TRANSCRIBER'S NOTE
See Transcriber's Endnote for details of this transcription.Scans of the original printed book are available fromarchive.org/details/writingillumina00john.
THE ARTISTIC CRAFTS SERIES
OF TECHNICAL HANDBOOKS
EDITED BY W. R. LETHABY
WRITING & ILLUMINATING,
AND LETTERING
Frontispiece.
A SCRIPTORIUM
This drawing (abouttwo-fifths of the linear size of the original) is made from aphotograph of a miniature painted in an old MS. (written in1456 at the Hague by Jean Mielot, Secretary to Philip the Good,Duke of Burgundy), now in the Paris National Library (MS. Fondsfrançais 9,198).
It depicts Jean Mielothimself, writing his collection of Miracles of Our Lady inFrench. His parchment appears to be held steady by a weight andalso by (? the knife or filler in) his left hand—compare fig.41 in this book. Above there is a sort ofreading desk, holding MSS. for copying or reference.
WRITING & ILLUMINATING, & 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
 EDITOR’S PREFACE
In issuing these volumes of a series of Handbookson the Artistic Crafts, it will be well to state whatare our general aims.
In the first place, we wish to provide trustworthytext-books of workshop practice, from the points ofview of experts who have critically examined themethods current in the shops, and putting asidevain survivals, are prepared to say what is goodworkmanship, and to set up a standard of qualityin the crafts which are more especially associatedwith design. Secondly, in doing this, we hope totreat 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 tolook on “design” as a mere matter of appearance.Such “ornamentation” as there was was usuallyobtained by following in a mechanical way a drawingprovided by an artist who often knew littleof 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 wasimpossible to detach design from craft in this way,and that, in the widest sense, true design is aninseparable element of good quality, involving as itdoes the selection of good and suitable material,contrivance for special                        
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