Professional Documents
Culture Documents
3Ut 0f
illuminati
JEissal
fainting.
BY
W.
"
G.
AUDSLEY,
ARCHITECTS.
WITH
EIGHT
PAGES
OF
LITHOGRAPHIC
ILLUSTRATIONS.
SECOND
EDITION.
ICnnfoan :
GEOEGE
MANUFACTURING
EOWNEY
ARTISTS'
AND
COLOURMEN, PLACE.
CO.
51
AND
52,
RATHBONE
1861.
The
right of
Translation
is reserved.
Owing
Art of
to
the
rapidly
and
increasing
the devotion
love
for
the
beautiful
Illumination,
with
which
it is
being
studied
throughout
is
the
length
for
and
breadth
of
our
land
"
no
apology
required
the
appearance
of
this
little
volume.
We
have
endeavoured
to
write
it
throughout
to
in
simple
and
connected
manner,
in
order
save,
as
much
as
possible,
and
confusion
and
doubt
in
the
ininds
of
our
readers
;
we
trust
it
will
be
found
of
practicable
value
to
the
Student
and
Amateur.
Having
the
had
considerable
experience
and
in
all
branches
of
Illuminator's
Art,
being
at
the
present
time
engaged
upon
the
most
extensive
modern
original
to
nated illumi-
work*
that
has
ever
been
offered
the
public,
we
"
The
Sermon
on
the
Mount,"
large
folio,
Day
and
Son,
London.
4)
PREFACE.
can,
with
assurance,
lay
the
before
our
readers
our
few
remarks
on
materials
and
manipulative
assistance of
processes.
With
the
able
the
publishers,
illustrations
we
have
introduced
more
complete
offered,
series
of
than
has
ever
before
been
even
in
works
of
five
times
the
price
of
the
present.
W.
"
G.
A.
Liverpool,
January,
1861.
"wire
TO
flf JUttmhrating
AJTD
fainting.
We
Great
are
in living be is
the
nineteenth
century, an
the
we
age
tined des-
to
rendered
our
indeed
has
dawned
our
upon
world,with
we
forefathers at
an are
hand, wherewith
name.
immortal the
.resources
Wonderful
of
our
time, and
which
the
are
discoveries and
inventions
day ; but it is alone we "will owe not to these our golden throne in from those it is not in these alone we are singular history, centuries which have rolled along the pathway of time into the limitless past; Art, the expression of man's lofty
made, and
have
been
being made
every
of
mind,
will be
the
gloryon
be
that immortal
on
pen scroll.
which
shall
may
said to be
its
of nearly three centuries, and who dare say sleep its renewed light that which will .not outshine in glory
has gone
before.
may say, have the fine arts stood on has they do at the present time, never and universally
so
Never, we
basis
been
as so so
firm
painting
and has
poetry
INTRODUCTION.
and such a subject architecture proved of general interest, been so liberally studied. ments In the art-world, amongst the most brilliantachieveof the present century, is the revival of Gothic
with its attendant Architecture, It would be difficult, indeed,to train of decorative arts. say where the usefulness
of that revival will end ; already has it worked wonders in nearly all departments of ornamental art, and yet it is evident that its career One has but
begun.
burst already
great handmaid
of architecture has
before the world, and we may look forward with almost works more certain hope to behold its revival producing I brilliantthan those which marked its brightest eras. allude to the Art of Illumination. Numerous the treasures scattered amongst our many are nators national and public from which modern illumilibraries,
may in their derive inspiration
art. glorious to to
Yet to
to
such sumptuous monuments beginners, the Early checks act but as Fathers, the master them in it appears vain to endeavour and beautyof design that mortal hands however, forget, and of
and that mortal hands birth, theycould not do in former To the uninitiated, works based
on
heads
times.
a
more
and in directions,with in style supplied, educationary to the manipulatory regard processes in connection with the until of the art, and encouraging in their tendency, practice the beginner becomes the student, and the student in turn
the master and teacher. That public taste is improving, we for every articlesof
can
have
no
doubt,
day we may observe a marked advancement in is the and luxury, but in no department utility of more manifest than in works of we improvement speak Ecclesiastical Art. or Gothic, The sesthetical principles which be and feelings may observed to pervadeall the remains of the labours of the
INTRODUCTION.
