Tag Archives: British Library

‘Magic in Medieval Manuscripts’ by Sophie Page

This delightful little pocket sized book by Sophie Page, published by the British Library, is lavishly illustrated by many mediæval manuscripts and explains the conundrum in the Middle Ages of angels and devils, magicians, magic spells and charms. The conundrum was that from the mid-thirteenth century there was a backlash against magic yet the church still wanted their followers to believe in the good and evil of angels and demons, but not of magicians and sorcerers.

Despite the book’s small size there is a huge amount of information, presented in a very readable way. The five chapters of The Medieval Magician, Natural Magic, The Power of the Image, The Magical Universe, and Necromancy and Sorcery cover the topic comprehensively. Magicians and saints possessed special powers but the latter were not always the victors. Here Saints Simon and Jude, who were murdered by the crowd after they drew forth demons from statues of pagan gods but refused to sacrifice to the sun, meet up with three magicians shown wearing exotic hats.

Alexander the Great’s father, the exiled Egyptian king Nectanebus, was a magician, and he used to sink ships by creating images of them and pushing them under the surface of water in a basin, as shown here. And he appeared to influence the English court in 1376, when Edward III’s mistress, Alice Perrers was said to have acquired her powers over the king due to a Dominican friar who used spells from ‘the Egyptian necromancer’ Nectanebus.

Animals and plants were also believed to have magical powers, or at least powers that couldn’t be easily explained. A mandrake plant killed the person who pulled it up, but a dog pulling out the plant would take the curse. The mandrake was valued because it was believed to cure epilepsy, snake bites, gout, baldness and afflictions of the eyes and ears. The blood, feathers and heart of the exotic hoopoe, shown here, was used in necromantic rituals, and the heart, marinated in honey and put under the tongue would then ensure that that person could understand the language of birds.

Sorcery was often personified by an old woman. Here she has a severed hand and uses her stick to poke at a pilgrim. In her baskets she has ‘Many knyves and hoodys ek,/ Dyvers wrytes and ymages, / Oynementys and herbages’. The cut off hand indicates that she can tell fortunes from palms.

This is an interesting and informative book and is ideal for those who loved images from mediæval manuscripts, learning more about what they represent and finding out about the fascinating spells, potions, magic and beliefs of the period. This is highly recommended.

Medieval and Renaissance Interiors

Medieval and Renaissance Interiors is a brilliantly colourful book published by the British Library and is generously illustrated with many high quality manuscript images. Eva Oledzka, the author, takes us beyond what we usually see – the figures – to the room that the people are in, their surroundings, the furniture, walls, ceilings, windows, and the glimpses we sometimes get to rooms beyond.

The book is comprehensive in that it covers the context of architecture and interiors, doors, stairs and windows, floors, ceilings and walls, furniture, heating, lighting and hygiene, and displays of wealth. This calendar page for February, painted by the Limbourg brothers for Jean, Duc de Berry, shows a peasant’s cottage with a family warming themselves by the open fire. The author notes the rod attached to the wall to hang clothes and the mattress or bed in the background, probably for the whole family. This is the earliest depiction of a snowy landscape in the history of art.

One of my favourite manuscripts is the Sforza Hours, particularly the pages painted by the court painter Giovan Pietra Birago; the book was made for Bona Savoy, Duchess of Milan. In this miniature the author notes not only the paintings on the wall – spalliera – typically Italian – showing St Peter and St John looking for the house where the Passover is going to be celebrated, but also the plate on the table and the glass tumblers being filled with wine by the two boys in the foreground.

The scribe Mark is shown here with his lion very conveniently peeping over the scribe’s sloping board with a pen case and inkwell in his mouth (as lions are known to do!). However it is the washing facilities in the foreground that are noted. There is a wash stand on a beautifully carved pedestal, a jug of water above it, and tucked into this, a towel. How often when I have inky fingers would I appreciate such a convenient way of washing my hands!

And here is King Henry VIII praying in his bedroom, with a painting of a very elaborately carved four poster bed draped with ultramarine blue cloth decorated with gold – how fitting for a king! Notice too the patterned colourful tiles on the floor, and the view through the open door to a garden and buildings beyond.

This book is a treasure-trove of image and information – sumptuously illustrated with a readable and informative text. If you enjoy manuscripts and want to know how people lived, you will love this!

