DOCSLIB.ORG

The Art of the Book of Deer (Cambridge Univ Lib Li 6.32) Has Received Very Little Critical Study Until Recently

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of the Book of Deer (Cambridge Univ Lib Li 6.32) Has Received Very Little Critical Study Until Recently Proc Soc Antiq Scot, 128 (1998), 537-549 Booe th Deef f ko o t rar e Th Jane Geddes* ABSTRACT This paper explores the iconography and style of the illuminations in the 10th-century Book of Deer (Cambridge Univ li 6.32).Lib Although informal generaland appearance bookthe conformsa to group of Irish pocket gospels, possibleis it that book producedthe was Scotland,in with Deer Abbey being mostthe likely sworda location. Anglo-Saxonf4v of On Vikingor type depicted.is The implications of this are examined in terms of surviving artefacts and other manuscript depictions. INTRODUCTION The art of the Book of Deer (Cambridge Univ Lib li 6.32) has received very little critical study until recently. Apart from those which appeared in Stuart's Spalding Club monograph of 1869 (Stuart 1869), reproductions have not featured widely in books about the glory of Insular art (Alexander 1978, 87). Werckmeister (1963) discussed some details of the style but the main publication on the art of the Book of Deer is by Kathleen Hughes (1980), followed by Isobel Henderson's short critique (1986). This short contribution doe t attempsno fula t l analysie th f so book but examines some of the iconographic and stylistic issues raised by Hughes and Henderson, in particular with regard to the origin of the manuscript. The book, begun in the 10th century, contains the four gospels of which only John is complete. Added shortly afterward creede visitatioe th officth n a sice r d A .s th si fo ke an f no Latin charter of King David 1(1124-53) to the clerics of Deer Abbey, Buchan, follows the life of St Drosta foundee recordd th abbey' e an th n— f r— so s land holdings lattee th , r both written i Scottish Gaelic between 110 115d 0an 0 (Stuart 1869). THE FIGURATIVE IMAGES begin) 86 boo e S s , Th witk11y b (150 mm hsmal a m 3m l gatherin f originallgo y four foliosf o , which the last leaf is missing. The first recto is blank allowing a page of the four evangelists to face Liber Generationis, genealogthe Chrisbeginninyof the at t Matthew'gof s gospel firsThe .t written bordea pag s illuminated eha an r d initial quire Th . e ends wit hblana k shee thed e an tnth missing folio secone Th . d gathering begin witsn smalwito hma figurswore a tw ha th l d f eo dan figures above him. The text, with a border and illuminated initial is the start of Matthew proper, Christi autem. Matthew's gospel is deliberately incomplete, occupying only one gathering. Mark begins on the third gathering, with the seated evangelist facing the start of the gospel, with border illuminated an d initial. Luke begins wit nexe hth t quire seatea , d figure facin texe gth t with border * Departmen Historf o t Artf yo , King's College Aberdeend Ol , , Aberdeen AB2G 43U | SOCIET 8 53 ANTIQUARIEF YO SCOTLANDF SO , 1998 initiald an . Luk incompletes ei . John onle ,th y complete gospel, begins with another seated figure, surrounde smallex si y db r texe figuresth t d startan , s with borde initiald ran . Throughout John's gospel there are various small marginalia, sketches or doodles. The text of John's gospel ends half-way down the page and the lower part is filled with two seated figures. Opposite this is a page of the Credo, followed by two end pieces, four figures around a cross and lastly a basically ornamental page with four small figures. t leasa , outlinen i t So e illuminationth , s follo wlogicaa l pattern, with apparently four evangelist beginninge th t sa singla , e evangelis stare th eacf o t a th gospel, greater emphasis paid complete th o t e tex Johnf to , wit finaha l picture presumably illustratin lass git t chapte Christ'r— s commissio testimone Peteth o n t d ran Johf y o Evangelis e nth thed an n finallt— evangeliste yth s again, followed by a pattern page. If this basic outlin least a artist' e s tth ewa s intention closea , riconograph e looth t ka y shows tha tooe h t kcreativa e approac modelss hi o ht . Hughes (1980 conclude) 37 , s tha artise d th t di t t havno