Forms, pp. 291 – 6 , and pp. 240 , 253 ) — BUILT-UP FORMS — SIMPLE-WRITTEN CAPITALS — UNCIALS Examples: Plates IV. , V. ; fig. 5 , 169 (enlarged); (modified, fig. 56 ). — CAPITALS & SMALL-LETTERS — EARLY, ROUND, UPRIGHT, FORMAL HANDS Examples: Half-Uncials —fig. 6 (Roman); Plate VI. (Irish), Plate VII. (English) fig. 170 later ; see also pp. 40 , 44 , 413 – 415 . Uncials ( Plate IV. and p. 38 ). [p304] — “SLANTED-PEN” SMALL-LETTERS (Typical Examples :— Carlovingian ninth-century MS. — Fig. 8 ( enlarged, fig. 171 ): [p305] English tenth-century MS.— Plate VIII. ( enlarged, fig. 172 ): English eleventh-century MS.— Plate IX. ( enlarged, fig. 173 ): Italian twelfth-century MS.— Plate X. ( enlarged, fig. 174 ).) — ROMAN SMALL-LETTERS Ex.: (Italian) Plates XIX. , XX. (15th century); figs. 175 , 176 (16th century): figs. 147 , 148 ( modern MS. ). — ITALICS Ex.: Plate XXI. , and figs. 94 , 177 , 178 (enlarged). — SEMI-FORMAL WRITING — OF FORMAL WRITING GENERALLY — DECORATIVE CONTRASTS — ORNAMENTAL LETTERS ( See Chaps. VII. , VIII. , X. , XII. , & pp. 34 , 251 , 26 ) — APPENDIX A — CHAPTER XVI SPECIAL SUBJECTS Divers Uses of Lettering — MS. Books, &c. — Binding MSS. ( with Note by Douglas Cockerell ) — Broadsides, Wall Inscriptions, &c. — Illuminated Addresses, &c. — Monograms & Devices — Title Pages — Lettering for Reproduction — Printing — Inscriptions on Metal, Stone, Wood, &c. — Of Inscriptions Generally — Bibliography, &c. — DIVERS USES OF LETTERING — MS. BOOKS, &C. — BINDING MSS. — BROADSIDES, WALL INSCRIPTIONS, &C. — ILLUMINATED ADDRESSES, &C. — MONOGRAMS & DEVICES — TITLE PAGES — LETTERING FOR REPRODUCTION — PRINTING — INSCRIPTIONS ON METAL, STONE, WOOD, &C. — OF INSCRIPTIONS GENERALLY ( See also Chapter XIV. and pp. 350 – 353 ) — BIBLIOGRAPHY, &C. — APPENDIX B — CHAPTER XVII INSCRIPTIONS IN STONE ( By A. E. R. Gill ) Treatment & Arrangement — The Three Alphabets — Size & Spacing — The Material — Setting Out — Tools — A Right Use of the Chisel — Incised Letters & Letters in Relief — The Sections of Letters — Working in situ . — TREATMENT & ARRANGEMENT — THE THREE ALPHABETS — SIZE & SPACING — THE MATERIAL — SETTING OUT — TOOLS — A RIGHT USE OF THE CHISEL — INCISED LETTERS & LETTERS IN RELIEF — THE SECTIONS OF LETTERS — WORKING IN SITU — NOTES ON THE COLLOTYPE PLATES ( Note. — In order to make the illustrations [whether of facsimiles or enlargements] as large and as full as possible, I have sacrificed “appearance” to use and allowed most of the collotype plates, and many of the diagrams in the book, to encroach on the margins.—E. J. ) — PLATE I. —Portion of Inscription on base of Trajan Column, 130 Rome, circa 114 A.D. Scale approx. 1 9 th linear. — PLATE II. —Alphabet from Trajan Inscription. ( Circa 114 A.D. ) Scale approx. 1 6 th linear. (See note above.) — PLATE III. —Written Roman Capitals, Fourth or Fifth Century. ( Virgil’s “Æneid” ). — PLATE IV. —Uncial Writing, probably Italian Sixth or Seventh Century. (Latin Gospels). Brit. Museum, Harl. MS. 1775. — PLATE V. —Uncial Writing, probably Continental Seventh Century. (Gospel of S. John). Ex libris Stonyhurst College. (See also enlargement, fig. 169 .) — PLATE VI. —Half-Uncial (Irish), Seventh Century. “Book of Kells” (Latin Gospels). Ex libris Trinity College, Dublin. — PLATE VII. —Half-Uncial (English), circa 700 A.D. “Durham Book” (Latin Gospels). Brit. Mus., Cotton MSS. Nero D. IV. — PLATE VIII. —English Tenth-century Writing. (Psalter). Brit. Mus., Harl. MS. 2904. ( See enlargement, fig. 172 ). (Shown B. M. Grenville Lib. Case 2, No. 9.) — PLATE IX. —English Writing, dated 1018. Two portions of a Charter of CNUT. Brit. Museum. ( See also enlargement, fig. 173 .) [ Pl. reduced scale 11 12 ths. ] — PLATE X. —Italian (first half of) Twelfth-century Writing. (Homilies and Lessons). Brit. Mus., Harl. MS. 7183. ( See also enlargement, fig. 174 . ) — PLATE XI. —English (late) Twelfth-century Writing, with flourished Capitals. (Breviary). Brit. Mus., Royal MS. 2. A. x. — PLATE XII. —Illuminated Initial in a Flemish MS. A.D. 1148. (Latin Bible). Brit. Museum, Addl. MS. 14790. — PLATE XIII. —English (2nd half) Thirteenth-century Writing and Illumination. (Latin Bible). Ex libris S. C. Cockerell. — PLATE XIV. —Thirteenth-century Line-finishings: Pen-work. (Psalter). Brit. Museum, Royal MS. 1. D. x. — PLATE XV. —English Writing and Illumination, circa 1284 A.D. (Psalter). Brit. Museum, Addl. MS. 24686. — PLATE XVI. —Italian Fourteenth-century MS., Brit. Mus., Addl. MS. 28841. — PLATE XVII. —French Fifteenth-century Writing, with Illuminated Borders. Ex libris E. Johnston. — PLATE XVIII. —Italian Fifteenth-century Writing and Illumination. (Perotti’s translation of Polybius). Ex libris H. Yates-Thompson. — PLATE XIX. —Italian MS., dated 1481. Ex libris S. C. Cockerell. — THE COLLOTYPE PLATES — NOTES ON THE PLATES Plate XIX, Continued — PLATE XX. —One page of an Italian (late) Fifteenth-century MS. Ex libris S. C. Cockerell. — PLATE XXI. —Italian (early) Sixteenth-century “cursive” or “Italic” MS. Ex libris S. C. Cockerell. ( See enlargement, fig. 178 . ) — PLATE XXII. —“Communion Service” written and illuminated by E. Johnston, 1902 A.D. (“Office Book,” Holy Trinity Church, Hastings). Reduced (nearly 3 4 scale). — PLATE XXIII. —The Story of Aucassin and Nicolette, written and illuminated by W. H. Cowlishaw, 1898 A.D. — 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). — INDEX
2. 2.Untitled

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