The initial on this page is a good example of decorative penwork rather than illumination, and would have been the work of a scribe or “rubricator”, who added these flourishes after the pages were printed in black. Although there were early experiments in printing in red these were not continued, presumably because it was easier and cheaper to continue adding red by hand.

Pope Gregory I. Moralia sive expositio in Job (Commentary on Job). Cologne: Conrad Winters, de Homborch, 1476.

The initial on this page is a good example of decorative penwork rather than illumination, and would have been the work of a scribe or “rubricator”, who added these flourishes after the pages were printed in black. Although there were early experiments in printing in red these were not continued, presumably because it was easier and cheaper to continue adding red by hand.

Pope Gregory I. Moralia sive expositio in Job (Commentary on Job). Cologne: Conrad Winters, de Homborch, 1476.

The initial on this page is a good example of decorative penwork rather than illumination, and would have been the work of a scribe or “rubricator”, who added these flourishes after the pages were printed in black. Although there were early experiments in printing in red these were not continued, presumably because it was easier and cheaper to continue adding red by hand.

Pope Gregory I. Moralia sive expositio in Job (Commentary on Job). Cologne: Conrad Winters, de Homborch, 1476.

Woodcut ornamental initials and borders developed slowly in the 15th century and eventually displaced handpainted decoration. They could be printed at the same time as the type, which was a practical and economic advantage.
The increasing availability of ornamental letters and type sizes meant that the addition of colour, and red in particular, was no longer necessary as a guide around the book, and books became black and white.

Saint Augustine. In sacras Pauli epistolas interpretatio (Interpretation of the holy letters of Paul). 
Paris: Ulrich Gering and Berthold Rembolt, 1499.

Woodcut ornamental initials and borders developed slowly in the 15th century and eventually displaced handpainted decoration. They could be printed at the same time as the type, which was a practical and economic advantage.
The increasing availability of ornamental letters and type sizes meant that the addition of colour, and red in particular, was no longer necessary as a guide around the book, and books became black and white.

Saint Augustine. In sacras Pauli epistolas interpretatio (Interpretation of the holy letters of Paul). 
Paris: Ulrich Gering and Berthold Rembolt, 1499.

The fine illumination on this printed page is typical of the work produced in Venice in both manuscripts and incunabula of the 15th century.
The border of leaves and flowers has a delicate background of scroll work and gold dots.

Saint Thomas Aquinas. Summa contra gentiles, sive De veritate Catholicae fidei (Treatise against the Gentiles, or Concerning the truth of the Catholic faith). 
Venice: Franz Renner, Nicolaus von Frankfurt, 1476.

The fine illumination on this printed page is typical of the work produced in Venice in both manuscripts and incunabula of the 15th century.
The border of leaves and flowers has a delicate background of scroll work and gold dots.

Saint Thomas Aquinas. Summa contra gentiles, sive De veritate Catholicae fidei (Treatise against the Gentiles, or Concerning the truth of the Catholic faith). 
Venice: Franz Renner, Nicolaus von Frankfurt, 1476.