Art and History of Calligraphy

The Art and History of Calligraphy, published May 2017 by the British Library, does pretty much what it says on the tin! It covers writing from what is thought to be the earliest known writing by a woman in Britain in the first century, to the present day (as much as a book published in 2017 can do that!). Here is a sneaky peak inside the book.

What I love about the design is that images of manuscripts are large and so it’s possible to get up close and personal to the letters. Here a page from the Luttrell Psalter has been spread over two pages at the beginning of the book. I chose this page for its wonderful trumpeter – his instrument long enough almost to extend right across the whole column of text!

The first chapter is called, surprisingly enough, the Art and History of Calligraphy, and, after defining the way in which calligraphy is going to be regarded in the book, traces writing through the ages. A number of manuscripts will be familiar, but there are some new ones here, including this lettering by Bembo and a delight of chrysography on dyed black vellum.

Then a chapter is devoted to how the manuscripts were actually made, including quills, vellum brushes, pigments and gold.

This is followed by a section on Writing the Letters, based on Edward Johnston’s 7-point analysis.

And then there are full page double spreads of over 70 manuscripts from the second century AD to right up to the present day. In many cases, as here, there is an enlargement of a couple of lines to show the lettering really closely. The Bosworth Psalter is on the right.

Here is the Lacock Cartulary with wonderfully flourished letters.

And this is one of the first times that Edward Johnston’s Scribe, given to Dorothy Mahoney, has been shown this size in full colour.

And the book is brought as far up to the present day as a publishing schedule will allow. A stunning piece by Stephen Raw of a poem by Carol Ann Duffy is shown on the right.

I really enjoyed writing the book, sharing information that I have learned from others and researching the manuscripts, and I do hope that others will enjoy reading it. It’s available from the British Library Bookshop, and I am also selling it through my website. If you order a copy from me here then I shall happily write a name in the book calligraphically to make it really special.

The Lindisfarne Gospels

The Lindisfarne Gospels are, in the opinion of many (including me!) the greatest treasure we have. This manuscript had, of course, to be featured in my book The Art and History of Calligraphy, published by the British Library in May 2017. The Lindisfarne Gospels were written before 720 and the scribe and artist was Eadfrith, Bishop of Lindisfarne, according to Aldred who added a colophon (scribe’s note) at the back of the book in the tenth century. You can see Aldred’s dancing Insular Minuscule gloss between the lines on the right; he added this lettering during the 100 years or so when the monks were at Chester-le-Street. However, what is far more eye-catching are the wonderful colourful and decorated letters. The patterns range from interlace, to geometric red dots, to birds with necks and legs intertwined in the first and last strokes of the enlarged letter N at the start. And it is the invention of letter-forms and their placement that is so delighted. Look at the letter U sitting comfortably within what actually is a V but looks like a U on the top line – NOVUM. Note, too, the four birds’ heads hanging off the top serifs and springing up from the bottom ones on the squared-off letter O on the next line.

Opposite this page is one of the famous cross-carpet pages, called this because they are densely decorated and patterned like a Persian carpet, but are also in the shape of a cross. On the right is the cross carpet page opposite the incipit, the beginning, of Mark.

What is intriguing with this cross-carpet is the central part of the design in that the lines are not completely straight; so this circular design looks almost as if it is slightly raised in the centre, a bit like the ‘boss’ on a shield perhaps. Look at the red geometric patterns top and bottom and right and left; notice the way in which the black outlines aren’t exactly perpendicular emphasising this effect.

Now these patterns didn’t come about by chance when Eadfrith was doodling away one wet afternoon. They were very carefully planned and constructed. This is the back of that page. These are the guidelines made by lead point, the earliest example of it according to the great Michelle Brown. However there are also pin prick marks where a set of dividers has been used to ensure that the distances between the lines on that central ‘boss’ shape are even. Michelle suggests that some sort of back lighting was likely so that Eadfrith could follow his planned design. Read more here about Michelle’s work on the Lindisfarne Gospels.

The intricacy of Eadfrith’s designs are quite amazing when magnified. The is the chi-rho page – the first two letters of the name Christ in Greek (not x and p as some believe!).

And this is a close up of part of that page. The swirls are very similar to patterns on jewellery and metalwork around this time.

Red dots feature heavily in this manuscript, in patterns around and between the letters as here.

