TABLE OF CONTENTS. Preface a nd List of Autho r ities. Page xiii to xix. List of Illustrations. Page xxi to xxiv. CHAPTER I Page 1 to 10. Classical Manuscripts written with a Stilus. Survival of classical methods in mediaeval times , epigraphy a nd palaeography , manuscripts on metal plates , lead rolls , tin rolls , gold amulets , Petelia tablet , waxed tablets a nd diptychs , tablets shown on gems a nd coins , tablets found in tombs , tablets fr om Pompeii , Consular diptychs , many-leaved tablets , the fo r m of the waxed tablets , whitened boards used by the Greeks , late survival of tablets , ",bidding the beads , ", lists of members of guilds , wooden book in No r way , ivo r y tablets a nd diptychs , inscribed Anglo-Saxon lead tablet , ", ho r n-books.", CHAPTER II. Page 11 to 30. Classical Manuscripts written with Pen a nd Ink. Two fo r ms of manuscripts, the roll a nd the codex , Egyptian Books of the Dead , Book of Ani , existing manuscripts on papyrus , the library of papyrus rolls found at Herculaneum , Herodotus on manuscripts , use of parchment , manuscripts on linen , inscribed potsherds o r ostraka, manuscripts on leaves of trees , Greek libraries , Roman libraries , a list of the public libraries in Rome , Roman library fittings a nd deco r ations , recently discovered library in Rome , autho r s', po r traits , closed bookcases , booksellers', quarter , cost of Roman books , slave scribes , librarii of Rome. The technique of ancient manuscripts , parchment a nd vellum , palimpsests , papyrus manuscripts , process of making papyrus paper , use of papyrus in Greece a nd Rome , ancient papyrus manuscripts , the qualities of papyrus paper , the fo r m of papyrus rolls , the wooden roller , inscribed titles , coloured inks , use of cedar oil , black carbon ink, its manufacture a nd price , red inks a nd rubrics , purple ink , double inksta nds , pens of reeds a nd of metal , Egyptian scribes', palettes, pen-cases, a nd pens. CHAPTER III. Page 31 to 44. Classical Illuminated Manuscripts. Use of minium , Egyptian miniatures , illuminations in Roman manuscripts , Greek illuminations , two sources of knowledge about classical illuminations , the Ambrosian Iliad, the Vatican Virgil , the style of its miniatures , later copies of lost o r iginals , picture of o r pheus in a twelfth century Psalter, another Psalter with copies of classical paintings , the value of these copied miniatures. CHAPTER IV. Page 45 to 61. Byzantine Manuscripts. The very compound character of Byzantine art , love of splendour , Gospels in purple a nd gold , monotony of the Byzantine style , hieratic rules , fifth century manuscript o{ Genesis, the Diosco r ides of the Princess Juliana , the style of its miniatures , imitations of enamel designs , early picture of the Crucifixion in the Gospels of Rabula , the splendour of Byzantine manuscripts of the Gospels , five chief pictures , illuminated ",Canons', , Persian influence, the Altar-Textus used as a Pax, its magnificent gold covers , the Durham Textus , Byzantine figure drawing, unreal but deco r ative , Byzantine mosaics , the iconoclast schism, a nd the consequent decadence of Byzantine art. CHAPTER V. Page 62 to 79. Manuscripts of the Carolingian period. The age of Charles the Great , the school of Alcuin of Yo r k , the Gospels of Alcuin , the golden Gospels of Henry VIII. , the Gospels of the scribe Godesscalc , Persian influence , technical methods , the later Carolingian manuscripts , continuance of the No r thumbrian influence , beginning of life-study , the Gospels of Otho II. , period of decadence in the eleventh century. CHAPTER VI. Page 80 to 97. The Celtic School of Manuscripts. The Irish Church , Celtic goldsmiths , technical processes of the metal-wo r kers copied by illuminato r s of manuscripts , the Book of Kellsy its perfect wo r kmanship a nd microscopic illuminations , copies of metal spiral patterns , the ", trumpet pattern : ", Moslem influence , absence of gold in the Irish manuscripts , the Book of Durrow, the monks of lona , the Celtic missionaries to No r thumbria , the Gospels of St Cuthbert , the Viking pirates , the adventures of St Cuthbert',s Gospels, the Anglo-Celtic school , improved drawing a nd use of gold , Italian influence , the early Gospels in the Co r pus library , the Gospels of MacDurnan , the Book of Deer, the Gospels of St Chad , the Celtic school on the Continent , the Psalter of St Augustine , Sca ndinavian art , the golden Gospels of Stockholm a nd its adventures , the struggle between the Celtic a nd the Roman Church , the Synod of Whitby , the Roman victo r y, a nd the growth of Italian influence , the school of Baeda at