Fig. 22.
The next alphabet, given in (b), is taken from an inscription in marble on the monument of the Marchese Spinetta Malaspina (d. 1352), relating to its re-erection in the Church of San Giovanni in Sacco at Verona in 1536.
The last one shown here, in (c), is from an inscription on the marble monument of Filippo Decio (d. 1535), in the Campo Santo, Pisa, by Stagio Stagi (d. 1563).
Of course, numerous other examples might be given, but sufficient have been shown to enable the student to study the subject further if he so desires. There are numbers of reproductions from old inscriptions and MSS. easily obtainable.
In studying these alphabets the student will find that it is not a bad plan, after forming the letters with a pen as described in the preceding chapter, to use a brush as also suggested there. He should then endeavour to form them fairly large, working straight away with the brush. A good brush for this purpose is a sable “writer,” such as is commonly used by sign-writers. Dexterity with this type of brush is to a great extent merely a matter of practice. In fact, as has been insisted on repeatedly throughout this book, practice, and plenty of it, will do more than anything else towards making the student efficient.
When studying this subject further the student should note especially the manner in which the letters are arranged in the various inscriptions, as a great deal depends upon the arrangement of the letters and words.
CHAPTER IX
A BRIEF SKETCH OF THE HISTORY OF ILLUMINATION
(1) From the Fourth to the Eleventh Century
Perhaps it would be as well, before dealing with the practical side of illumination, to give a brief sketch of the history of this art in Europe. It will not be possible to do more than give just a very short outline of the history here. The modern illuminator should, however, know something of the history of illumination. It is not intended to deal with any but vellum MSS. Possibly it may be claimed that some of the Egyptian Papyrii are illuminated MSS., but these have little in common with the illuminated work of the Middle Ages, and it is with this that this short review is chiefly concerned.