MANUSCRIPT DESIGN IN THE MIDDLE AGES

The classical aesthetics of the Roman Empire and ancient Greek art gave way to (4) the Byzantine Empire (21) art greatly (9) influenced by oriental trends (6). It was primarily (11) imperial and more spiritual in content. Figures were depicted as (1) representations of the soul rather than (12) the body, yet they were more "worldly" in form due to the excessive use of gold, silver, precious and semi-precious stones (19). After the crusaders' (22) sack of Constantinople (28) in 1204, many works of Byzantine art appeared in Western Europe to exert influence upon (2) its art (see pic. 1).

During the Middle Ages, manuscript books preserved and propagated sacred writings. These early books were written and illustrated on sheets of treated (20) animal skin called parchment, or vellum, and sewn together into a codex format with pages that turned like the pages of contemporary books. In Europe, monastic writing rooms had a clear division of labour (8) that led to the design of books. A scholar versed in (7) Greek and Latin headed the writing room and was responsible for the editorial content (15), design, and production of books. Scribes trained in lettering styles spent their days bent over writing tables, penning page after page of text. They indicated the place on page layouts where illustrations were to be added after the text was written, using a light sketch or a descriptive note jotted (3) in the margin (16). Illuminators rendered pictures and decorations in support of the text. In designing these works, monks were mindful of (5) the educational value of pictures and the capacity of colour and ornament to create spiritual overtones (17).

Manuscript production in Europe during the Middle Ages generated a vast variety of (13)page designs, illustration and lettering styles, and production techniques. Isolation and poor travel conditions allowed identifiable regional design styles to emerge. Some of the more distinctive medieval art and design approaches (14), including the Hiberno-Saxon style (24) of Ireland and England and the International Gothic style (25) prevalent in Europe in the late 14^th and early 15^th centuries, were used in manuscript books that achieved major graphic-design innovations.

The Book of Kells (c. AD 800), an illuminated gospel book (23) believed to have been completed (29) in the early 9^th century at the Irish monastery of Kells, is renowned as one of the most beautiful Hiberno-Saxon manuscripts. Its page depicting the appearance of Jesus Christ's name in Matthew 1:18 (26) is called the “Chi-Rho page.” The design presents the monogram XPI – which was used to signify Christ in many manuscripts – as an intricately (10) designed pattern (18) of shimmering colour and spiraling forms blossoming over a whole page. The Book of Kells's Chi-Rho page is a paradigm (27) of how graphical form can become a metaphorical expression of spiritual experience: it clearly conveys the sacred nature of the religious content.

Illustrations:1. The miniature painting of King Henry I of England from illuminated Chronicle of Matthew, Paris, (1236-1259), now in British Library

2. A page from the luxury illuminated manuscript Wenceslas Bible, a German translation of the 1390s

3. The “Chi-Rho page” from the Book of Kells, c. AD 800. The monogram is composed of Chi and rho – the first two letters of the word Christ in Greek. The Board of Trinity College, Dublin, Ireland, The Bridgeman Art Library

UNIT V

VERBS & COMBINATIONS WITH VERBS

1. to blossom ['blɒsəm] – процветать

syn. to bloom, to flourish, to thrive

N.B. Mind the possibility of two different prepositions following one verb in English making the meaning of the verb slightly modified which requires using two verbs in the Russian translation:

2. to spread across (some territory) and into (some other territory as well) – распространиться по (какой-л территории), а также попасть (ещё на какую-л территорию)

COMBINATIONS WITH ADJECTIVES

3. literary, historical, herbal work – литературное произведение, работа по истории, книга-травник (с описанием лекарственных растений)

NOUNS

4. amount of smth [ə'maunt] – количество (чего-л)

syn. quantity

to require an enormous amount of labour – быть трудоёмким (о работе)

syn. v.s. UNIT III: time-consuming (production)

5. antecedent [ˌæntɪ'si:dənt] – предшественник, предпосылка (чего-л)

syn. ancestor, ascendant, foregoer, forerunner, harbinger, predecessor, prototype

6. landmark ['lændmɑ:k] – веха, поворотный пункт (в истории, и т.п.)