or sympathy, master-spirit, which seems link between to form the great connecting the several departments of their works, is becomingevery hour better understood, felt amongst and more inwardly
that
This is much
the genius, it is of mind be breathed into material things, freemasonry but little to to express in sympathy theycan be expected for unless desired, the
poetryof
inventive
the educated eye and taste. Of allthe arts which nourished during the Middle Ages, that of Illumination may be said to be the most glorious ; this cannot consider to what be wondered at when we
mainly applied, namely,the decoration of purpose it was the Scriptures, ture. the revered word of the Deity to the Creanecessary for of the utility of the question
It is not
us
the
as we studyof illuminations, find them during the ages of their birth and growth, for the purpose of art-education, of into the question or the vast light of the such a study throws upon the subject of the ornamental and pictorial arts of design, knowledge of their execution. No as practised duringthe periods one to say, be bold enough to deny will,we venture
Italyof
ancient wall
in Western
only perfect guidesin the form of Illuminated MSS., with the partial in favour of sculptured works, exception which are, however, fast disappearing, crumbling away before the rough winds of time. Ere we which forms to treat of the subject proceed the firstportion of our Manual, viz., the History of the Art of Illuminating duringthe Middle Ages, let us say
read these pages, and to all who may be filledwith the laudable ambition to aid by their individual
a
word
to those who
be
fart "$trat
art
However
to a interesting general reader, and in an archeological point of view it might be to trace the rise and of the caligraphic its first struggles art from progress for existance, and comment the various rude materials on used in connexion with it, anterior duction to the important introof parchment and vellum, it would be out of place in such work the present. circumscribed a as necessarily Nor is it required for the progress of this Treatise, to allude to the art of writing in save a sketchy manner. any way
It
is almost is
one
needless in
to
tell you
that
an
illuminated
duced is intro-
manuscript
as an
which
to
decorative
material
This of
adjunct
the
writing.
in the
form
ornamental
matter
is sometimes
found
paintings,or
in the form miniatures,illustrative of the text, sometimes of partial, to or complete borders, forming a frame-work the writing, in which the fancy of the illuminator has been of animals, birds, insects, indulged by the introduction and "c., amongst the scroll-work foliage; however, it
was
in
the
initial letters
that
the
illuminators
of
old
Of all these shall have to delightedand excelled. we hereafter. speak more fully That the Art of Illuminating, or decorating manuscripts known at very early was times, we have conclusive evidence. The Romans said to have had the practiceof decorating are their books with portraits but and imaginary subjects ; the only proof we have, is from the writings of the classical authors
themselves.
We
can
have
but
little doubt
that
THE
ABT
DURING
THE
MIDDLE
AGES.
and the nations .of the Greece,Egypt, in to its introduction into Home prior However, with these remote times we
East nursed the art the second century. have but little to
do ; it is to the centuries between the fifthand sixteenth that the true Art of Illumination belongs. Of the Saxon
era
we
have
us,
some
to manuscripts preserved
all of which
may
safely
may
gaze upon
and Christianity factthat civilization acknowledged before either was troduce inreignedlong in Ireland, fully that we into England; it is natural, therefore, should firstlook to Ireland for the art of illuminating, nor do we look in vain,we find it nourishing there longbefore it was known
"
with
us.
of the state of Art in Ireland, Professor "WestSpeaking wood in his Palseographia that at a Sacra Pictoria," says, when the fine arts may be said to have been almost period extinct in Italy and other partsof the continent namely, from the fifthto the end of the eighth of century a style
"
" "
art
had
been established
from
and
cultivated in
that
of all other
evidence to prove that in the sixth and seventh centuries, the art of ornamenting and especially of the of the Sacred Scriptures, manuscripts in Ireland almost had attained a perfection Gospels, which in after ages was and marvellous, adoptedand initiated by the Continental Schools visited by the Irish missionaries."" The
most
There is abundant
beautiful and
wonderful
of
the
of is the " Book illuminations, Dublin. This in the Library of Trinity College, valuable manuscript executed during the sixth century. was
Hibernian
Few
richness and
we can
fully
which prompted Westwood to feelings be proud of the Book of exclaim, Ireland may justly and complete Kells/ of For an interesting description
enter
into those
" "
'
10
THE
ART
DURING
this
of early Celtic art, must refer our we great specimen readers to his able article, Sacra in his " Palseographia Pictoria."