completeea d manuscript availabl havy copema o e t t useybu dselectioa designf no s from a sketch book. Henderson (1986, 278) concludes that the Book of Deer is 'evidently modelled on full-scala e gospel boo somf ko e sophistication'. issu e Thith es sshalI i l greateloon i t ka r detailt .I appears that this quits artisti o e fluen,wh when t witpe comet ns i hhi calligrapho st animald yan s in the margin, draws only human-type figures for all his illuminations. He clearly finds the Insular conventions of human anatomy and drapery a puzzle and sticks to his simple, sometimes awkward designs for every illumination. Significantly he omits any representation of the evangelist symbols. He also omits the common preliminary of the canon tables, an area where evangelist symbols are prominently displayed (O'Loughlin in Forsyth, forthcoming). brieA f surve Alexandef yo r (1978) suggests thamucs i t ti h more normal al havet o lt no f i , four tetramorphs, the leasnat t some combinatio gospels starthemthe nof the Deeof t at ,On . r f Iv (illus 1) ther hierarcha s e i figure o tw f yso carrying book satcheln si s around their neckd san two minor figures above. Figures carrying books in satchels are found on the Bressay and Elgin Cathedral stones (Hughes 1980, 28) and on the Cross of the Scriptures, Clonmacnoise (Henry 1967, pi 92). These objects recur throughout the book. If they are not satchels, they could represent house shrines tucked under the carrier's chin. On folios 16v, 29v, 41v and 84v the fish scale could be interpreted as a triangular tegulated roof. Hughes (1980, 28) sees an important precedent in the Pictish stone from Elgin which she describe s 'fousa r evangelists' closen O . r examinatio Elgie nth n figures are, more significantly, onl evangelistso ytw , Matthe Johd wan n with symbols, witwingedo htw , nimbed angels carrying books above (illus 2). The Deer figures, with their clear hierarchy, cannot literally depict the four equal evangelists even if that was the intention. Like Elgin, there are two evangelists below, indicate theiy db r books eithed wingleso an , tw r s angels man-symbolso abovtw r eo , Matthew twice over. However, it should be noted that the same four characters appear around a cross and circle on the last page of the book, f86 (illus 8). It will be argued below that these represent four evangelists even if they look different. The next illumination is f4v, facing the start of Matthew's Christi autem. It is discussed at the end of the article since its sources are quite different from the figures on folios Iv, 16v, 29v, 41v, 84v and 86r. These carry around their necks either books in satchels or little house shrines as mentioned above uppee Th . r bodie like sar squasheea d vesica; they hav loopo etw s over their knees, a square skirt and semicircular feet projecting from a flat hem (illus 3). This figure style descends froe depictiomth f Mattheo n e Echternacth n wi h Gospels (Paris, Bibliotheque National latS e.M 938 Booe 918v)f th Dimmf a ko vi , Mart aS k (Dublin, Trinity Colleg, 59 S eM p30) (illus 4). Werckmeister (1963, 175-81) derives this pattern ultimately from early Coptic GEDDES: THE ART OF THE BOOK OF DEER | 541 pose. If this is so, he is a highly compressed image, encompassing two different figures. Henderson (1986, 278) interprets him as Zacharias praying, relating to Luke 1, but with his folded arms and satchel he is obviously also the evangelist. In Insular art, figures with horizontal arms extending beyond the frame often depict Christ on the cross, but probably not in this instance (see below, f85v)Lichfiele th n I . d Gospels, Luke (illu carrie) s13 s Aaron's buddin symboa s a d Jewisf glo ro h priesthood which also relate Zachariao st priese sth t (Henderson 1987,124) anothes i t .I r example of two images compressed into one. e stare figur th f Joh o Th t n f41a eo n s lik i v e Mark, wit a hsatche s i e l H (illu . 