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- Key Terms (in order of appearance; the first page number of their appearance is listed)
- Illuminated manuscript, page 42: the vibrant luminosity of gold leaf, as it reflected light from the pages of handwritten books, gave the sensation of the page being illuminated
- Gold leaf, page 42: the preferred application method was hammering the gold into a fine sheet of gold leaf and applying it over an adhesive ground.
- Scriptorium, page 42: nearly all books were written in this writing room
- Scrittori, page 42: a well-educated scholar who understood Greek and Latin and functional as both editor and art director, with overall responsibility of design and production of the manuscript
- Copisti, page 42: was a production letterer, who spent his days bent over a writing table penning pages
- Illuminator, page 42; a illustrator, did the ornament work and images in visual support wit
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- Colophon, page 42: is the inscription usually at the end of a manuscript
- Musical notation, page 42 marks were gradually used to denote pauses and pitch changes for chants.
- Frontispiece, page 43:Literary souces refer to manuscripts on vellum, with portait of the author as frontispiece
- Ascenders, page 44: stokes raising above the top guideline
- Descenders, page 44: strokes dropping below the baseline
- Carpet pages, page 45, (Fig. 4-6):a full page of decorative design
- Interlace, page 45, was a two-dimensional decoration formed by a number of ribbons or straps woven into a complex, unusually symmetrical design
- Lacertines, page 45: interlace created by animal forms.
- Diminuendo, page 45, : created by the monks, which are graphic design principles, which is a decreasing scale of graphic information
- Labyrinth page, page 52, :
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which modestly ask the reader to remember the unworthy Florentius
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