illuminations which sprang from the Irish English school,, by the Durham Book," may be best represented the finest specimen of Anglo-Hibernian illumination in existence. This splendid illuminated on the MS. was
The
"
about the year A.D. 700. In it we Lindisfarne, and in figure drawing, may observe a decided improvement in the decorative portions advance in the direction of an and in harmony, and design.
we schools,
Island of
connectedness
and
of style completeness
observe the
The
with
decided want
black
are
grounds,
sometimes
rather confused
decorative material
lines by two or more openingspiral and sweepinginto minor volutes point, the interstices being filledin with lines,
and often the initials selves, themwithin the letters, of formed or filled up with a great variety are lacertine animals, reptiles and birds, attenuated in a hideous manner, with their tailsand tongues extended into
long ribbons,and twined among their legsand bodies. Intricate and beautifully executed spiral and animals' lines, heads terminate projecting parts. Borders of this periodare mostly executed in the 1. shewn in Fig. interlacing ribbon-work, animals formed of intertwining are found, Diaper patterns
THE
MIDDLE
AGES.
II
or
several birds,
manner
times
repeated.The
human
is figure after
treated illuminations,
countless number
tive is often rendered decorato the great capitals, contiguous by being groundedwith colour and ornamented with and ribbons. It is worthyof remark that animals, birds, natural flowers and foliage omitted in almost entirely are works A of Celtic art. of illumination which style
arose
was century,
consists in the vellum on which the illuminations peculiarity executed ; it being stained (orin later times painted) were with differentshades of violet, minations rose or purple, ; the illuexecuted in gold and text were usually entirely and silver, thoughcolours were sometimes introduced. We have some valuable earlyexamples of this regal school of illumination preserved to us ; fine specimens may be seen in a manuscript the in of Gospels, the copy Cottonian Library, British Museum, (Tit. C. 15.) while there
are
Stockholm.
the most interesting and ancient of the stained Perhaps vellum manuscripts, Silver is the Codex Argenteus/" or it book of Ulphilas, in the Royal Library at Upsala, now is nearly written in silver a complete copy of the Gospels, Its date is and goldletters on violet coloured vellum.
"
century.
MS. purple of the
"
school, Anglo-Saxon Professor Westwood remarks : The EoyalManuscript in the British Museum, (marked 1 E 6,)must be preserved of early esteemed one of the most monuments precious and illumination which have come Anglo-Saxon caligraphy
down
to
our
times. size
Its noble
(18
inches
by 14),the
clearness of the
united writing,
leaves are
the circumstance that several of its stained with a very dark purple colour, might with
THE
ART
DURING
presumptionthat this was the identical St. Wilfred presented to the copy of the Gospelswhich which his biographer, Church of -York, and Eddius, From described as a thingalmost miraculous. an tion inscripthe fly-leaf in a hand about 500 on years old, the volume to have belonged to the Monastery of appears Saint Augustin, at Canterbury."
that in the valuable MS. alluded to, may remark introduced on the purple colour is largely grounds,with a wonderful effect. truly Plate 1, Fig.2, contains three letters from this manuscript, in which which are curious,showing the manner letters were entwined duringthe reignof the Anglo-Saxon school of caligraphy. The letters in question are QUI, the first half of the Latin word A
QUIDEM.
We
in golden written throughout Psalter, very magnificent letters upon purple vellum, (ifit may not be considered the finest in the specimenin England) is now preserved Bodleian Library. Writing in goldwas not confined to purplemanuscripts of it on white vellum, however, as we have several examples No. There is a fine specimen in the Harleian Collection, 3788. On the
patron of
his works
under In the
advanced. fostering rapidly care, illuminating of his school it may art,which led to its
we
observe traces of classic treatment; may therefore be inferred .that the love for could not have died out, must altogether
Roman have
Hence it comes partial study as a model. find the acanthus, (or rather a conventional treatment that we of the introduced in the manuscripts of it) liberally while the period. All traces of Hibernian art disappear, and capital letters assume ornaments a simplerand more massive About
character.
the time of the
Alfred,considerable
as
intercourse
took
with place
this continent,
the effect of
into introducing
the
THE
MIDDLE
AGES.