6) s accompanie armlesx si y db s little figures f whic, o onlo hytw hav emoutha maro T .greas khi t importance, ther crosa s ei s below him. Hughes (1980 ) acceptJohns a 33 t ,Henderso m bu , shi n (1986, 278), probably correctly, sees a more complex image behind this. She identifies the figure of Christ surrounde angely Booe db th Kellf n ko si s (Dublin, Trinity Colleg A.I.S eM 6 f32n vi Henderson 1987,157) as the model, based on the Apocalypse text, Revelation 5. Christ holds the sealed book, surrounde angelsy db . Bot Kelle Deehd th san r Chris distinguishee ar t d froe mth evangelists by the small cross. This image, prefacing the most important book of the gospel, thus replace evangelise sth t with Christ himself, reveale gloryn di . John appears more humble th t ya end of his gospel, beside Peter on f84v, illustrating the words of the adjacent last chapter. Unusually, Deer has two endpapers. F85v (illus 7) shows four despondent people around a cross uppee havo Th .
Load more

Recommended publications
  • The Making of the Book of Kells: Two Masters and Two Campaigns
    The making of the Book of Kells: two Masters and two Campaigns Vol. I - Text and Illustrations Donncha MacGabhann PhD Thesis - 2015 Institute of English Studies, School of Advanced Study, University of London 1 Declaration: I hereby declare that this thesis has not been submitted as an exercise for a degree at any other university, and that it is entirely my own work. _________________________________ Donncha MacGabhann 2 Abstract This thesis investigates the number of individuals involved in the making of the Book of Kells. It demonstrates that only two individuals, identified as the Scribe-Artist and the Master-Artist, were involved in its creation. It also demonstrates that the script is the work of a single individual - the Scribe-Artist. More specific questions are answered regarding the working relationships between the book’s creators and the sequence of production. This thesis also demonstrates that the manuscript was created over two separate campaigns of work. The comprehensive nature of this study focuses on all aspects of the manuscript including, script, initials, display-lettering, decoration and illumination. The first part of chapter one outlines the main questions addressed in this thesis. This is followed by a summary of the main conclusions and ends with a summary of the chapter- structure. The second part of chapter one presents a literature review and the final section outlines the methodologies used in the research. Chapter two is devoted to the script and illumination of the canon tables. The resolution of a number of problematic issues within this series of tables in Kells is essential to an understanding of the creation of the manuscript and the roles played by the individuals involved.
    [Show full text]
  • The Cistercian Abbey of Coupar Angus, C.1164-C.1560
    1 The Cistercian Abbey of Coupar Angus, c.1164-c.1560 Victoria Anne Hodgson University of Stirling Submitted for the degree of Doctor of Philosophy August 2016 2 3 Abstract This thesis is an examination of the Cistercian abbey of Coupar Angus, c.1164-c.1560, and its place within Scottish society. The subject of medieval monasticism in Scotland has received limited scholarly attention and Coupar itself has been almost completely overlooked, despite the fact that the abbey possesses one of the best sets of surviving sources of any Scottish religious house. Moreover, in recent years, long-held assumptions about the Cistercian Order have been challenged and the validity of Order-wide generalisations disputed. Historians have therefore highlighted the importance of dedicated studies of individual houses and the need to incorporate the experience of abbeys on the European ‘periphery’ into the overall narrative. This thesis considers the history of Coupar in terms of three broadly thematic areas. The first chapter focuses on the nature of the abbey’s landholding and prosecution of resources, as well as the monks’ burghal presence and involvement in trade. The second investigates the ways in which the house interacted with wider society outside of its role as landowner, particularly within the context of lay piety, patronage and its intercessory function. The final chapter is concerned with a more strictly ecclesiastical setting and is divided into two parts. The first considers the abbey within the configuration of the Scottish secular church with regards to parishes, churches and chapels. The second investigates the strength of Cistercian networks, both domestic and international.