Durham. CHAPTER VII. Page 98 to 105. The Anglo-Saxon School of Manuscripts. The Danish invasions , revival of art under king Alfred , the Bene- dictional of Aethelwold , signs of Carolingian influence , the Winchester school , St Dunstan as an illuminato r , Anglo-Saxon drawings in coloured ink , Roll of St Guthlac , the great beauty of its drawings , Canute as a patron of art , the No r man Conquest. CHAPTER VIII. Page 106 to 125. The Anglo-No r man School. The No r man invasion , development of architecture a nd other arts , creation of the Anglo-No r man school , magnificent Psalters, the Angevin kingdom , the highest development of English art in the thirteenth century , Henry III. as an art patron , the rebuilding a nd deco r ating of the Church a nd Palace of Westminster , paintings copied fr om manuscripts , the Painted Chamber , English sculpture , the Fitz-Othos a nd William To r ell , English needlewo r k {opus Anglicanum) , the Lateran a nd Pienza copes , Anglo-No r man manuscripts of the Vulgate, the style of their illuminations , manuscripts produced in Benedictine monasteries , unity of style , various kinds of background in miniatures , magnificent manuscripts of the Psalter, the Tenison Psalter, manuscripts of the Apocalypse , their extrao r dinary beauty , their contrast to machine-made art , English manuscripts of the fourteenth a nd fifteenth centuries , the results of the Black Death , the Poyntz Ho r ae , the Lectionary of Lo r d Lovel , the characteristics of English o r nament , the introduction of po r trait figures , the Shrewsbury manuscript , ", Queen Mary',s Prayerbook , ", the wo r ks of Dan Lydgate , specially English subjects , manuscripts of Chronicles a nd Histo r ies. CHAPTER IX. Page 126 to 146. French Manuscripts. The age of Saint Louis , archaism of costume in miniatures , French manuscripts of the fourteenth a nd fifteenth centuries , histo r iated Bibles , the ivy-pattern , the Ho r ae of the Due de Berri , the treasure-book of o r igny Abbey , the Anjou Ho r ae, costly a nd magnificent French Ho r ae, their beautiful deco r ations , their numerous miniatures , the Bedfo r d Breviary, the Bedfo r d Missal, various styles in the same manuscript , manuscripts in Grisaille, manuscripts of secular wo r ks , Cristina of Pisa , Chronicles a nd Travels, Romances a nd Poems, Italian influence in the south of France , the growth of secular illuminato r s , the inferio r ity of their wo r k , cheap a nd coarsely illuminated Ho r ae, manuscripts of the finest style , use of flowers a nd fruit in bo r ders a nd initials , influence of the Italian Renaissance , the Ho r ae of Jehan Foucquet of Tours. CHAPTER X. Page 147 to 153. Printed Books with painted Illuminations. Ho r ae printed on vellum in Paris , their woodcut deco r ations , the productions of the earliest printers , the Mazarine Bible , the Mentz Psalter, illuminato r s becoming printers , Italian printed books with rich illuminations , the colophons of the early printers , the books of Aldus Manutius , invention of Italic type , manuscripts illustrated with woodcuts , blockbooks , the long union of the illuminato r s', a nd the printers', art. CHAPTER XI. Page 154 to 182. Illuminated Manuscripts of the Teutonic School after The Tenth Century. Revival of art in Germany in the eleventh century , the Missal of the Empero r Henry II., the designs used fo r stained glass, the advance of manuscript art under Frederic Barbarossa , grotesque monsters , examples of fine German illuminations of the twelfth century , their resemblance to mural paintings , the school of the Van Eycks , the Grimani Breviary, Gerard David of Bruges , examples of Flemish miniatures , the use of gold , grotesque figures , the influence of manuscript art on the painters of altar-pieces , the school of Cologne , triptych by the elder Holbein , book illuminated by Albert Diirer , Dutch fifteenth century manuscripts , their deco r ative beauty, their realistic details , illumination in pen outlines in blue a nd red. CHAPTER XII. Page 183 to 205. The Illuminated Manuscripts of Italy a nd Spain. Italian art slow to advance , its degraded state in the twelfth century , illuminato r s mentioned by Dante, Missal in the Chapter library of Saint Peter',s , the monk Don Silvestro in the middle of the fourteenth century , his style of illumination , the monk Don Lo r enzo , Fra Angelico as an illuminato r , Italian Pontifical m the Fitzwilliam library, manuscripts of the wo r ks of Dante a nd Petrarch , motives of deco r ation , Italian manuscripts after 1453, introduction of the ",Roman',', ha nd, great perfection of writing, a nd finest quality of vellum , the illuminato r s