British Library

ACKNOWLEDGMENTS . . vi
MAP . . vii
INTRODUCTION "I came of age at 80 degrees north latitude" . . 1

Facsimile of Arthur Conan Doyle's diary of his voyage as ship's surgeon aboard the Arctic whaler S.S. Hope, February 28 -August n, 1880 . . 17

Annotated transcript of Arthur Conan Doyle's diary of his voyage . . 219
"It was quite an ovation" Conan Doyle revisits the Arctic . . 303
Arthur Conan Doyle's Arctic writings . . 317
  The Glamour of the Arctic . . 319
  Life on a Greenland Whaler . . 326
  The Captain of the "Pole-Star" . . 335
  The Adventure of Black Peter . . 351
INDEX . . 365

Introduction: the Significance of the Lindisfarne Gospels . . 35
The Text . . 35
Origins and Reception . . 36
What Did the Lindisfarne Gospels Mean to the Community of Faith and to its Maker? . . 38
What Did the Lindisfarne Gospels Mean to Wider Society? . . 39

1. The World of the Lindisfarne Gospels . . 41
The World View . . 41
  East meets West . . 44
The Historical Background in Britain and Ireland: Constructing the Cultural Landscape . . 45
  Emerging into History: Prehistoric Roots and Roman Imperium . . 45
  The Aftermath of Empire: the early Anglo-Saxons and their Conversion . . 48
  Rebuilding Rome in Britain . . 57
  Creating the Cult of St Cuthbert: a Rallying Point for Reconciliation in the North . . 60

2. The Biography of the Book . . 63
Aldred's Colophon and Community Tradition concerning the Making of the Lindisfarne Gospels . . 63
The Biographies of the Book's Makers . . 64
Transcription and Translation of Aldred's 'Colophon Group' . . 66
The Significance of Aldred's Additions . . 67
Genesis: the Book's Origins . . 70
The Scholarly Debate . . 70
The Lindisfarne Context for Production . . 71
The Lindisfarne Gospels and the Cult of St Cuthbert . . 72
The Viking Raid and the Later History of the Book . . 72
The Community of St Cuthbert - from Lindisfarne to Durham . . 74
Symeon of Durham and Possible References to the Lindisfarne Gospels in the Early 12th century . . 76
  Back to Lindisfarne? . . 77
The Dissolution and Later History . . 79
Later Medieval and Modern Additions and Ownership . . 79

3. The Text of the Lindisfarne Gospels . . 83
The Place of the Lindisfarne Gospels in the Dissemination of Scripture . . 84
Wearmouth-Jarrow, the Ceolfrith Bibles and their Influence . . 85
The Lindisfarne Gospels' Textual Stemma . . 87
The Jerome Prefaces, the Canon Tables and the Gospels' Prefatory Matter . . 91
The Liturgical Evidence . . 92
Lindisfarne, Wearmouth-Jarrow and the Roman Rite . . 93

4. The Word made word: the Palaeography of the Lindisfarne Gospels . . 95
The Text Script . . 95
The Lindisfarne Gospels and Insular Palaeography . . 95
  Palaeographical Description . . 100
  Punctuation . . 101
  Abbreviations . . 102
  Orthography . . 102
  Numerical Annotation and Corrections . . 102
Display Script and Major Initials . . 103
The Place of the Lindisfarne Gospels in Insular Display Scripts . . 104
The Use of Initials . . 105

5. The Art of the Lindisfarne Gospels . . 107
Decorated Incipit Pages and Initials . . 108
Painted Crosses, Painted Prayer-mats, Painted Prayer . . 109
The Evangelist Miniatures . . 114
Early Christian Context and Insular Reception . . 116
The Lindisfarne Evangelist Miniatures and the Insular Tradition . . 117
Ornament: the Menagerie of the Lindisfarne Gospels and the Vortex of Creation . . 123
Styles and Principles of Design .  125

6. The Making ot the Undisfarne Gospels . . 135
Technical Innovation Used in Planning the Layout . . 135
Divine Geometry . . 141
Palette and Painting Technique . . 143
Materials and Pigment Analysis . . 144
Naturalistic or Stylised, Iconic or Aniconic? Cultural Implications of the Fainting Style . . 148
Sacred Codicology: Assembly, Writing and Binding . . 149
  Procedures for Making a Medieval Manuscript . . 149
  The Membrane and Quires . . 150
Collation, Dimensions, Pricking and Ruling . . 151
Binding History . . 151
The Original Binding . . 151
The Nineteenth-Century Treasure Binding, the Earlier Treasure Binding and the Cottonian Rebinding . . 153