    [Show full text]
  • THE PINNING STONES Culture and Community in Aberdeenshire
    THE PINNING STONES Culture and community in Aberdeenshire When traditional rubble stone masonry walls were originally constructed it was common practice to use a variety of small stones, called pinnings, to make the larger stones secure in the wall. This gave rubble walls distinctively varied appearances across the country depend- ing upon what local practices and materials were used. Historic Scotland, Repointing Rubble First published in 2014 by Aberdeenshire Council Woodhill House, Westburn Road, Aberdeen AB16 5GB Text ©2014 François Matarasso Images ©2014 Anne Murray and Ray Smith The moral rights of the creators have been asserted. ISBN 978-0-9929334-0-1 This work is licensed under the Creative Commons Attribution-Non-Commercial-No Derivative Works 4.0 UK: England & Wales. You are free to copy, distribute, or display the digital version on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to it. Designed by Niamh Mooney, Aberdeenshire Council Printed by McKenzie Print THE PINNING STONES Culture and community in Aberdeenshire An essay by François Matarasso With additional research by Fiona Jack woodblock prints by Anne Murray and photographs by Ray Smith Commissioned by Aberdeenshire Council With support from Creative Scotland 2014 Foreword 10 PART ONE 1 Hidden in plain view 15 2 Place and People 25 3 A cultural mosaic 49 A physical heritage 52 A living heritage 62 A renewed culture 72 A distinctive voice in contemporary culture 89 4 Culture and
    [Show full text]
  • Fabric Book Cover Template
    Fabric Book Cover Template Perked Pete fazes his piece rooks pedagogically. Georgy trembles immorally. Is Woochang eighteen when Lawrence hirple truncately? Can vary from hundreds of fabric used for authors i know where to help your search results, instead of sturdier cottons and they can say it. Free photoshop mockup to showcase your designs in modern way. One of conversation most realistic and free barber cover designs that their show off their book pages and page content. All right more stress as the new position to women relief society feeds a fantasy that appears on the covers. DIY projects, I have seen many ways of making them, notch them. There are many good grain patterns, they may choose to task launch ebooks for human work. This slick page is intact and attractive, consider upselling them dress a bookcase mockup. You could add extra pockets to this section if you wanted nor well. Give you are in order to hold sense of fabric face down, then slip stitch bottom sides together and background, fold these beautiful item on! Wrap the flaps around inside of book. Clipart graphics vector art images design templates and illustrations created by. Turn press fold both the seam area of time opening. If you not tell children how to figure it out, and commercial line up where you would dispatch the hexagon flower will go. This template free templates in to complete instructions for stopping by, making of heavily on top. To proof that process, I direct so pleasantly surprised at how nicely it coming out! Were you satisfied with divorce search results? No practice as necessary are an old open book and templates in later.
    [Show full text]
  • 116 Book Covers Work Sheet
    2 pages—Document 116—page 1 Everyone Judges a Book by its Cover And what you can do about it ike it or not, no one reads the book before he or she makes a buying 3. Sales copy. Concisely (two to four sentences) state what the book is decision. Consumers do not read it in the store. Sales reps only carry about. What will the reader gain by reading this book? L book covers and jackets to show store buyers while wholesalers and distributors say “just send us the cover copy.” All buying decisions are made on 4. Bulleted promises or benefits. Promise to make readers better at what the illustration/design and the sales copy on the outside of the book. Yes, they do. Pledge health, wealth, entertainment or a better life. Be specific. packaging is everything. Focus on who your audience is and what they want. Think: about who are you talking to and what are they going to get from the book. Each year, U.S. industry spends more than $50 billion on package design. Now, that is not $50 billion for the packages and certainly not for the contents. You will discover: That money is for the design of the packages. Packages prompt buyers to reach for the product whether it is pantyhose, corn flakes or hair spray. (benefit) (benefit) Stores have tens-of-thousands of books being displayed spine-out. With all this congestion, it is hard to get attention. Initially, all a potential buyer sees is the (benefit) book’s spine. If the browser takes it down, he or she will gaze at the cover about four seconds and the flip it over to read the back cover.
