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TRANSCRIBER'S NOTE: See Transcriber's Endnote for details of this transcription. Scans of the original printed book are available from https://archive.org/details/writingillumina00john.
THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY
_This drawing (about two-fifths of the linear size of the original) is made from a photograph of a miniature painted in an old MS. (written in 1456 at the Hague by Jean Mielot, Secretary to Philip the Good, Duke of Burgundy), now in the Paris National Library (MS. Fonds français 9,198)._
_It depicts Jean Mielot himself, writing his collection of Miracles of Our Lady in French. His parchment appears to be held steady by a weight and also by (? the knife or filler in) his left hand--compare fig. 41 in this book. Above there is a sort of reading desk, holding MSS. for copying or reference._]
WRITING & ILLUMIN- ATING, & LETTERING BY EDWARD JOHNSTON. WITH DIAGRAMS & ILLUSTRATIONS BY THE AUTHOR & NOEL ROOKE 8 pp. EXAMPLES IN RED&BLACK AND 24 pp. OF COLLOTYPES
PUBLISHED BY JOHN HOGG 13 PATERNOSTER ROW LONDON 1906
In issuing these volumes of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.
In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on "design" as a mere matter of _appearance_. Such "ornamentation" as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by [p-viii] Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish, and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought--that is, from design--inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.