Conclusion . . 155
Preaching with the Pen: the Meaning and Making of the Lindisfarne Gospels . . 155

General Reading . . 162
Collations, Transcriptions, Glossaries and Printed Editions of the Text of the Lindisfarne Gospels . . 162
Notes . . 163
Bibliography . . 170
Index . . 176

Introduction . . 8

The Plants
Acacia . . 24
Agapanthus . . 25
Aloe . . 26
Alstroemeria . . 27
Amaryllis . . 28
Anemone . . 30
Arctotis . . 32
Argemone . . 33
Arum . . 34
Aster . . 36
Auricula . . 37
Babiana . . 38
Banksia . . 39
Bombax  . . 40
Bromeliad . . 41
Cactus . . 42
Caesalpinia . . 43
Calceolaria . . 44
Callistemon . . 45
Callistephus . . 46
Calycanthus . . 47
Camellia . . 48
Campsis . . 50
Canarina . . 51
Canna . . 52
Cercis . . 53
Cerinthe . .54
Chimonanthus . . 55
Chrysanthemum . . 56
Clematis . . 57
Cornus . . 58
Crinum . . 59
Curcuma . . 60
Cymbidium . . 61
Cypripedium . . 62
Datura . . 63
Dianthus . . 64
Digitalis . . 66
Dillenia . . 67
Dodecatheon . . 68
Eichhornia . . 69
Erica . . 70
Erythrina . . 72
Eucalyptus . . 73
Eucomia . . 74
Euphorbia . . 75
Fritillaria . . 76
Fuchsia . . 77
Gardenia . . 78
Gladiolus . . 79
Glaucium . . 80
Gloriosa . . 81
Gossypium . . 82
Grevillea . . 83
Haemanthus . . 84
Hamamelis . . 86
Hedychium . . 87
Heliconia . . 88
Helleborus . . 89
Hermodactylus . . 90
Hibiscus . . 91
Ipomoea . . 92
Iris . . 94
Kalmia . . 96
Kniphofia . . 97
Lathyrus . . 98
Lavendula . . 99
Lilium . . 100
Liriodendron . . 101  
Magnolia . . 102
Monarda . . 104
Narcissus . . 105
Nelumbo . . 106
Nepenthes . . 107
Nerine . . 108
Nerium . . 109
Nymphaea . . 110
Opuntia . . 111
Paeonia . . 112
Papaver . . 113
Passiflora . . 114
Pelargonium . . 116
Phaius . . 118
Phlox . . 119
Plumeria . . 120
Prosthechea . . 121
Protect . . 122
Rhododendron . . 124
Rose . . 126
Rudbeckia . . 128
Sarracenia . . 229
Seienicereus . . 130
Sprekelia . . 131
Stapelia . . 132
Strelitzia . . 133
Teleopea . . 134
Tropaeolum . . 135
Tulip . . 136
Vanda . . 138
Zantedeschia . . 239
Zinnia . . 140

Index . . 142
Further Reading . . 144

Acknowledgements . . 7

INTRODUCTION - Graphic Design & Style . . 9
1. DESIGN AND SIGN - The Origin of the Alphabet, c.34,000-1,100 BC . . 17
2. A CLASSICAL EDUCATION - Ancient Greece & Rome, c.2000BC-c.AD350 . . 29
3. SPREADING THE WORD - Illuminated Manuscripts. C.350-C.1500 . . 47
4. THE BLACK ART - The Birth of Printing & Early German Printing, c. 1455 -c. 1530 . . 65
5. BACK TO THE FUTURE - Renaissance Italy & France, c.1460-c.1600 . . 83
6. POPULAR PUBLISHING - Dutch Renaissance & Popular Prints, c.1530-c. 1700 . . 101
7. PURITY IN PRINT - Rococo, Transitional & Modem, C.1700-C.1820 . . 111
8. THE TOOLS OF TRADE - Display Types & Victorian Design, c. 1800 -c. 1880 . . 123
9. MANUFACTURING THE MIDDLE AGES - Neo-Gothic & the Arts and Crafts. c.1840-c.1910 . . 137
10. THE STYLE OF THE STREET - Art Nouveau. C.1880-C.1914 . . 149
11. THE SIMPLE ART OF WAR - Sachplakat & First World War Graphics, c.1880-c.1920 . . 163
12. THE ISMS OF ART - Futurism, Dada, De Stijl & Constructivism, c.1900-c.1930 . . 175
13. FORM AND FUNCTION - Bauhaus & the New Typography, c.1919-c.1933 . . 189
14. THE WEIGHT OF TRADITION - Traditional Typography, c.1910-c.1947 . . 205
15. GOOD DESIGN IS GOOD BUSINESS - Commercial Modernism, c.1920 - c. 1960 . . 219
16. SYSTEMS AND SIGNS - Swiss Typography, c.1945-c.1972 . . 239
17. HANDMADE AND HOMESPUN - Illustrated Modernism & Psychedelia, C.1950-C.1970 . . 261
18. TEARING IT UP - Punk, c.1975-c.1985 . . 289
19. LESS IS A BORE - New Wave & Postmodernism, c.1970-0.1990 . . 297
20. PRINTING WITH PIXELS - Digital Expressionism & Postscript: The Digital Future, c.1984- . . 311