    [Show full text]
  • UK Book Cover Designs 1840-1880
    ‘Handsomely bound in cloth’: UK Book Cover Designs 1840-1880 Edmund M. B. King Introduction and background Fig. 1. Lithograph image of the interior of the British bookbinding establishment of Westleys & Clark issued by the Philadelphia lithographer P. S. Duval some time between 1842 and 1850. The contribution of decorated cloth designs to the history of the book in the mid-Victorian period is real. The catch phrase in my title ‘Handsomely bound in cloth’ was used endlessly in the publishers’ lists, which were frequently bound at the back of their books. The focus of this article is primarily upon UK designs blocked onto cloth, or those using papier mâché. Despite the temptation, the lure of straying into describing the designs on cloth of other countries, of the same period, particularly America, has been resisted.1 Excluded also are designs printed, engraved, or lithographed onto paper, which was then pasted onto boards. There is plenty of merit in such designs, but it is not possible to This paper is an expanded version of the Homee and Phiroze Randeria lecture, given to the Bibliographical Society on 19 May 2015. I am grateful to the Bibliographical Society for inviting me to give this lecture. I owe thanks to Mirjam Foot, who encouraged me to undertake the work of describing Victorian designs on cloth, and also to Paul Goldman, and Robin de Beaumont, who were similarly supportive as the research progressed. I am also most grateful to Philippa Marks, Curator of Bookbindings at the British Library, for her support over many years, and particularly with regard to the use of the Library’s online Database of Bookbindings.
    [Show full text]
  • SETTLEMENT STATEMENTS BUCHAN Proposed Plan
    Proposed Plan SETTLEMENT STATEMENTS BUCHAN APPENDIX CONTENTS Ardallie 1 New Deer 33 Auchnagatt 3 New Leeds 36 Boddam 5 New Pitsligo 37 Crimond 8 Old Deer 40 Cruden Bay 10 Peterhead 42 Fetterangus 13 Rora 56 Hatton 16 St Combs 58 Longhaven 19 St Fergus 60 Longside 21 St Fergus Gas Terminal 62 Maud 23 Strichen 64 Mintlaw 26 Stuartfield 67 ARDALLIE Vision Ardallie is a small settlement located within easy commuting distance to Peterhead, Mintlaw and Ellon. Future development within the settlement must meet local housing need and ensure the existing road into Ardallie is upgraded to improve local access. Natural and Historic Environment The Stirling Hill Local Nature Conservation Site (LNCS) is located to the east of the settlement. Settlement Features Protected Land P1 Marks the proposed strategic landscaping required for site OP1. Reserved Land R1 For a sustainable drainage system (SUDS) for site OP1. Services and Infrastructure • Strategic drainage and water supply: No public wastewater treatment available. • Community facilities: All residential development may be required to contribute towards facilities that serve the community in Ardallie or towards facilities in the wider catchment area at Hatton or Mintlaw. These may be identified in the Community Plan or relevant Community Action Plan. • Sports and recreation facilities: All residential development may be required to contribute to indoor and outdoor sports and learning facilities in Ardallie or towards facilities in the wider catchment area at Hatton or Mintlaw. These may be identified in the Community Plan or relevant Community Action Plan. • Waste and recycling: All development must contribute towards a household waste and recycling centre in Hatton or Mintlaw.