13
school; not, of the early peculiarities Hibernian manuscripts. Anglowhich we the term In the works of this style, may of the Charlemagne Franco- Saxon, the massive simplicity feature with the intricate interlacing combined is cleverly
of the Celtic School. This interlaced
Prankish
change,
The initial becoming bolder and more open in treatment. formed of plainbroad gold bands, letters were generally divided into panels, which were filled in with occasionally Celtic ornament,
of this
or
An
tion illustra-
is given in Plate 1, Fig.4, style peculiar it is taken from a manuscript rather late in the although school. Animals One and detached heads
were
at times
introduced in
extant,is the
numbered in the Harleian Collection, 3788. were During the ninth century, many manuscripts
executed, worthymonuments
art.
Great of this
beauty is period;we
to
be
observed
border-work
givenan example in Plate 1, Pig. 3, but poorly) to give idea as to which may serve an (though the prevailing character. We arrive at the latest Anglo-Saxonstyle, and now artistic merit of all perhapsthe finest as far as regards the schools prior to the twelfth century. We have good reason to believe that the style in question, which dates about the tenth century,is purely no national, beingfound in continental work. parallel The finest specimenof this school remaining to us, is the far famed Benedictional of Ethelwold, to the belonging There are others of greatbeauty Duke of Devonshire. at Rouen, from one of which we have a reduced fac-simile, Plate I, Fig.6, and a copy of the Gospelsexecuted in the same from which is shown in Fig. 5, a fragment style,
have
14
THE
ART
DURING
"Gospelsof -King Canute." The leading of this period fined are peculiarities mainlyconform complete frames to the to the borders,which text. constructed of massive parallel They are usually with corner and centre gold bars,outlined with yellow, of geometrical ornaments form, in and about these bars and ornaments, foliage of a severe, though graceful ventional connature is twined.
It is
fact of
some
interest,
alluded to bears a stronglikeness to that foliage in the sculptured decoration of the EarlyEnglish adopted of Gothic Architecture two centuries afterwards. period Miniatures of pieces the
are
that the
sometimes
introduced
into the
centre
as in our borders, examplefrom the Gospels of Canute, Fig. 5. Keference to Fig.6, (a corner ment ornafrom one of the Gospelspreserved at Eouen) will illustrate the peculiar of the foliage. treatment
The
are
contained
within
these
still and rich, and the interlaced large feature is retained about their extremities. The latter of the tenth and the whole of the eleventh portion tional centuries, may be looked upon as disconnected and transibecomes a difficult matter to periods.It, therefore, of a satisfactory notice giveanything those eras. art during The Normans first years
was
elaborate borders
did very little to encourage the arts in the of their sovereignty minating we ; in fact, may say, illufor
a
if not abandoned. forsaken, entirely works of However, the eleventh centuryhas produced some considerable merit,and the colouring of some examplesis rich and harmonious. particularly
time
Modifications of earlierilluminations
of this
are
used
in MSS.
for
"We may observe the detail of the illuminations of the eleventh century being formed, which developed itself to such a remarkable manner in the following period. Of all the of illumination, that styles which
occupied
16
THE
ART
DURING
chromatic
twelfth
century scroll-work
upon
different
in Plate 1, Figs. 9, 10, 11, 12. grounds, may be seen These scrolls, formingthe characteristicfeature although still only adjunctsto the initial letters, of the period, are to which the decorative illumination was applied. generally It is much be that the and inventive to regretted fancy genius of the Limners of the twelfth century, did not extend to borders,such both introduced in as were and after eras. previous letters of the twelfth century The forms of the capital in our collection, are being free, perhapsthe most perfect and correct. The minor initials are studies graceful, themselves in conventional designand treatment. See Plate 1, Fig. 13. this period A very peculiar arose applied style during to slip to initials, borders, though occasionally principally (wheregreatarchitectural merit is to be observed). These and borders were formed of scroll-work, and initials foliage, in red alone, with animal forms, outlined and shaded groundsof blue and green introduced within the features of this work of the designor letter ; specimens be may in Plate 1, Fig.9, and Plate 2, Figs. seen 1, 2. Pen-work used duringthe appears to have been much twelfth century, greatlyto the exclusion of the brush. The last mentioned styleis altogether pen-work in its ornamental portions, resort onlyhaving been made to the brush in the groundings of blue and green. Splendid specimens of this treatment may be found in the HarMS. No. 2,800, extensive selections from leian collection, which have been figured by Mr. H. Shaw, in his valuable
work
on
Illumination.
of the latter years of the thirteenth century, a is artistic decline in bold display be and traced. feeling to In works
During
became
became The
this
the period,
scroll-work and
in
detail
the
crowded
and reduced
while scale,
generally colouring
heavy, and
initialsthemselves
their extremities
into
THE
MIDDLE
AGES.
