FOOTNOTES TO AUTHOR’S PREFACE:
[1] See Chap. XVI. “Of Colour” in “Stained Glass Work” by C. W. Whall, in this Series, and the illuminator might profit by the suggestion (ibid., p. 232) of playing with a home-made kaleidoscope.
[2] Dealing with the practical and theoretical knowledge of letter-making and arrangement which may be gained most effectually by the use of the pen.
[3] In making choice of a model we seek an essentially legible character, remembering that our personal view of legibility is apt to favour custom and use unduly, for a quite bad, familiar writing may seem to us more readable than one that is far clearer in itself but unfamiliar.
[4] Much remains to be found out and done in the matter of improving tools & materials & processes, and it would be preferable that the rediscovery of simple, old methods should precede new & complex inventions. We still find the Quill—for its substance & for shaping it and keeping it sharp—is a better tool than a modern gold or metal pen (see p. [60]). The old parchment, paper, ink, gilding-size & colours are all much better than those now obtainable (see pp. [51], [167], [173], [178]–[179]). I should greatly appreciate any advice from illuminators and letter-craftsmen as to materials and methods, and should endeavour to make such information available to others.—E. J.
[ADDENDA & CORRIGENDA]
P. [51]. Beginners practising large writing may more easily use a thin, or diluted, ink: in small writing this does not show up the faults with sufficient clearness.
P. [59]. Quills often have a sort of skin (which tends to make a ragged nib), this should be scraped off the back.
P. [63]. Until the simple pen-stroke forms are mastered, the pen should be used without appreciable pressure. With practice one gains sleight of hand (pp. [85], [311]), and slightly changing pressures & quick movements on to the corners, or points, of the nib are used. The forms in the best MSS. shew such variations; e.g. the Uncials in fig. [5] appear to have been made with varying pressure (perhaps with a soft reed) & their fine finishing-strokes with the nib-point (comp. forms in fig. [146]). Versals likewise shew varying, and sometimes uncertain, structures that suggest a form consisting of strokes other than definite pen strokes. [p-xxv]