Attavante, Girolamo dai Libri, a nd Liberate of Verona , manuscripts of no r thern Italy , their influence on painting generally , Italian manuscripts of the sixteenth century, a period of rapid decadence , Giulio Clovio a typical miniaturist of his time , the library of the Vatican , its reco r ds of the cost of illuminating manuscripts. The manuscripts of Spain a nd Po r tugal , the manuscripts of Moslem countries, especially Persia. CHAPTER XIII. Page 206 to 223. The Writers of Illuminated Manuscripts. Monastic scribes , the great beauty of their wo r k, a nd the reasons fo r it , their quiet, monotonous life , examples of monastic humour , no long spells of wo r k in a monastery , care in the preparation of pigments , variety of the schemes of deco r ation , the scripto r ia of Benedictine monasteries , their arrangement in one alley of the cloister , the row of armaria, the row of carrels, the carrels in the Durham cloister described in Ihe Rites of Durham, the scribes of other regular o r ders. Secular scribes , the growth of the craft-guilds , the guilds of Bruges , their rules, a nd advantages to both buyer a nd seller , the production of cheap Ho r ae, wealthy patrons who paid fo r costly manuscripts , women illuminato r s, such as the wife of Gerard David , the high estimation of fine manuscripts. Extract fr om the fourteenth century accounts of St Geo r ge',s at Windso r showing the cost of six manuscripts. Similar extract fr om the Parish books of St Ewen',s at Bristol in the fifteenth century, giving the cost of a Lectionary. CHAPTER XIV. Page 224 to 238. The Materials a nd Technical Processes of the Illuminato r . The vellum used by scribes, its cost a nd various qualities , paper made of cotton, of wool a nd of linen , the dates a nd places of its manufacture , its fine quality. The metals a nd pigments used in illuminated manuscripts , fluid gold a nd silver , leaf gold, silver a nd tin , the highly burnished gold , leaf beaten out of gold coins , the goldsmith',s art practised by many great artists , the mo r dant on which the gold leaf was laid , how it was applied , a slow, difficult process , labo r ious use of the burnisher , old receipts fo r the mo r dant : the media o r vehicles used with it , tooled a nd stamped patterns on the gold leaf , the use of tin instead of silver , a cheap method of applying gold described by Cennino Cennini. CHAPTER XV. Page 239 to 256. The Materials a nd Technical Processes of the Illuminato r (continued). The coloured pigments. The vehicles used , blue pigments, ultramarine , its great value , sto r y told by Pliny a nd Vasari , smalto blues , ",German blue,", Indigo a nd other dye-colours, how they were made into pigments , green pigments , terra verde, verdigris, smalt, leek-green , red pigments, minium red lead, vermilion, red ochre {rubrica) , murex a nd kermes crimson , kermes extracted fr om scraps of red cloth by illuminato r s , madder-red , lake-red , purples , yellow pigments, ochre, arsenic a nd litharge, white pigments, pure lime {Bianco di San Giovanni)^ white lead, biacca o r cerusa. Black inks, carbon ink a nd iron ink {incausium o r encaustum a nd atramentum) , red a nd purple inks , writing in gold , the illuminato r ',s pens a nd pencils , the lead-point a nd silver-point , red chalk a nd amatisia. Pens made of reeds, a nd, in later times, of quills , brushes of ermine, minever a nd other hair, mostly made by each illuminato r fo r himself , list of scribes implements a nd tools. Miniatures representing scribes , the various stages in the execution of an illuminated manuscript , ruled lines , writing of the plain text , outline of o r nament sketched in , application of the gold leaf , the painting of the o r naments a nd miniatures , preparation fo r the binder. CHAPTER XVI. Page 257 to 264. The Bindings of Manuscripts. Costly covers of gold, enamel a nd ivo r y, the mo r e usual fo r ms of binding, oak boards covered with parchment a nd strengthened by metal bosses a nd co r ners , methods of placing the title on the cover , pictures on wood covers , stamped patterns on leather , English stamped bindings , bag-like bindings fo r po r table manuscripts , bindings of velvet with metal mounts , the costly covers of the Grimani Breviary a nd other late manuscripts. The present prices of mediaeval manuscripts , often sold fo r barely the value of their vellum , modern want of appreciation of the finest manuscripts. APPENDIX. Page 265 to 270. Directions to scribes, fr om a thirteenth century manuscript at Bury St Edmund',s. Note on Service-books by the late Henry Bradshaw. Extract fr om the Cistercian Consuetudines. Digitized by Google. أقرأ أقل