CHAPTER XV. Page 239 to 256.

THE MATERIALS AND TECHNICAL PROCESSES OF THE ILLUMINATOR (_continued_).

The coloured pigments. The vehicles used; blue pigments, ultramarine; its great value; story told by Pliny and Vasari; _smalto_ blues; "German blue;" Indigo and other dye-colours; how they were made into pigments; green pigments; terra verde, verdigris, smalt, leek-green; red pigments, _minium_ red lead, vermilion, red ochre (_rubrica_); _murex_ and _kermes_ crimson; kermes extracted from scraps of red cloth by illuminators; madder-red; lake-red; purples; yellow pigments, ochre, arsenic and litharge; white pigments, pure lime (_Bianco di San Giovanni_), white lead, _biacca_ or _cerusa_. Black inks, carbon ink and iron ink (_incaustum_ or _encaustum_ and _atramentum_); red and purple inks; writing in gold; the illuminator's pens and pencils; the lead-point and silver-point; red chalk and _amatista_. Pens made of reeds, and, in later times, of quills; brushes of ermine, minever and other hair, mostly made by each illuminator for himself; list of scribes' implements and tools. Miniatures representing scribes; the various stages in the execution of an illuminated manuscript; ruled lines; writing of the plain text; outline of ornament sketched in; application of the gold leaf; the painting of the ornaments and miniatures; preparation for the binder.