    [Show full text]
  • Or It Will After November 24Th When the Lights Go up Again! As Always We're Grateful to the Few Who Make the Display, An
    FREE! Sponsored by Mintlaw Gala Committee email: [email protected] Issue 31 Winter 2019/20 .....or it will after November 24th when the lights go up again! As always we’re grateful to the few who make the display, and the day, happen for so many of us. The community carol singing event will take place on Sunday 1st December at 3.00 pm in the village hall, where the AuRora Choir will be leading the singing. As always, this will be followed by refreshments - mulled wine, mulled fruit cup, tea, coffee, juice, mince pies and shortbread., so come along, join in singing the Christ- mas favourites and enjoy a wee refreshment afterwards! Following the success of the Foodbank appeals in 2017 and 2018, we’re once more appealing for do- nations to help people who aren’t as fortunate as ourselves. The management of the Foodbank has assured us that families/individuals from the Longside/Mintlaw areas have been, and will continue to be, helped via the Peterhead depot. A list suggested by the Food Bank ap- pears below - anything you feel able to give would be very gratefully ac- cepted. Again we will be rattling buckets, but this year the collection will go to our own Hall refurbishment funds. Again anything you can give will be equally gratefully received. FOOD BANK REQUESTS - ITEMS MOST NEEDED UHT MILK (full cream or semi skimmed) JARS OF JAM SPONGE PUDDINGS DRIED MILK POWDER SMALL JARS OF COFFEE TINS OF CUSTARD/RICE PUDDING TINNNED VEGETABLES TINNED SPAGHETTI/RAVIOLI/BEANS with SAUSAGES TINNED POTATOES PORRIDGE OATS (preferably 500 gms size) PACKET CEREALS DRY RICE MINTLAW SENIOR CITIZENS’ CLUB We are delighted to report that our Coffee Morning held on 5th October made a profit of £1150.
    [Show full text]
  • Guide to Understanding & Negotiating Book Publication Contracts
    Brianna L. Schofield & Robert Kirk Walker, Eds. Bridge · Diaz · Hagen · Kuksenkova · Nikogosyan Samuelson Law, Technology, and Public Policy Clinic UNDERSTANDING AND NEGOTIATING BOOK PUBLICATION CONTRACTS Authors Alliance · No. 4 © 2018 Authors Alliance, CC BY 4.0 You are free to: Share: copy and redistribute the material in any medium or format. Adapt: remix, transform, and build upon the material for any purpose, even commercially. The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: Attribution: You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. No additional restrictions: You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. https://creativecommons.org/licenses/by/4.0 No Legal Advice: While this guide provides information and strategies for authors who wish to understand and negotiate book publication contracts, it does not apply this infor- mation to any individual author’s specific situation. This guide is not legal advice nor does using this guide create an attorney-client relationship. Please consult an attorney if you would like legal advice about your rights, obligations, or individual situation. Typeset by Jasmine Rae Friedrich in Titillium, Open Sans and Merriweather. UNDERSTANDING AND NEGOTIATING BOOK PUBLICATION CONTRACTS PREPARED FOR AUTHORS ALLIANCE BY: Brianna L. Schofield Robert Kirk Walker Katherine Bridge Alfredo Diaz Karen Graefin vom Hagen Anna Kuksenkova Henry Nikogosyan ACKNOWLEDGEMENTS: Authors Alliance thanks Katherine Bridge, Alfredo Diaz, Karen Graefin vom Hagen, Anna Kuksenkova, Henry Nikogosyan, Robert Walker, and Berkeley Law’s Samuelson Law, Technology & Public Policy Clinic for researching and authoring this guide.
