Author’s follow a method1 without imitating a style. We have

Preface an excellent precedent in the Italian scribes who

went back 300 years for a model and gave us the
Roman small-letter as a result (see p. 13). The
beginner’s attitude is largely, and necessarily, imita¬
tive, and at this time we should have much to hope
from a school of Artist-Beginners who would make
good construction the only novelty in their work.
We have almost as much—or as little—to be afraid
of in Originality as in Imitation, and our best attitude
towards this problem is that of the Irishman with a
difficulty—“to look it boldly in the face and pass
on”—making an honest attempt to achieve a simple
end. Perhaps we trouble too much about what we
“ought to do” & “do”: it is of greater moment
to know what we are doing & trying to do. In so
far as tradition fails to bound or guide us we must
think for ourselves and in practice make methods
and rules for ourselves: endeavouring that our work
should be effective rather than have “a fine effect”
—or be у rather than appear, good—and following
our craft rather than making it follow us. For all
things—materials, tools, methods—are waiting to
serve us and we have only to find the “spell” that
will set the whole universe a-making for us.

Endeavouring to attain this freedom we may
make our Rules and Methods serve us (see p. 187),

1 Much remains to be found out and done in the matter of
improving tools & materials & processes, and it would be
preferable that the rediscovery of simple, old methods should
precede new & complex inventions. We still find the Quill—
for its substance & for shaping it and keeping it sharp—is a
better tool than a modem gold or metal pen (see p. 26). The
old parchment, paper, ink, gilding size & colours are all much
better than those now obtainable (see pp. 17, 133, 139, 144-
145). I should greatly appreciate any advice from illuminators
and letter-craftsmen as to materials and methods, and should
endeavour to make such information available to others.—E. J.

ХѴІІІ

knowing that such Rules are only Guides and that
Methods are suggested by the work itself: from
first to last our necessary equipment consists in good
models, good tools, & a good will. Within the limits
of our craft we cannot have too much freedom ; for
too much fitting & planning makes the work lifeless,
and it is conceivable that in the finest work the Rules
are concealed, and that, for example, a MS. might
be most beautiful without ruled lines and methodical
arrangement (see p. 307). But the more clearly we
realize our limitations the more practical our work.
And it is rather as a stimulus to definite thought—
not as an embodiment of hard and fast rules—that
various methodical plans & tables of comparison &
analysis are given in this book. It is well to recog¬
nize at once, the fact that mere taking to pieces, or
analysing, followed by “putting together,” is only
a means of becoming acquainted with the mechanism
of construction, and will not reproduce the original
beauty of a thing: it is an education for work, but all
work which is honest and straightforward has a
beauty and freshness of its own.

The commercial prospects of the student of
Writing & Illuminating—or, indeed, of any Art
or Craft—are somewhat problematical, depending
largely on his efficiency & opportunities. There is
a fairly steady demand for Illuminated Addresses ; but
the independent craftsman would have to establish
himself by useful practice, and by seizing opportuni¬
ties, and by doing his work well. Only an attempt
to do practical work will raise practical problems,
and therefore useful practice is the making of real or
definite things. In the special conditions attaching
to work which the craftsman is commissioned to
do for another person, there is a great advantage,
xix

Author’s

Preface