Gutenberg's landmark 42-line Bible – новаторская “42-строчная Библия” Гутенберга

7. point (in some activity) – уровень, стандарт (в какой-л деятельности)

syn. level

8. range of smth ['reɪndʒ] – диапазон, предел (чего-л)

ADVERBS

9. mainly ['meɪnlɪ] – главным образом

syn. by and large, chiefly, largely, mostly, on the whole, predominantly

10. subsequently ['sʌbsɪkwəntlɪ] – впоследствии, позднее, позже, после, потом

syn. afterwards, later (on)

11. truly ['tru:lɪ] - действительно, по-настоящему; в полном смысле слова

SET PHRASES

12. in effect – фактически

13. in this way – таким образом

14. of all other … – из всех других … (= (Не где либо ещё, а) именно)

e.g.: Of all other cultures, major advances in graphic design were centred in Europe. Именно в Европе сосредоточились основные линии развития графического дизайна.

PROFESSIONAL TERMS

15. apply (ink to a surface) [ə'plaɪ] – наносить (чернила на поверхность)

16. artisan [ˌɑ:tɪ'zæn] – ремесленник, мастеровой

17. (decorative) border ['bɔ:də] – (декоративная) кайма, окантовка (страницы)

18. broadside ['brɔ:dsaɪd] – большой лист бумаги с печатным текстом на одной стороне

syn. broadsheet

19. to carve [kɑ:v] – вырезать, резать (по дереву, кости); гравировать

20. to cast [kɑ:st] – отливать, лить (металл)

syn. to mould, to found

21. fibre ['faɪbə] – волокно, нить

22. header – заголовок

syn. heading, title, (газетный) headline

23. movable-type printing – печать с использованием съёмного наборного шрифта

24. ornate (initial) – изысканно украшенный, витиеватый (о заглавной букве, и т.п.)

syn. ornamental – орнаментальный, декоративный, служащий украшением

25. to paste smth together – склеивать что-л вместе

26. a raised carved surface – рельефная (выпуклая) резная поверхность (печатной таблички)

27. relief printing – высокая печать (способ печати, использующий формы, на которых печатающие элементы расположены выше пробельных. Краска наносится на поверхность выступающих печатных элементов. При соприкосновении с бумагой, для полного перехода краски, необходимо давление пресса.)

28. to replicate ['replɪkeɪt] – делать копию, копировать (какое-л изделие, произведение искусства)

syn. to copy, to reproduce

29. a tablet with a character – табличка (дощечка) с печатным знаком (литерой, цифрой)

30. type ['taɪp] – печатная матрица, шрифт

31. woodblock printing – ксилографическая печать (греч., от xylon – дерево, и grapho – пишу). Искусство печатания деревянными резными досками; китайский способ печатания.

syn. v.i. UNIT VI: woodcut printing

CULTUROLOGICAL & HISTORICAL TERMS

32. Johannes Gutenberg [dʒəʊ'hæni:s 'gu:tənbз:g] – Иоганн Гуттенберг (1397 или 1400 – 1468) – немецкий ювелир и изобретатель. Создал европейский способ книгопечатания подвижными литерами.

CONSTRUCTIONS

N.B.: Mind the structure and ways of translation of

33. – “cleft sentences”, e.g.: It was John who helped me.

A cleft sentence is one where a simple sentence has been split (or ‘cleft’) into two clauses, thus bringing different clause elements into focus. The stress is laid on the final element of the clause introduced by “it”, while the subsequent clause introduced by “what”, “who”, “when”, etc. (“wh-cojunctives”) or “that” repeats given, previously known and thus less important information:

It was with the development of printmaking technologies that the art and practice of graphic design truly blossomed.

Именно (Только) с развитием печатного дела искусство и практика графического дизайна расцвели по-настоящему.

34. – Absolute Constructions with Participle II:

Paper money and playing cards were also designed, their designs cut into woodblocks and printed.

Также создавались банкноты и игральные карты, причём их образ вырезался на деревянных болванках и затем печатался. (придаточное предложение сопутствующего обстоятельства).

35. – “for-phrase” (for + n + infinitive):

Spaces were left for illuminators to add pictures. Оставляли свободные места, чтобы потом иллюстраторы добавили туда рисунки.

36. – have smth done:

Printers printed decorative borders and ornamental initials along with the type, subsequently having colour applied by hand to these printed elements.

Мастера печатали вмести со шрифтом декоративные обрамления витиеватые заглавные буквы, а затем на эти графические элементы вручную наносилась краска.

То есть, мастера-печатники последний этап работы выполняли не сами, а перепоручали его специалистам в этой области - художникам.