When the patterns are really enlarged the dots each have a dimple. This means that there would have been a dome. So, were these dots done with a pen/quill or a brush? I’ve experimented and am sure that they were done with a quill. There is a fascinating blogpost from the great British Library Typepad where they have enlarged various parts the page at the top of the blogpost, click here for more details.

The lettering is in a particularly clear Half-Uncial, and even if you don’t read Latin, you will be able to make out the letters once you have realised that the letter A is a ‘two c’ letter and the rather strange squiggle is a letter G.

This shows the clear letter-forms. Note the two c letter A at the end of the first line (TERRA), and the Half-Uncial letter G is the third letter from the end of the last line.

There are also four author portraits of the Evangelists. This one shows St Matthew writing his Gospel in a book, with his symbol of a winged man blowing a trumpet behind him.

But you can see all this yourself as the Lindisfarne Gospels have been digitised by the British Library and you can look at page after page of wonderful lettering and glorious patterns, and enlarge them to your heart’s content! Click here for a couple of hours of pure joy!

The Vespasian Psalter

The Vespasian Psalter is an Anglo-Saxon book written, it is thought, in the second quarter of the eighth century. The style suggests the south-east of England, possibly St Augustine’s or Christ Church, both in Canterbury, or Minster-in-Thanet.
The large full-page illustration on the right shows an intriguing mix of Insular interlace, La Tène spirals, and Roman motifs. David is painted as the psalmist with scribes recording his words on a scroll (which could represent the Old testament) and a codex (the New Testament). Musicians play musical instruments and a couple of young men look almost as if they are break dancing!

The prefatory material contains pages written in small elegant Rustic letter-forms.

The main text is written in delightful Flat Pen Uncials, held with the pen almost horizontal. The fine serifs at the top and bottom of many of the letters give the impression of the script being written between tramlines.

The huge advantage of viewing this manuscript on the British Library’s website (view here) is that the pages can be enlarged so that the formation of each letter can be seen. The large triangular ends to the downstrokes on the letters N and T are clearly shown here, and it is possible to enlarge the pages even more. And the change in nib angle from the flat pen used for the fine hairline serifs and the diagonal stroke to about 45° for the bowl of the letter A is also obvious. The very fine curved stroke leading off to the left from the bowl of the letter A is made by the left-hand corner of the pen. How this is done is shown in writing the letter t in this Calligraphy Clip for Gothic Black Letter here, about 2.30 minutes in. The dancing Insular Minuscule Gloss (word-by-word translation) was written about a hundred years after the main text and is the earliest extant translation of biblical text into English.

But it is the decorated letters which are so inventive. Here is a little gold bird in the letter D with rather unusually-shaped lumpy companions either side. The gold is flat, but it does look like leaf gold rather than shell gold here.

And on this page, there is a line of decorated letters with a huge initial S. This letter is an intriguing mix again of patterns and decorations from different cultures.

And when enlarged, the sad little bird, who looks most perplexed, can be seen clearly. Note, too the many red dots indicating the line markings and surrounding the letters; these are typically insular. There is more about this page in my book ‘The Art and History of Calligraphy’, published May 2017 by the British Library.

The book has another first and that is that it contains the earliest known historiated initials, and the one shown here is of David and Jonathan. An historiated initial is one that tells a story as opposed to a decorated initial.

The book was owned by Sir Robert Cotton, and his was one of the three major collections which made the British Library. Here is his signature in the book.

The Ramsey Psalter

The Ramsey Psalter (BL, Harley 2904) is a masterpiece of the tenth century; it was the manuscript identified by Master Calligrapher Edward Johnston at the beginning of the last century as a good example of strong letter-forms to start to learn calligraphy. Psalm 1 in the psalter begins with a huge gilded B and this is then followed by enlarged capital letters for (B)eatus Vir qui non abiit in consilio imporum (Blessed is the Man who walketh not in the path of the ungodly …), see right.

Opposite this majestic page is a wonderfully delicate line drawing of the crucifixion with Mary and John the Evangelist. The economy of line is truly admirable. The artist also contributed to Harley 2506 which you can see here.

