Chapter XXII: Section 4: (fig. 217) is a good one to use. Only the curved part is to (2)

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

Beauty of Form, 252

Beauty of 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

Colour, for Penwork, 176

Colour, proportions of, 182

Colour, 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

Contrasts, Decorative, of Colour, 327, 336

Contrasts, Decorative, of Form, 330, 336, 352

Contrasts, Decorative, 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

Desk, Position of, 61

Desk, Writing level on, 62

Desk, Different slopes of, 68

Desk, 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

Letters, Characterization of, “Arms & Branches,” 281 (C), 288, 331

Letters, Characterization of, Stems, 288 (drawn out), 282, 324, 331

Letters, Characterization of, Bows & Curves, 288

Letters, Characterization of, Serifs, 288

Letters, Characterization of, 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

Ornament of backgrounds, 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

Pens, metal, 60 (_footnote_, 20)

Pens, Quill, 52, 54, 59, 172, 20 23

Pens, Reed or Cane, 51, 52, 63, 84

Pen, cutting the, 52–60

Pen, holding the, 64–68

Pen, Nibs shape of, 56, 118

Pen, Nibs, 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

Writing, 6th to 9th century, 40–45, 303, 305, (326), 412–415

Writing, 10th century, 46, 130, (295), 305, 325, (326), 415, 482, 485

Writing, 11th century, 46, 47, 305, 416

Writing, 12th century, 46, 47, (116), 305, 331, 417–422

Writing, 13th century, 46, 114, (116), 331, 423, 425, 426

Writing, 14th century, 46, (114), 423, (427)

Writing, 15th century, 46, 47, (326), 331, 428–483

Writing, 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

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VELLUMS A SPECIALITY

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KELMSCOTT VELLUM (not so heavy as Artists’), specially prepared for printing (as used by the late William Morris in his great work “Chaucer”).

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THE ARTISTIC CRAFTS SERIES

SCHOOL COPIES AND EXAMPLES.
Selected by W. R. LETHABY and A. H.
CHRISTIE. Twelve Drawing-copies (one in
colours), 15-3/4 × 12, with Descriptive
Letter-press, in a Portfolio.
Price 5s. net.

“Should be a marked success as a medium of artistic education.” —_The Bookseller._

PUBLISHED BY JOHN HOGG ‹13 Paternoster Row, London, E.C.›

THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY

_Extract from Editor’s Preface._

“We would have this series put artistic craftsmanship before people as furnishing reasonable occupation for those who would gain a livelihood.... In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us “in the City,” and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.”

@ Projected as a Standard Series of Handbooks on the Artistic Crafts, suitable for Schools, Workshops, Libraries, and all interested in the Arts. Each Craft will be dealt with by an Expert, qualified to speak with authority on Design as well as on Workmanship.

_See following pages._

PUBLISHED BY JOHN HOGG ‹13 Paternoster Row, London, E.C.›

BOOKBINDING, AND THE CARE OF BOOKS. A TEXT-BOOK FOR BOOKBINDERS AND LIBRARIANS. BY DOUGLAS COCKERELL. With 122 Diagrams and Illustrations by Noel Rooke, and 8 Pages of Collotype Reproductions of Bindings. 352 Pages. Price 5s. net

PRESS NOTICES

“An excellent book opens ‘The Artistic Crafts Series of Technical Handbooks.’”—_Times._

“It would be hard to find any technical book of this kind which gives more importance to considerations of good taste than this. . . . It leaves no part of its subject unaccounted for, and is in its own printing, binding, and illustration, a favourable example of good craftsmanship. Valuable in itself, it promises well for the series which it opens.”—_Scotsman._

“A special word of praise must be bestowed upon the illustrations.”— _Athenæum._

“The first of a new series of technical handbooks, and an admirable work it is.”—_Pall Mall Gazette._

“In a manner lucid and practical the whole process of bookbinding is set forth, the matter being enhanced in usefulness by the drawings for which Mr. Noel Rooke is responsible. Altogether the volume gives the greatest promise for the success of the series.”—_Newcastle Daily Journal._

