CHAPTER VIII

BLACK & RED

Rubricating — Initial Pages or Title Pages — Prefaces & Notes in Colour — Pages with Coloured Headings — Page or Column Heading & Initial — Versals in Column or Marginal Bands — Stanzas or Verses marked by Versals — Music with Red Staves — Tail-Pieces, Colophons, &c. — Rubricating: General Remarks.

RUBRICATING

“_Red, either in the form of a pigment or fluid ink, is of very ancient and common use. It is seen on the early Egyptian papyri; and it appears in the earliest extant vellum MSS., either in titles or the first lines of columns or chapters. The Greek term was_ μελάνιον κόκκινον; _Latin_ minium,[26] rubrica.”—(Thompson’s “G. & L. Palæography,” p. 51.)

_Rubricating_, or the adding of Red, _or other coloured_, letters, line-finishings, or signs, to a MS. or Book, in which the main body of the text is already completed in black, constitutes in itself a very useful and effective form of decoration. It is, moreover, a connecting link between plain writing and illumination proper; and we may safely assume that the artists who made the beautiful illuminations of the Middle Ages were trained as _scribes_ and _rubricators_.

INITIAL PAGES OR TITLE PAGES

Fig. 89 represents an _Initial Page_ in Red Capitals. (The same arrangement may of course be used [p128] with a variety of colours and with gold: see Note (4) below). Such a page is, as it were, an “illumination” to _all_ the pages, following it in black text.

Title Pages came into fashion after printing was introduced. Early MSS. commonly began with the _opening words_ written in large, decorated capitals, the _title_ sometimes being written quite small, near the top of the page: other details were commonly put in the _colophon_ in early books (see p. 142).

When the title is more important, in a literary sense, than the opening sentence, it may be well to follow the modern fashion. But when there is a finely worded opening sentence—perhaps the key-note to the rest of the text—while the title is merely for reference, it seems reasonable to magnify and illuminate the actual beginning of the book rather than the mere name of it (see p. 365).

‹Note› (1).—In fig. 89 the title—(JESU CHRISTI) _Evangelium Secundum Joannem_—is written in as a decoration of the initial word; the old form “IH[=V] XP[=I]” is used for “Jesu Christi” (these letters, it will be noticed, are here employed to lighten the large capitals, see p. 208).

(2) Where IN is an initial word, to enforce narrow initial I, both letters may be magnified.

(3) The scale of the lettering corresponds with that of the ruled lines (these do not show in the figure): the letters and the interlinear spaces are each one line high; the initial word is four lines high. Such a mode of spacing is very simple and effective, and will save the rubricator much unnecessary trouble and fruitless planning (see _footnote_, p. 221).

(4) _Other Colour Schemes._—All _Burnished Gold_ (or with Title in _red_); or IN gold, with smaller capitals _Red_ (or in _Blue_ and _Red_ lines alternately—or _Blue_, _Red_, _Green_, _Red_: see p. 181). [p129]

[Illustration: ‹Fig. 89.›]

[p130]

PREFACES & NOTES IN COLOUR

Fig. 90 represents a preface, or note, written in red.

It was a frequent practice in old MSS., where there were prefaces, or prologues, or notes—not actually part of the text—to keep these distinct by writing them in red. A somewhat similar usage still exists in modern typography, where such parts are sometimes distinguished by Italic type (see p. 315).

The distinction of a preface, “rubric,” or note from the main body of the text makes a book more readable, and, as a page of red (or blue) writing is very pleasant and effective, we may certainly take advantage of such a reasonable excuse for introducing it. Entire books have been written in red, but this is a questionable mode, as too much red text would tire the eye.

‹Note› (1).—The writing is founded on the tenth-century English hand given in Plate VIII.

(2) The flourishes on «s» and «e» fill gaps at the ends of the lines, and the spread out _A M E N_ fills the last line.

(3) The Headline is in simple written capitals.

(4) The effect of colour contrast of the built-up Ps with the simple writing: the solid Ps (though really the same colour) appear to be a much deeper red than the writing, which is lightened by the intermingled white of the paper.

(5) _Other Colour Schemes._—_The Versals_ («Pp») in burnished gold; the rest in red or blue. [p131]

[Illustration: ‹Fig. 90.›]

[p132]

PAGES WITH COLOURED HEADINGS

Fig. 91 represents the first page of a chapter (or a book) with a _Heading_ in red capitals.

It is convenient in practice clearly to distinguish between the two modes of beginning—

(_a_) with an illuminated Initial-_Page_ (see fig. 89), or,

(_b_) with an illuminated _Heading_ (see fig. 91).

The former may be treated as though it were a decoration to the _whole_ book. The latter is intended more particularly to decorate _its own page_.