The Ramsey Psalter was written in Winchester in the last quarter of the tenth century, and is reputed to have been produced for St Oswald who became Bishop of Worcester in 961.For more about St Oswald and the manuscript, the Clerk of Oxford website has a great article here. The script is English Caroline Minuscule; the forward slant, small x-height and elongated ascenders and descenders of Caroline Minuscule have been changed. Once across the Channel, the x-height has increased, ascenders and descenders decreased, and the letters are upright resulting in a grander script perhaps.

Edward Johnston developed an analysis of scripts by looking at 7 aspects of letters such that they could be copied. Here is my analysis of the Ramsey Psalter using Johnston’s 7 points (taken from the Historical Source Book for Scribes, I have a limited number of copies so do contact me through my website if you would like to buy one).

There are superbly executed smaller gilded and decorated initials, as here.

Psalms start with an enlarged gilded initial, and then verses begin with a smaller gilded letter, followed by the grand text script.

Explicits and incipits were written in Rustics. The gilded Square Roman Capitals starting each psalm are particularly fine.

What is intriguing to me is the slight darkening around the small gilded initials. I have a theory – it could be excess gold leaf being scraped off, or it could be the stickiness in the gesso leaching out. My preference is for the latter.

To see the whole book click here.

The Art of the Bible

This book published by the British Library is an amazing feat. The book is huge and the dimensions of it are as large as some of the manuscripts in their collections, with the result that the detail is quite amazing. Huge enlarged images fill whole pages, and it is possible to see individual brush strokes in many of the illustrations, the reproduction is so fine.

The book starts with a short but fascinating overview of the development of the bible and is then straight into the first of 45 featured manuscripts from across Europe, Africa and the Near East, all now in the safe care of the British Library. The Vespasian Psalter is one of the first books shown in detail, and detail means detail. This huge letter S at the beginning of Psalm 68 (Salvum) is reproduced so that it is over 22 cms (just under 9 inches) high. Of course, in the actual manuscript it is only a few cms high, but the enlargement is wonderful. The interlace on the letter, the rather anxious bird or animal (a duck?) on the bottom left, and the precise positioning of the red dots are really clear. And for those of us who love the script letters, enlargements at this scale really show how they were formed.

The Stavelot Bible is a giant by any stretch of the imagination. At 580 x 390 mm (almost 23 by 16 inches) it is shown well in this large book. We know that the monks Ernesto and Goderannus worked on this book for four years, however, as many as five different artists were involved in the manuscript, so it may be that the two monks wrote the script and left the pictures to others. The images, though, show a very thorough knowledge of the bible so the two religious brothers may well have guided the posse of painters. Find out more about this huge book here.

Another grand book is the Arnstein Bible, only slightly smaller than the Stavelot and produced just under a century later. With its twirling decorated colourful pattern on leaf gold on gesso background, everything about this shouts Romanesque. The image on the right is the beginning of the Evangelist John – work out the ‘In principio’ of the start of the gospel in Latin. Silver decoration has bled into the surroundings and looks rather smudged, but the hair of John, Christ and the old man on the bottom left is painted in amazing detail, and it can be seen really well in this book. All the pages have been digitised here.

There are over 1,000 images in the Queen Mary Psalter, and although not the original owner, Queen Mary, the sister of Elizabeth I and first daughter of Henry VIII gave her name to the manuscript. It is thought the have been written by one scribe and has two types of images. Gloriously coloured and illuminated pictures as well as line and wash drawings, often on the same page as here on the right. Christ is debating in the Temple, sitting on a rather precarious single-legged stool, and below that hunters are out with their birds on a rather windy day as the ladies’ headdresses look as if they might blow away! For more on this book, the great British Library Typepad has a post here.

The detail is so amazing in this British Library book written by Scot McKendrick and Kathleen Doyle that it is possible to see individual brush strokes on the faces, limbs and clothes of the people at Balshazzar’s feast (see right), which is the first image shown for the Bible Historiale of Edward IV. The rack of lamb, chicken and duck of the feast with a wonderful gold salt cellar are placed on a white cloth, while the king, with his gold crown balanced on a red hat looks at the moving hand writing on the wall. The manuscript was written in Bruges in 1470 and illuminated in 1479 during Edward IV’s book collecting campaign. See the image in the digitised manuscript here.

This is a treasure of a book and one to save up for to treat yourself on dark winter nights. Every page has brilliant colourful and enlarged illustrations that will delight the eye and warm the soul! Highly recommended.