“Workers of all degrees will find the book well worth acquisition alike from its valuable material and as inciting to a high standard of workmanship.”—_The British Printer._

“Bookbinders and librarians will find much to interest them in this lucid, well-illustrated, and valuable little treatise.”—_The Studio._

“Contains so much information useful to every book-owner that it will be found a very good investment even by the unprofessional.”—_The Pilot._

PUBLISHED BY JOHN HOGG ‹13 Paternoster Row, London, E.C.›

SILVERWORK AND JEWELLERY. A TEXT-BOOK FOR STUDENTS AND WORKERS IN METAL. BY H. WILSON. With 182 Diagrams by the Author, and 16 Pages of Collotype Reproductions. 348 Pages. Price 5s. net.

PRESS NOTICES

“A lucid text-book for students and workers, well illustrated, being the second volume in the series which made a successful opening with Mr. D. Cockerell’s ‘Bookbinding.’”—_The Times._

“It teaches not only processes and workshop practice, but also good taste in the making of objects in which in these days vulgarity is none too seldom seen. Admirably illustrated, well written, and practically serviceable, the book should prove welcome alike to craftsmen and to amateurs.”—_The Scotsman._

“. . . The book will have a fascination for all craftsmen, and may be read with advantage by every one who wishes to understand the underlying principles of the art crafts.”—_The Morning Post._

“Not only to apprentices and learners, but also to experienced craftsmen, the book can be most cordially commended. Its value is enhanced by a full glossary and an index.”—_Glasgow Herald._

“This volume, which belongs to the admirable Artistic Crafts Series of Technical Handbooks, gives practical instruction in one of the most beautiful of man’s handicrafts.”—_The Newcastle Chronicle._

“We cannot imagine a better aid and supplement to practical experience in the workshop than this handbook. All necessary processes, from the simplest to the most complex, are explained in a methodical and logical order, with the aid of illustrations, in which each touch is eloquent and fresh from the master’s hand.”—_The Athenæum._

PUBLISHED BY JOHN HOGG ‹13 Paternoster Row, London, E.C.›

WOOD CARVING: DESIGN AND WORKMANSHIP. BY GEORGE JACK. With 78 Drawings by the Author, and 16 Pages of Collotype Reproductions. 320 Pages. Price 5s. net

PRESS NOTICES

“The study of some form of handicraft has become an important matter in the training of an art student, and those who practise wood-carving will find in this admirably written and illustrated book a comprehensive treatise on the subject.”—_Morning Post._

“In this notable addition to the Handbooks on the Artistic Crafts, Mr. Jack deals thoroughly not only with the craftsmanship of wood-carving, but also with the theory of design, and the subject-matter which the artist should select to carve.”—_Newcastle Daily Journal._

“The illustrations complete in a very appreciable way the value of one of the soundest text-books within the reach of the student of wood-carving.”—_Glasgow Herald._

“Quite up to the level of its predecessors.”—_Studio._

“His illustrations from both ancient examples and from his own work are excellently chosen and reproduced, and show that he has made himself the master and the pupil of the best traditions of his craft.”—_Pall Mall Gazette._

“Clear instruction, profusely illustrated, and admirably presented by the publisher.”—_Sheffield Daily Telegraph._

“Mr. Jack’s love of his art is evidenced by every one of his chapters . . . To read his book is a pleasure, and we can very heartily commend it. It is fully illustrated, and contains a number of fine collotype plates and a good index. It is exceedingly cheap at the published price of 5s.”—_Furniture Record._

“In its affirmative aspect the book is entirely admirable, . . . and its value is immensely enhanced by the numerous and excellent illustrations. Its literary quality is greatly superior to that of the average text-book.”—_Builder._

PUBLISHED BY JOHN HOGG ‹13 Paternoster Row, London, E.C.›

THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY

STAINED GLASS WORK. A Text-Book
for Students and Workers in Glass. By C. W.
‹Whall›. With 73 Diagrams by two of his
Apprentices, and 16 pages of Collotype
Reproductions. Now ready.
392 pages. Price 5s. net.

