Didron’s Iconography of Christian Art, and Emblems of the Saints, by F. C. Husenbeth, are books that are most useful to the illuminator when doing work that is ecclesiastical in character.
* * * * *
The list of books that is detailed here is necessarily incomplete, but the student will find that by studying these he will be referred to others, and so will be able to continue the study.
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]
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