The St Cuthbert Gospel – new studies

I have already written about this gem of a book on my blog here, but this blogpost is about fesh studies on the manuscript in a new publication from the British Library edited by Claire Breay and Bernard Meehan – The St Cuthbert Gospel: Studies on the Insular Manuscript of the Gospel of St John. The new research marks the fact that the manuscript has been saved for the nation (it was on loan before). Claire and Bernard have managed to get the very best experts looking at various aspects of the Anglo-Saxon manuscript which was found in the coffin of St Cuthbert.

This new book starts with eight enlarged full-colour images of the manuscript. This means that those interested in the binding can really see the patterns which are both indented and also raised on the front cover, and even make out the remains of paint. And those interested in the lettering have an excellent opportunity to study the letter-forms closely.

The chapter on Materials, Text, Layout and Script by Richard Gameson of Durham is particularly fascinating. Richard notes that the arrangement of the vellum reflects that which was typical of Insular manuscripts, that is hair and flesh sides on opposite sides of an opening spread. On the Continent, hair faced hair side, and flesh faced flesh side, giving a much more even look to the pages when the book was opened. However, unlike many Insular manuscripts of the period, the skin is thin and smooth; usually the skin is thicker and more suede-like in finish. Richard also compares the Uncial style in manuscripts of the time, and includes a photograph of a page in the Codex Amiatinus (previous blogpost here) showing the usual Flat Pen Uncial used in this book with a column of the Angled Pen Uncial of the St Cuthbert Gospel. There is a series of my free Calligraphy Clips showing how to write Angled Pen Uncial here.

The skin has been identified as vellum. An analysis of the hair follicles shows a pattern of narrow rows of three, five or seven holes which indicates calf skin. This can be seen on the right.

Raman spectroscopy has been used to identify the pigments used in the book. Generally the red in the initial letters is red lead, or minium, which has deteriorated in some places to black, as can be seen on the right. Some letters, though, have been over-painted, and vermilion or cinnabar was often used for this.

The dark brown ink was identified as oak gall ink from the presence of iron salts.

The cover is particularly interesting, and is addressed in the chapter by Nicholas Pickwood. X-ays show that the wooden boards are particularly thin, rounded and chamfered, and the red covering leather particularly thick.This is the earliest European binding and has fascinated many for years. The red leather is, apparently, only surface coloured, yet it has maintained that vibrant pigment which, bearing in mind the age, is quite astonishing.The decoration of the front cover has also intrigued many – how was it done? X-rays again show that cords were used for the outer rectangles but a much more sophisticated and complicated method for the stylised vine central decoration. The book is not sewn together on cords but by a sort of chain stitch, very typical of Coptic binding. The whole covering and decoration of the book is very sophisticated and suggests the work of an experienced craftsperson.

Leslie Webster looks at the meaning of the decoration and the dating of the binding, and compares the intricate interlace, the stepped cross on the back cover, and the vine decoration on the front with manuscripts and artefacts of the period. Raman spectroscopy has also identified the pigments used to decorate the cover as indigo and orpiment. It seems somewhat over critical, but the original painting, when the colours were fresh, may have made the cover rather garish! The lack of symmetry in the upper horizontal interlace border, in a very symmetrical design, is intriguing.

This new research in this book, focusing on the St Cuthbert Gospel itself, also includes chapters considering the cult of St Cuthbert, the St Cuthbert relics, the history of the manuscript and Irish Insular Books.

This is a terrific and fascinating publication taking a new look at a very old book and one which must surely be high on the list of the treasures in the British Library. For anyone interested in manuscripts in general, this manuscript in particular, and the ways in which scientific methods can be applied to shed new light on old processes this is an absolute must. I highly recommend this book! To get your copy, click here.

David Kindersley Centenary Celebrations

I happened to be waiting in Exhibition Road to go into the Victoria and Albert Museum many years ago, and noticed the letter-cut sign on the wall. The more I looked at it, the more intrigued I was. The lettering looked so perfect and so even; it was cut over two blocks of stone, and yet no letter was actually on the join. In addition, the steady diagonal on the right-hand side almost drew in to the lettering the obvious bomb damage. It seemed a supreme example of craftsmanship. I learned later when talking with David that, when he was approached to cut the inscription noting that the damage to the building was as a result of air raids, he was asked what sort of stone he wanted to cut the lettering on for it to be attached to the building; his reply was that there was perfectly good stone already on the walls!