Endnotes . . 330
Bibliography . . 335
Picture List . . 340
Index . . 346

List of Plates, Figures, Maps and Family Tree . . vi
Photographic Acknowledgements . . xviii
Acknowledgements . . xix
Abbreviations . . xxii

1 Introduction: Stories, Self and the Illustrated Devotional Manuscript . . 1
2 Sacred and Secular: The Anglo-Norman Devotions and their Illustration . . 61
3 Text and Image: The Latin Hours of the Holy Spirit, Trinity and Virgin and their Illustration . . 110
4 Temptation, Sin, Repentance and Redemption: From the Short Office of the Cross through the Office of the Dead . . 206
Afterword . . 293

Appendix: The Taymouth Hours . . 298
Bibliography . . 321
Index of Manuscripts Cited . . 350
Index . . 355

Introduction: What Does 'Literacy' Mean in this Period? . . 7

1. Conversion: Scribes, the Sacred and Social Change . . 13
   From Pamphlet to Pandect: the Codex and the Codification of Scripture The Book as Speculum of the Transition from Late Antiquity to the Early Middle Ages . . 22
   Visualising Sound in Graphic Form: New Ways of Teaching and Learning . . 30
   Disseminating Scripture: Being the Book - the Scribe as Evangelist . . 44

2. Creating communities of reading . . 57
   The Rise of Written Vernacular Languages . . 60
   Women and the Book in the pre-Alfredian Era . . 73
   Inscriptions - words to be seen and not heard? . . 78
   Books and other Icons . . 85

3. Language, literature and libraries . . 99
   The Impetus of Incomers . . 99
   Official Intervention? Assessing the Alfredian Contribution . . 109
   Libraries: the Collection and Retention of Cultural Memory . . 127
   Women and other Bibliophiles . . 144
   The Last Word . . 149

Notes . . 157
Bibliography . . 171
List of Illustrations . .179
Index . . 181

List of illustrations . . vi
Preface . . ix
Abbreviations . . xi
Conventions followed text . . xv

1 The historical background . . 1
2 The literary background . . 6
3 The cartographic background . . 10
4 Maps of the Holy Land . . 17
5 The Ashburnham Libri map, late 12th century . . 31
6 The Tournai maps, late 12th century . . 40
7 The Oxford map of Matthew Paris, mid-13th century . . 60
8 The Acre map of Matthew Paris, mid-13th century . . 74
9 The earliest large Burchard map, circa 1300 . . 94
10 The grid maps, 1320-1339 . . 107
11 The later large Burchard maps, 14th to early 15th century . . 128
12 The small Burchard map, mid-14th century . . 141
13 Conclusion . . 155

General index . . 157
Index of manuscripts . . 160

Introduction . . vii
Contributors . . xi
List of those attending the Conference . . xiii
Colour Plates . . between pages xvi and 1

'It's pretty, but is it Art?' . . 1
Metal-cut Border Ornaments in Parisian printed Books of Hours as design sources for sixteenth-century English works of art . . 17
Publishing Palladia in England, 1650-1750 . . 35
The Young-Mans Time Well Spent: Learning to Draw from a Master . . 51
Building a Library: Evidence from Sir John Soane's Archive . . 79
Colour Printing and Design Reform: Owen Jones and the Birth of Chromolithography . . 101
Art Publishing and the Leisure Market, from the 1840s to the 1870s . . 127
The Art Collector and the Catalogue from the early 1620s to the early 2000s . . 157

Index . . 189

Introduction . . 4
The Facsimile . . 31