(in order of appearance; the first page number of their appearance is listed) Illuminated manuscript, page 42: the vibrant luminosity of gold leaf, as it reflected light from the pages of handwritten books, gave the sensation of the page being illuminated Gold leaf, page 42: the preferred application method was hammering the gold into a fine sheet of gold leaf and applying it over an adhesive ground. Scriptorium, page 42: nearly all books were written in this writing room Scrittori, page 42: a well-educated scholar who understood Greek and Latin and functional as both editor and art director, with overall responsibility of design and production of the manuscript Copisti, page 42: was a production letterer, who spent his days bent over a writing table penning pages Illuminator, page 42; a illustrator, did the ornament work and images in visual support with the text Colophon, page 42: is the inscription usually at the end of a manuscript Musical notation, page 42 marks were gradually used to denote pauses and pitch changes for chants. Frontispiece, page 43:Literary souces refer to manuscripts on vellum, with portait of the author as frontispiece Classical style, page 43, (Fig. 4-1):
Medieval, page 43: meaning middle
Uncials, page 44, (Fig. 4-2): named because they were written between two guidelines that were one unica Uncia, page 44: roman inch Semi-uncials or half-uncials, page 44, (Fig. 4-3): Majuscules, page 44: upper case letterforms
Minuscules, page 44; lowercase letterforms Ascenders, page 44: stokes raising above the top guideline Descenders, page 44: strokes dropping below the baseline Celtic style, pages 44–47, (Fig. 4-4 through 4-9): Carpet pages, page 45, (Fig. 4-6):a full page of decorative design Interlace, page 45, (Fig. 4-4): was a two-dimensional decoration formed by a number of ribbons or straps woven into a complex, unusually symmetrical design Lacertines, page 45: interlace created by animal...