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amount and you wish to make red lead from it, grind this flake-white on a stone without water, then put it in two or three new pots and place it over a burning fire. You have a slender curved iron rod, fitted at one end in a wooden handle and broad at the top, and with this you can stir and mix this flake-white from time to time. You do this for a long time until the red lead becomes visible.
32:
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completes a printed work by attributing to it a sense of legitimacy and finality, is further supported by the fact that red ink "was not merely decorative... red's original function was to articulate the text by indicating such parts as headings that were so essential to the function of manuscripts that the printers had to deal with them in some way".
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did not issue from the press in a finished state... hardly any incunable was considered 'finished' by its printer...", suggesting that hand rubrication provided a sense of legitimacy to the efforts of early printers and their works. This fact, the notion that something about hand written rubrication
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or other division of text; this was often important because manuscripts often consist of multiple works in a single bound volume. This particular type of rubrication is similar to flourishing, wherein red ink is used to style a leading character with artistic loops and swirls. However, this process
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The practice of rubrication usually entailed the addition of red headings to mark the end of one section of text and the beginning of another. Such headings were sometimes used to introduce the subject of the following section or to declare its purpose and function. Rubrication was used so often in
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To prepare white-flake, get some sheets of lead beaten out thin, place them dry in a hollow piece of wood and pour in some warm vinegar or urine to cover them. Then, after a month, take off the cover and remove whatever white there is, and again replace it as at first. When you have a sufficient
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of the text. Such notes were effectively indications to "rubricate here" or "add rubric". In many other cases, the initial scribe also held the position of rubricator, and so he applied rubrication as needed without the use of annotations. This is important, as a scribe's annotations to the
118:, red may also be used to give the actions to be performed by the celebrant or others, leaving the texts to be read in black. Important feasts in liturgical calendars were also often rubricated, and rubrication can indicate how scribes viewed the importance of different parts of their text.
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The initial scribe of a text often left notes for the rubricator of where rubrication would be necessary, usually including at least one blank line for the title alone, facts that helps modern historians learn of the
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by hand. However in some circumstances, rubricators could not draw fast enough for publishers' deadlines and books would often be sold with the beginnings of the paragraphs left blank. This is how the practice of
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printing, readers continued to expect rubrication, which might be done by hand, if there were few rubrics to add, or by a separate print using a red-ink form, later the normal method. The "great majority of
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Later medieval practitioners extended the practice of rubrication to include the use of other colors of ink besides red. Most often, alternative colors included blue and green. After the introduction of
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was commonly used as a generic term for headers of any type or color, though it technically referred only to headers to which red ink had been added. In liturgical books such as
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of the manuscript. Rubrication affected how later generations read and interpreted a text, and this process helped ensure editorial standardization throughout
Western Europe.
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With the introduction of the printing press from the late medieval period on, space before paragraphs was still left for rubricators to add a
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Smith, Margaret M (1994). "The design relationship between the manuscript and the incunable". In Myers, Robin; Harris, Michael (eds.).
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with scribes emphasizing important text, such as headings, new parts of a narrative, etc., on papyri with red ink.
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Tschichold, Jan (1991) . "Why the
Beginnings of Paragraphs Must Be Indented". In Bringhurst, Robert (ed.).
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The process took a long time to complete, but was cheap and used common materials. The white material is
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Quite commonly the manuscript's initial scribe would provide notes to the rubricator in the form of
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A millennium of the book: production, design & illustration in manuscript & print, 900–1900
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134:, in which detailed pictures are incorporated into the manuscript often set in thin sheets of
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Butterfield, Ardis (2003). "Articulating the Author: Gower and the French
Vernacular Codex".
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who received text from the original scribe. Rubrication was one of several steps in the
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334:]. Translated by Hajo Hadeler. London: Lund Humphries. pp. 105–109.
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Ausgewählte Aufsätze über Fragen der
Gestalt des Buches und der Typographie
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to a manuscript for emphasis. Practitioners of rubrication, so-called
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The form of the book : essays on the morality of good design
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422:. Medieval and Early Modern Miscellanies and Anthologies.