David’s lettering was exceptional, his eye for design, and particularly spacing quite phenomenal (one of his quotes was on the lines of a bad space is worse than a bad letter). This year, 2015, celebrates his centenary and there are a number of events planned. For details see the Cardozo-Kindersley workshop website here. One major event is the exhibition at the Fitzwilliam Museum; this is on from 21st April to 14th June and coincides with more of David’s work at Kettles Yard, both in Cambridge. If you haven’t been to either then both are worth a visit on their own, but take in David’s exhibitions while you’re there!

His inventiveness and skill are shown here in a picture from the wall in the Cardozo Kindersley workshop – examples of lettering of various styles and designs, and beneath that a cupboard with the tools of the trade. David learned letter cutting with Eric Gill when the latter was based at Pigotts in High Wycombe in December 1934 starting when David was 19. His father, it was said, liked to do things properly, and so he paid for David to be apprenticed. Whilst with Gill, David worked on many important commissions.

When Gill died in 1940, David was asked to take over the workshop, but once he had sorted out Gill’s affairs, he set up his own workshop at Dales Barn in Barton. David was a leading figure in setting up the Crafts Council and became Chair, stepping down because of concerns of underfunding (’twas ever thus!). David’s lettering for the Ministry of Transport was widely praised, but in the end they chose a lower case monoline style for motorway signs. Yet his clear and readable letters are still seen throughout Cambridge and in other towns and cities which have an eye for good design!

Many commissions flowed from the workshop in Barton and when it was moved into a converted infants’ school in Cambridge itself, not least the magnificent gates for the British Library, designed by David and his third wife, Lida. They are a fitting addition to a remarkable building.

The workshop is currently preparing for the exhibitions and centenary events and here is a selection of David’s work being considered for inclusion. Again it shows just how versatile and talented he was.

There is not only the exhibitions but also an evening at the British Library with Tanya Harrod, Fiona MacCarthy and Lida and Hallam Kindersley on Friday 12th June (tickets here). The London exhibition is at the Patrick Bourne Gallery on 15th June, with pieces of David’s work for sale alongside new pieces by the workshop. Then the Centenary Walk is previewed here, and also a wonderful set of playing cards with David’s work featured on the backs of the cards – a delightful video shown here.

All in all a great way to celebrate the life and work of such a wonderful man, a true Alphabetician!

History of the Book in 100 Books

It would be difficult enough selecting 100 books just in Britain to represent the history of the book from scrolls to codices, to manuscripts to printed books to e-books. And then there’s what’s in the books – fiction, scientific books, company reports, instruction manuals, religious books – and what religions? – Christian (Gutenberg Bible completed in the mid-1450s on the right), Muslim, Judaism, Buddhism, Hinduism, Sikhism etc – so authors Roderick Cave and Sara Ayad really did have a task on their hands when they took on all the books of the world!

Starting with cave paintings, this book is divided into 11 sections and ends with digitisation and the future of the book, having taken in mediæval books, books from the East, printed books and printing and the great classics along the way. Atlases are included, such as this of Ptolemy’s world map from the Cosmographia of 1482, and describes all the known world. As he was based in Alexandria the most detail is around the Mediterranean, and the southern hemisphere is lacking a bit!

Science books are not left out, and Euclid’s Elementa Geometriæ, was translated from Arabic into Latin by Abelard of Bath in the 12th century. The printed version by Erhard Ratdolt, on the right, was made in Venice in 1482, and, amazingly at this early date in printing history, there are printed geometric diagrams.

And pornography is not new either! In 1668 Samuel Pepys burned a book (another copy on the right) that he had bought for his wife to translate from the French. L’eschole des filles was a dialogue between a young virgin and a more experienced female cousin. Pepys made sure that he read it before burning (hmm! even missing church to do so); he described it as ‘the most bawdy, lewd book that I ever saw’.

The History of the Book in 100 Books is comprehensive and has details of a very wide range of selected books (including Playfair’s Commercial and Political Atlas on the right). There is also an extensive bibliography for those who want to read more, and a detailed glossary. Each opening spread has a very useful ‘Connections’ section so that it’s possible to look at other related books. If you’re stuck for a gift for the person who has everything, then this could well be the answer!

Patricia Lovett MBE

Calligraphy | Illumination | Design