17
to the bottom,or sometimes reaching floriated terminations, in This peculiarity to the top of the text. extending the forerunner of the with the capitals, connexion was
century. following common more duringthis period treated upon a solid background than heretofore, generally for the most of gold. The colours employedwere part with their and green, shaded tones, and blue, deeper pink, worked with white lines. Red and or hatched, delicately sometimes used in the miniatures. were purple introduced Conventionalized animal forms were liberally
amongst
century;and
were
ofttimes
to
into elongated
with
reference to the initialletters. used Several leaves, were conventionalized, beautifully in the illuminations of the thirteenth, though to be more of the fourteenth century. in the works so extensively
The forms of
some
are question
shown
in
the period, became very rich and beautiful, though they manuscripts and and boldness of the preceding, lacked the simplicity of the following the intricate completeness style.
Plate
2, Fig. 3.
close of the
It is indeed
in difficult,
the
a
presentlittlemanual, to
of the very description beautiful works executed by the Illuminators of numerous the fourteenth century; to give a complete description the whole devoted to would be impossible, contents were
attempt
to
that purpose. outline of the leading features to be or idea, general of the period is all we can observed in the manuscripts how our inadequate give ; yet we are all well aware
A
remarks
known
must
be to convey
eager student
what of the
we
would
by the
art glorious
that all who wish to become important of the should have a good, illuminators, general knowledge of the art, and the prevailing of the peculiarities history various schools and periods such works this, ; to acquire It is very
c
18
THE
ART
DURING
by Count Bastard, produced Sylvestre, Humphreys, Owen Jones, and M. Digby Wyatt should be studied. The style of the fourteenth century is peculiarly worthy of the modern illuminator's study of allthe periods ; being In of the art,perhaps the most and adaptable. complete real feeling and artisticmerit it is inferiorto earlier styles ; in yet owing to the generous distribution of its ornament
as
those
it borders of all classes, and the like, miniatures, initials, take its position brilliant periods the most may among which and flourished
beauty
of
the Middle Ages. In brilliancy during of the fourteenth the manuscripts colouring
into
one
another
in
some
ornamental
manner,
by a
The colours
and goldand blue,laid blue, Plate 2, Figs. tints, 7, 9. the illuminations of outline work pervades A beautiful species of this century, principally grouped around the in graceful tendrils from their or extending capitals, Plate 2, Figs. 4, 5, 7, and In 8. see extremities, grounds, backworks,miniatures on goldand rich diaper important and elaborate masses of ornamental work, partly in outline and partly in delicate colours,were employed and panriels around them. to fill up initials Several fourteenth of
3 Tigs.
new
red and
schools
of the
as century,
be observed
by
an
inspection
to 9
on
such leaves as are shown in Fig 3, bearing of the were used, forming an elegantpeculiarity largely of which is as also another class of leaf, a specimen style, at givenin Fig.6, where its mode of curling, displaying intervals its reverse to side,illustratesits adaptability receive the greatest colour. of contrasting display Line scolls
THE
MIDDLE
AGES.
19
In the illuminated works of the fourteenth century, raised gold, highly introduced as was burnished, largely
miniatures and initials. This was at times ornamented in the most careful and beautiful continental when a period, itselfto Englishilluminations,
Towards influence
beganto extend the raised gold groundsgave way to architectural and This change was ones. mainly due to the landscape school of Italian illuminators, and those founded by the Yan Eycks. In France, under the fostering patronageof Jean,Due de Berri, made rapidstrides, the art of illuminating passing surevery other nation Flemish,Netherlandish thoughthe Italian,
works
were
that of almost
at the
time;
English in comparison. by no means poor, even of peculiar ionalized, shape,sometimes oddly conventintroduced within and around letters and
flowers of
and
were
were greatbeauty valent prein the illuminations of this and the early of portion succeeding period;examplesare shown in Fig. 1,
Conventional
Plate 3.
we
enter upon to
the find
of the subject
our
illumination of the
fifteenthcenturywe
one
task not
to do justice to ; not that it matters imposible of the period but a conwas tinuation much, for the early portion of the prevailing schools of the fourteenth century, rather towards natural a more perhapsinclining next
mode of treatment in the detail. Towards the close of the century, however,a be observed in illuminated works. and treatment debasement We have revived until now. of Gothic The
decaymay
to
be
again
from MSS., only given one or two examples as we datingin the early years of the fifteenthcentury, consider the works of the later years unworthy of the modern illuminator's attention.
c
20
THE
ART
DURING
11, show the modes generally resorted to in shadingrods, much used in the borders of the period, as also during the fourteenth century. Figs.