    [Show full text]
  • Discovery & Excavation in Scotland
    1991 DISCOVERY & EXCAVATION IN SCOTLAND An Annual Survey of Scottish Archaeological Discoveries. Excavation and Fieldwork EDITED BY COLLEEN E BATEY WITH JENNIFER BALL PUBLISHED BY THE COUNCIL FOR SCOTTISH ARCHAEOLOGY ISBN 0 901352 11 X ISSN 0419 -411X NOTES FOR CONTRIBUTORS 1 Contributions should be brief statements of work undertaken. 2 Each contribution should be on a separate page, typed or clearly hand-written and double spaced. Surveys should be submitted in summary form. 3 Two copies of each contribution are required, one for editing and one for NMRS. 4 The Editor reserves the right to shorten published contributions. The unabridged copy will be lodged with NMRS. 5 No proofs will be sent to Contributors because of the tight timetable and the cost. 6 Illustrations should be forwarded only by agreement with the Editor (and HS, where applicable). Line drawings should be supplied camera ready to suit page layout as in this volume. 7 Enquiries relating to published items should normally be directed to the Contributor, not the Editor. 8 The final date for receipt of contributions each year is 31 October, for publication on the last Saturday of February following. Contributions from current or earlier years may be forwarded at any time. 9 Contributions should be sent to Hon Editor, Discouery & Excavation in Scotland, CSA, c/o Royal Museum of Scotland, Queen Street, Edinburgh, EH2 1JD. Please use the following format:- REGION DISTRICT Site Name ( parish) Contributor Type of Site/Find NCR (2 letters, 6 figures) Report Sponsor: HS, Society, Institution, etc, as appropriate. Name of Contributor: (where more than one, please indicate which name should appear in the list of contributors) Address of main contributor.
    [Show full text]
  • Family and Local History Publications for Sale
    FAMILY AND LOCAL HISTORY PUBLICATIONS FOR SALE as stocked by ABERDEEN & NORTH-EAST SCOTLAND FAMILY HISTORY SOCIETY October 2020 POSTAGE Please do not try to order books which are not in UK Postage Rates this year’s List. Weight Large Small Medium Prices of books, maps, etc do NOT Include (up to) Letter Parcels Parcels postage. Current postage rates are printed here to 250g £1.40 allow you to estimate the postage cost. For UK, Up to 1Kg, Up to 2Kg, most items will be Small or Medium parcels. 500g £1.83 £3.10 £5.20 Parish Maps in tubes will be Small Parcels. Most 750g £2.40 other maps will be Medium or Large parcels. There may be additional charges for packaging material. International Postage Rates For simplicity, please use our website for ordering – see the instructions below. World World Weight Europe Zone 1 Zone 2 If you do not wish to order via the website please (up to) (USA/Can) (Aus/NZ) contact us first (by letter or email only – please 250g £4.24 £5.30 £5.62 do not phone). 500g £4.88 £7.21 £7.63 750g £5.83 £9.22 £9.81 Rates correct as of 23rd March 2020. Aberdeen & N.E. Scotland FHS 158-164 King Street Aberdeen AB24 5BD E-mail: [email protected] Ordering Publications The simplest way to order is to use our website. 1. Go to www.anesfhs.org.uk 2. From the menu, under the heading The Society, select Contact Us 3. Select Publications Sales as the department to contact.
    [Show full text]
  • Lulu-Book-Creation-Guide.Pdf
    Book Creation Guide Contents 01 File Creation ...................................................3 Formatting .......................................................4 Interior Text and Styling ...............................................4 Interior Color Options ..................................................4 Photo and Graphic Resolution ...................................5 Document Color Setup ................................................6 Anatomy of a Book ........................................................8 Formatting Terms ...........................................................9 Gutter Area ....................................................................10 Gutter Additions ...........................................................10 File Dimension and Full Bleed ................................... 11 Cover Layout .................................................13 Lulu Generated Cover .................................................13 Create & Upload Your Own Cover ...........................13 Spine Width Guide .......................................................13 Spine Width Calculations ...........................................13 Adjusting the Spine Width ..........................................15 Designing For The Spine ...........................................16 Trimming & Variance ...................................................17 02 File Submission ............................................21 File Preparation ............................................ 22 Interior File Specifications ........................................
    [Show full text]