“No art student or art teacher could fail to derive benefit from a study of the book; and no connoisseur, whatever his special bent, could read it without profit as well as pleasure.”—_The Aberdeen Daily Journal._

“The highest praise possible for this handbook would be to say that it is worthy of the remarkable series to which it belongs, and this, without reserve, we can affirm to be the case.”—_Arts and Crafts._

“The book is thoroughly practical, describing in detail the whole process of stained-glass manufacture, with illustrations and a large number of diagrams.”—_The Newcastle Daily Journal._

“Apart from the craftsman, also, this book should prove of great service to those interested in painted glass, whether as custodians of buildings containing fine old windows or as architects or clients intent on securing good modern work.”—_The Glasgow Herald._

“Students will appreciate the excellent material found in this book and the beautiful plates that accompany it.”—_The Educational Review._

EMBROIDERY AND TAPESTRY
WEAVING: A Practical Text-Book of Design
and Workmanship. By Mrs. A. H. ‹Christie›.
With 187 Illustrations and Diagrams by the Author,
and 16 pp. of Collotype Plates. 416 pp. Price
6s. net.

WRITING & ILLUMINATING, AND
LETTERING. By E. ‹Johnston›. With 227
Illustrations and Diagrams by the Author and Noel
Rooke. 8 pp. of Examples in Red and Black, and
24 pp. of Collotypes. 512 pp. Price 6s. 6d. net.

_To be followed by others in due course._

PUBLISHED BY JOHN HOGG ‹13 Paternoster Row, London, E.C.›

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TRANSCRIBER'S ENDNOTE.

Original spelling and grammar has been generally retained, with some exceptions noted below. Illustrations are moved from inside paragraphs to between paragraphs. Original printed page numbers are shown like these: "[p-xiv]" or "[p052]". Original small caps ‹LOOKS Like This›. Italics look _like this_. Original bolded text «Looks like this». The code "<f>abc xyz</f>" means that the text "abc xyz" was printed in a special font or style not available in this edition. The code "@" denotes a special symbol not available in this edition. The html edition contains images or characters for all of these.

Most of the footnotes are renumbered into a single sequence and moved from the ends of pages to the ends of major sections, which are: the Author’s Preface, Part I, Part II, Appendix A, and Appendix B. Footnotes in the section "Notes on the Collotype Plates" are not renumbered, but are relocated to the end of each Plate description.

Ditto marks are generally deleted, and replaced with repeated text if necessary. Large curly brackets, "{" or "}", used to indicate combination or grouping of information on two or more lines, have been eliminated from this ebook. Such information has been recast if necessary, preferring minimal changes, to retain the original meaning. The complex tables on page 72 and pages 162–3 are examples of such recasting.

Page viii: "ornamention" was changed to "ornamentation".

Pages xxv, 144, etc.: the symbol {U+A75E LATIN CAPITAL LETTER V WITH DIAGONAL STROKE} is coded "[/V]" herein. Elsewhere, a code like this: "[=V]" indicates a Capital V with Macron.

Page 214: "illluminated borders" changed to "illuminated borders".

Page 227: The Figure originally marked "Fig. 134_a_" on this page was changed to "Fig. 134_d_."

Page 239: The complex table was recast as a nested list.

Page 271: In the fifth paragraph, the enlarged U has been rendered herein as a capital letter, although the original looked more like an enlarged typical modern "u".

Page 284: "occasionly" changed to "occasionally".

Page 430. The section "NOTES ON THE COLLOTYPE PLATES" was broken off in the midst of a paragraph on page 430, and continued on page 481, after the section "THE COLLOTYPE PLATES". Herein, this structure was retained, but the broken paragraph was closed, with all of it on page 430.

Index, "Black outlines": "88" changed to "188".

Index, "Proportions and Methods": this entry was repeated, once between "Letters in Bands" and "Letters, Brush-made", and once in its proper alphabetical order. The first entry was deleted.