2, Pigs. 10
12 and 13 illustratethe treatment
A
Plate
and
of conventional leaves.
traced here, when we plainly look at the fourteenth centuryexample, Fig.6. Plate 3, Fig.1, gives of the conventional flowers a few from fourteenth and earlyfifteenth century manuscripts. These will be of value to the modern student, being selected so as to be worthyof his imitation. received its During the fifteenth century,illuminating death blow by the invention of printing. For many years, effect was no visible, important though the art of the Illuminator was beinggradually undermined. carried it The firstsign of the disease which ultimately off and consigned it to a tomb of centuries, the cessation was
less severe
feeling may
be
maiden-aunts have our perchance handed down in the shape of fire-screens, cardto us and other nic-nacs, of this style(if it baskets, specimens may be termed one) and many of their flowers and fruits, other and scions of the insect butterflies, caterpillars, with the best attemptsof the world, vie, and that ably,
THE
MIDDLE
AGES.
21
worst
of
all
schools
of
illumination,
beautiful
were
that
of
the
century.
Several of miniature
for
very
works,
executed
however,
shape
other
paintings
the
purpose
by
Italian
artists works
of
illustrating
to
books.
of
their
remain
a
unequalled
short notice of
the
present
rise and the
to
day.
progress
Having
the
we
given
Art
the
cf
glorious
will
now
of
Illuminating
our
during
attention in the
Middle the
era
Ages,
materials of its
direct and
to
readers' be used
used revival.
then,
present
22
fart
art. nf tjjB SSfobrwbumb in tjp (forty ^rnrfo
But littlecan be said
on
those
materials which
were
of the Limner's art, at early times, employedin the practice it is,that theydid in save now every way excel those we in favour with one exception perhaps press into our service,
of paper. Yet in
the perfection to being forced to acknowledge which our Middle Age artists brought their illuminating the debt of gratitude must not forget we we are materials, under to our manufacturers, for the time they have spent, and the great trouble they have put themselves to, to enable us to approach, rival the works of bygone times. or And we are glad to be able to say that Messrs. E-owney " their assistance Company,have not been backward in lending towards the revival of the beautiful and useful Art of Illumination,
assortment after careful study, an having produced, of colours unequalled for purity and brilliancy of tone. In the earliesteras of the calligraphic inating art, before illum-
been introduced,cumbrous and rude were the materials resorted to, for the purpose of be the written matter. In the catalogue receiving may
may
be said to have
Assa"
metals,bones of animals, We have proof of "c. and skins of reptiles, skins, of papyrus at a very remote period Papyrusof ; the in the Imperial beingsupLibraryof Paris, preserved posed
stones, woods, and
"
to date from
about two
years
thousand B.C.
a
About made in
five hundred
materials, by writing
the introduction
paper
MATERIALS.
23
made
which This material, Egyptian papyrus. for many of Egypt,remained in use was years the staple until the eleventh century, when it was superseded entirely by parchmentand vellum ; which are now the onlyancient from the
use
some
to
parchment,many authors attribute its invention to Attalus, but we of are King of Pergaraus, in use long before his time (200 B.C.) that it was opinion, The credit of its invention is by others claimed for Cumenes (who reignedat Pergamus B.C. 187 159). It seems it bore, Charta however,from the name probable, that itunderwent some Pergamena/' improvement important either in quality mode of manufacture at Pergamus or and we learn that for some article of time it was a staple trade to that kingdom. As to vellum, we decisive knowledge of the have no date of its introduction, but we may suppose it to be with that of parchment. coetaneous in The onlygreat difference between the two consisting the skin from which theyare manufactured vellum being while parchmentis from preparedfrom that of the calf, that of the sheep. The difference alluded to, however, alters the quality vellum of the articleproduced, materially beingthe onlyone of the two suitable for the purpose of illuminating. We of course of the cannot speakwith any certainty but of vellum in the ages of its first introduction, quality
of
"
"
"
"
that for the last ten centuries been made in its manufacture rather the
we
"
know
no
advance
has
reverse.