532:(2nd ed.), Chicago: Society of American Archivists
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Rubrication may also be used to emphasize the starting
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The Book
Unbound: Editing and Reading Medieval Texts
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368:Clemens, Raymond; Graham, Timothy (December 2007),
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485:, Philadelphia: University of Pennsylvania Press
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543:Manuscript Studies: Medieval and Early Modern
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16:Red text added for emphasis in a manuscript
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467:Echard, Sian; Partridge, Stephen (2004),
158:to establish a manuscript's history, or
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209:The recipe for the red ink is given in
428:Modern Humanities Research Association
89:, "to color red", the base word being
490:"Making of Illuminated Manuscripts",
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7:
545:, Calgary, CA: University of Alberta
500:from the original on 19 January 2023
530:Preserving Archives and Manuscripts
493:Encyclopedia of Irish and World Art
403:: Oak Knoll Press. pp. 23–45.
370:Introduction to Manuscript Studies
154:rubricator can be used along with
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42:(1497) printed and rubricated in
27:in the Malmesbury Bible from 1407
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528:Rytzenthaler, Mary Lynn (2010),
520:The Oxford Companion to the Book
80:making. The term comes from the
419:The Yearbook of English Studies
271:"The immortality of the writer"
188:before paragraphs was created.
95:, "red". The practice began in
56:is the addition of text in red
275:Digital Egypt for Universities
1:
539:"Decoration and Illumination"
475:: University of Toronto Press
637:Canons of page construction
277:. University College London
130:is far less elaborate than
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138:to give the appearance of
108:this regard that the term
765:Anthropodermic bibliopegy
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299:Clemens & Graham 2007
1105:Intentionally blank page
483:Printing the Middle Ages
378:Cornell University Press
232:and the red material is
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481:Echard, Sian (2008),
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1146:Textual scholarship
522:, Oxford University
216:De diversis artibus
68:, were specialized
35:Detail from a rare
1100:Fore-edge painting
1095:Extra-illustration
251:Red letter edition
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1007:Addendum/Appendix
891:Table of contents
301:, pp. 24–25.
234:lead(II,IV) oxide
142:within the text.
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515:"Rubrication"
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911:Introduction
871:Nihil obstat
851:Frontispiece
833:Front matter
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667:Illumination
547:, retrieved
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279:. Retrieved
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25:illumination
1120:Thumb index
1086:Die-cutting
1047:Author page
972:Back matter
931:Body matter
780:Dust jacket
770:Bookbinding
757:back covers
724:Rubrication
677:Historiated
597:Page layout
589:Book design
471:, Toronto,
147:annotations
76:process of
62:rubricators
54:Rubrication
37:Blackletter
1135:Categories
1082:Book rhyme
1063:Book curse
1002:Postscript
985:Conclusion
881:Dedication
876:Imprimatur
856:Title page
841:Half-title
755:Front and
709:Pull quote
610:Annotation
602:typography
372:, Ithaca,
314:Smith 1994
257:References
211:Theophilus
199:provenance
173:incunables
160:provenance
156:codicology
78:manuscript
66:rubrishers
44:Strasbourg
1074:ex-librīs
1068:Bookplate
980:Afterword
939:Body text
815:Endpapers
795:Paperback
785:Hardcover
694:Miniature
682:Inhabited
662:Headpiece
642:Catchword
460:192115318
444:2222-4289
430:: 80–96.
350:220984255
186:indention
123:character
86:rubrīcāre
1115:Slipcase
1042:Postface
1037:Colophon
1017:Glossary
1012:Endnotes
990:Epilogue
957:Sections
944:Chapters
916:Prologue
896:Foreword
886:Epigraph
729:Typeface
699:Ornament
615:Footnote
549:April 5,
504:April 5,
498:archived
240:See also
74:medieval
1110:Pop-ups
1090:Endband
901:Preface
823:Marbled
790:Leather
775:Buckram
672:Initial
630:Scholia
452:3509018
361:Sources
181:pilcrow
151:margins
116:missals
103:History
70:scribes
1032:Errata
719:Rubric
689:Margin
657:Header
652:Footer
647:Column
458:
450:
442:
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348:
338:
281:3 June
111:rubric
1027:Index
995:Outro
953:Parts
620:Gloss
456:S2CID
448:JSTOR
330:[
140:light
127:canto
125:of a
92:ruber
82:Latin
40:Bible
734:Font
599:and
551:2010
506:2010
440:ISSN
382:ISBN
346:OCLC
336:ISBN
283:2024
192:Uses
136:gold
432:doi
205:Ink
64:or
58:ink
46:by
1137::
541:,
518:,
496:,
473:CA
454:.
446:.
438:.
426:.
424:33
401:DE
380:,
376::
374:NY
344:.
306:^
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