Medieval Page Layout

30/11/10 18:38

Page Layout
(from Christopher Jarman's book... copied verbatum)

Page Layout. For most calligraphers, but particularly for anyone who wants to embark on bookwork, it is important to know how to design a page. In the 13th century, Villard de Honnecourt, an architect from Picardy in France, devised an ingenious method of finding the so-called "golden rule," the optimum proportions for margins, text area, and decorations on a book page. This method is applicable to any page size. The sketch below shows how it works:

1. Draw the long diagonals AD, CB. 2. Draw the short diagonals CE, DE. 3. Draw the vertical FG. 4. Draw the line GH. 5. You now have the vital point Q. Draw horizontals lines to cut CB and vertical lines to cut ED to get perfect text margins.

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Medieval Page Layout

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As a result of his research into the methods of work of medieval illuminators, Edward Johnston established the following formulae for well-proportioned pages, ready for illumination and lettering.

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Medieval Page Layout

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Here is a double-page spread for a book with spaces left for illustrations a little over half-way up the page. Although this can be judged by eye, work out exactly where your lines of text begin and end, then allocate space for illustrations.

If a book is to be bound, remember to allow extra space in the spine (gutter margin) to allow for the stitching. The binder may wish to trim the pagaes after binding and you should also add a minimum of inch (5mm) around the other margins to allow for this.

This is a typical layout for an illuminated double-page spread, allowing for borders on three sides of the block of text. When considering a layout, always look upon the double-page spread as an entity. The two pages may be different in their decoration, of course, but they should always harmonize with each other.

This layout incorporates a decorated initial, text, and decorative borders at the foot of the pages.

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Medieval Page Layout

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In the same way as you must carefully work out the elements of illustration and gilding, so must your text be carefully planned. Always rule lines on which to position the text (or use an under sheet and a light table). These can be lightly pencilled in. These lines should be just visible, otherwise you may damage the surface of the paper or soil the vellum when you have to erase them after the lettering is completed. The Medieval illuminators would prick through several layers of parchment to ensure that the text would "back," that means that the lines of calligraphy would fall at exactly the same spot on both sides of the page on every page throughout the book. Look carefully at Medieval manuscripts: the discreet ruling out of the text is frequently still visible, but it is also so faint that it does not mar the beauty of the work.
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