Writing & Illuminating, & Lettering

by Edward Johnston

[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]
• 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]
  • 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

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HOPTON-WOOD
STONE

Is the most reliable of all

ENGLISH MARBLES

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