The _Heading_ should therefore be proportionate to the body of the text below it. About _one-third_ Heading and two-thirds text make a good proportion. A “Heading” occupying half, or more than half, of the page is apt to look disproportionate, and it would be preferable to this to have a complete, or nearly complete,[27] _Page_ of coloured capitals.

‹Note› (1).—The full effect of black and red is obtained by an arrangement of the two colours in marked contrast.

(2) The lines are used as a scale for the Heading, the red capitals and interspaces each being one line high. If a Heading so spaced appear too close to the first line of black writing, another line space may be left.

(3) The round Es are used to fill out the second line, and the square, narrow E to relieve the crowded third line.

(4) _Other Colour Schemes._—The entire _heading_, or the letters W, H, B, O, R, in burnished gold; or the whole variegated (see p. 180). [p133]

[Illustration: ‹Fig. 91.›]

[p134]

PAGE OR COLUMN HEADING & INITIAL

Fig. 92 represents the first page of a book or chapter in two columns, beginning with a rather ornate Heading, in which the Initial is made the principal feature, and having coloured Versals and _line-finishings_ throughout the text.

It is more difficult to get a good effect in this way than by means of a marked colour contrast (see p. 144), _or variegated colour, and gold_ (see Note 7).

‹Note› (1).—The lines bounding the text would naturally be indented, or pale (not black as in the block), and ruled from head to foot of the page (see Note (2) on the next figure).

(2) The red ornamental line-finishings (see p. 205) would be more effective if variegated.

(3) The Versals in the text are made about a line high, but are dropped below the line (p. 122).

(4) The Versals in the Heading are made one line high, with one-line spacing—between O and D increased to two lines (partly filled by a flourish from the D), in order to fit the U, O, and D in evenly beside the Initial.

(5) The Initial Q should project slightly up and out—beyond the bounding lines—to mark the top, left corner more strongly (see _footnote_, p. 211).

(6) _All_ the rubricating on this page is done with the same pen (see pp. 205, 218).

(7) _Other Colour Schemes._ “‹Quod fuit ab initio›,” the _filigree ornament_ and the V V in burnished gold (or the Q and VV in gold), the rest of the Versals and line-finishings in _Red and Blue_, or _Red and Green_, or _Red, Blue, and Green_ (see pp. 181, 185). [p135]

[Illustration: ‹Fig. 92.›]

[p136]

VERSALS IN COLUMN OR MARGINAL BANDS

Fig. 93 represents two columns of black text, consisting of short verses, &c., which are marked by coloured capitals—forming bands of colour—in the margins.

‹Note› (1).—The coloured capitals in the figure are made rather larger than usual, to enforce the effect of the two lines of red and mark their contrast with the columns of black text. In practice, however, they would be better and more distinct if rather smaller.

(2) The lines bounding the text would naturally be faint, or _grooved_ (p. 343); but, ruled from head to foot of the page, they would be sufficiently apparent to add materially to the general effect of orderly arrangement. (Lines are printed here to show clearly the way the two columns are ruled and to _suggest_ this effect, though the process block necessarily gives a false impression in making them appear too short and too heavy).

(3) Extra width between the columns (and also in the margin) may be allowed for the coloured capitals (compare fig. 92).

(4) Words in simple written capitals are used to mark slight divisions, or changes of sense, in the text.

(5) A stiff Versal of a rather “Roman” type is used, partly because of the number of the capitals (see p. 126).

(6) _Other Colour Schemes._—The larger capitals might be in burnished gold, the rest in red (or in _red_, _blue_, and _green_); or all might be in _red_, _blue_, and _green_. [p137]

[Illustration: ‹Fig. 93.›]

[p138]

STANZAS OR VERSES MARKED BY VERSALS

Fig. 94 represents a poem in two verses which are distinguished by interspaces and by coloured capitals—a brief introductory line also being in colour. (It is supposed that the poem occurs in a book—mainly in prose—written in Roman small-letters.)

It is generally best to distinguish the verses of poems by one-line interspaces. When this is done, coloured initials are not so necessary, and their value become chiefly decorative (see 123).

‹Note› (1).—The writing is founded on “Italic” (see Plate XXI.), and (it is supposed that) it would be used here wherever the songs occurred; firstly, to distinguish them from the rest of the text, and secondly, to keep the lines of the poem entire—_Italics occupying less room than ordinary, round Small-Letters_ (see p. 315).

(2) The story opens with the first line, which may in this case be regarded either as a _Title_ or as a prefatory note in red.

(3) The two red capitals are made of a rather “Roman” type to match the Italic (and the small Roman text of the book). The difference in height made between the W and the S is intended to balance the difference in width, and to give them an appearance of equal weight. This may be permitted where there are only a few capitals; where there are many, their heights are generally kept more uniform.

(4) _Another Colour Scheme._—W and S would look better in burnished gold. [p139]

[Illustration: ‹Fig. 94.›]

[p140]

MUSIC WITH RED STAVES

Fig. 95 is a reproduction, in facsimile, showing quarter of a page of a folio Service Book (probably French, early sixteenth century). The page consists of two columns of ten staves each, and is headed @ _In vigi_ (lia), _natiuitatis dnī_. The book is printed on vellum in red and black; the columns of music have faint red bounding lines ruled by hand (not shown in the figure).

The red stave is very effective, and it was commonly used in early MSS. and printed books. There appears to be some doubt, however, as to its practical value, and I have been advised that it is not so legible as the black line stave, and also that, in _Church Service Books_ (see p. 345), in order to make an absolutely clear distinction, red should be reserved entirely for the _rubrics_.

The “plain-song” chant, with its four-line stave, has a simpler and finer appearance than the more modern and elaborate five-lined stave and tailed notes. The latter, however, may yet be treated very effectively.

‹Note 1.›—The mark @ and the capitals @, @ and @ were blotted—it can scarcely be called “painted”—with yellow. Yellow or red were often used in this way to mark the small black capitals in printed books (p. 428, & _comp._ p. 302). It is a questionable method. (These blots have been removed from the figure—except, by an oversight, in the case of @).

(2) _Other Colour Schemes._—(_a_) The title, or (_b_) the text and the notes, might be in burnished gold (the other parts in either case remaining in _red_ and _black_). [p141]

[Illustration: ‹Fig. 95.›]

[p142]

TAIL-PIECES, COLOPHONS, &C.

Fig. 96 represents a coloured Tail-piece or decorative finish at the end of a book (or chapter).

_The Colophon_ (see p. 128 & figs. 13, 191), generally distinguished from the text by a smaller or different hand, and—especially in early printed books—by _colour_ or other decorative treatment, occurs at the end of a book, where it is the traditional right of the penman and the printer to add a statement or a symbolical device. The _Name_ (of craftsman and assistants), _Time_, and _Place_ are commonly stated—preferably quite simply—_e.g._ “_This book, written out by me, A.B., in LONDON, was finished on the 31st day of DECEMBER 1900._” Any reasonable matter of interest concerning the _text_, the _materials_, _methods_, _lettering_, or _ornament_, and an account of the _number of leaves and their size, &c._, may be added. But the craftsman, properly and modestly keeping his name off the title-page, is at liberty to exercise his right, marking the end of, and _signing_ his work in any way he chooses—even in a speech or a sentiment—provided the form of the colophon be unobtrusive and its language natural. _Printer’s devices_ or _book-marks_, consisting of symbols, monograms, &c. (p. 362), were likewise used.

The  opportunity  generally  provided  by the final margin, and the natural wish to close the book with a fitting  ornament,  also led to the use of colour or capitals in the  concluding lines; and sometimes the “tail” of the text was given a triangular form, the lines becoming shorter and shorter till they ended in a single word, or even one letter.

[Illustration: ‹Fig. 96.›]

[p144]

RUBRICATING: GENERAL REMARKS

_Contrast of Red and Black._—The most effective arrangement of red lettering with black text involves a sharp contrast, and, as a rule, the concentration of the red in a line or mass (see figs. 91, 93, and 96, where the red lettering is massed at the head, side, and foot of the black). Too many red capitals scattered through a page lose their effect, and appear as though they were _brown_-red rather than bright red (see pp. 134, 185). Printed title-pages, &c., may be seen with promiscuous lines of black and red, in which the fine effects obtainable by the use of bright colour is dispersed and lost; while the same, or even a less, amount of red, massed in one or two places in the page, would show to great advantage.

_Notes in Red in Margins._—Red lettering, and particularly small red writing, may be used freely in the margins; being much lighter than black, it appears there as a _marginal decoration_, not interfering with the regular look of the page. Indeed, red may be used more freely, and I think its decorative effect is greater, in the form of rubrics, than in any other simple form of ornament (see _Red in Church Service Books_ (pp. 140, 345) and _Red substituted for Italics_ (p. 315)).

_Paragraph and other Marks._—Various symbols, numerals, and marks (such as ☛ ¶ @ * † ‡ § @ [/V] ℞—_Addenda_, p. 25) may be made in red.

_Red Lines._—Lines made to divide, or outline, pages (“rules” or “rule borders”) should be sparingly used, and then rather in black than in red (see p. 364). If in red, particularly between lines of writing, these should be “ruled feint” with diluted colour. [p145]

_Red for Ornaments._—Red may be used pretty freely _with_ other colours (blue, green, and gold), but by itself more sparingly.

_OTHER COLOURS._—The foregoing remarks refer mainly to contrasts of black and red, but apply, to a certain extent, to black with any bright colour (or gold) (see “_Other Colour Schemes_” given above, and p. 180).

##