which remain to us, date anterior to specimens the eighth some as early as the fifthand sixth. century, and roseAnd the art of staining vellum purple, violet, at the above colour,which had reached such perfection and in fact was at a comparatively dates,is now so lost, altogether for recourse made to painting to was early period,
finest
The
more
remote
over
times. with
sometimes
gildedall
gold-leaf
24
MATERIALS.
with and
can
white
of egg,
the skin
being previously
by the artist beingstruck with
brilliant after
a
polished.
examine Middle the works executed
of the
tain produced. Cerit is,that the colours they employed, of the were finest and purestdescription, no by beingspared expense the employers of those artists in procuring whatever was of considered necessary, or conducive to the perfecting
can now
be
their works.
A
strangemode
resorted to
their colours, was times somepreserving by the Illuminators of old, namely that
of
them into linen cloth. For this purpose, introducing various pieceswere steeped in solutions of different and afterwards carefully dried. The clothlet colours, colours (as they were then protected from termed)were influence of light dust, damp, and the injurious by being between the leaves of books made of paper. placed When these colours were for use, fragmentsof required the differently taken and steeped in chargedcloths were the tints pure water for several hours ; by which means and (after the superabundant water was were extracted, rendered readyfor working, by incorporation poured off)
of with their proper vehicles.
The
were,
colours
we
times, early
Yermillion Red Lead Blood Dragon's Orpiment Yellow Ochre Green Blue
SanguisDraconis. Auripigmentum.
Crocus.
Carum. Viride
Grcecum. Indicum.
Album.
Azorium.
Gravetum Minium
Indigo
"White Black
Nigrum.
MATERIALS.
25
During
Lakes, and
the
fifteenth
and
came
centuries, Carmines,
and
were
Ultramarine
into
illuminations.
these
may
colours,
and
two
troduced largelyinThe Italian artists liberally ployed emthat with pre-eminent success, as valuable bv
be observed Soane
years
by
and
the
specimens preserved
Giulio
in
the the
Museum,
1525
were
executed
1580.
Clovio,
between
There
several artists
modes
of old
"
of
two
gilding
of which
illuminations
we
tised prac-
by
here.
the
will
speak
in
of
was
This the
mode,
form of
which
or
sheets
leaves
thinness,
of any
was
resorted
to,
size
generally
were
speaking,
be covered.
surfaces
considerable
to
Secondly, gilding
followed,
to
with
powder-gold.
the
This
or
mode
ornaments
was
in
most
instances, when
surfaces
small, and in lining, hatching, and gilded were coloured The diapering upon grounds. powder here used under water) mixed gold (reduced by being milled was brush. with fish glue, and laid on with Both the a pure alluded to required burnishing to bring up the processes brilliancyof the metal. much A style of gilding was practised during the Middle this was Ages, called raised-gilding, nothing more modes above the raised than bed, composed applied to a
of minium and white
gesso of
be
either
plaster
vellum
called and
raising
egg, laid on
or
preparation
surface
to
of the
the
of
a
it, sometimes
siderable con-
height.
23
MATERIALS.
110
one
can
examine
Ages,
without
the vividness of the colours ornamentation ; and the student too soon
at
becomes
aware
that it is out of his power to rival them. What it is we have lost in the preparation of our colours know in not ; but certain it is, we cannot approach we of tone those used by the old illuminators. brilliancy Within the lastfew years, however, greatadvance has been made and in the manufacture has chemistry
now
and
numerous a
of pigments; preparation
added
which list,
rather formidable appearance. The student has,at the presentday, to trouble himself but little with regardto his colours, for he can procure them ready for use, most carefully prepared ; but the case
assumes was
differentin former times,for all colours used by the Illuminator had to be groundand incorporated within the limits of the Scriptorium. Without readers with our troubling
a
colours in
names
present use,
and
we
will content
by givingthe
are
suitable and
of those peculiarities of the Art for the practice requisite detailed and vellum.
on Illuminating paper
*1 3.
Emerald
Green
of Chromium.
Sap Green.
Green.
28
MATERIALS.
Crimson
4.
Lake
these improves
A
tints. well.
It is
quitepermanent,
This
beautiful cobalt of
tone. peculiar
and is a valuable addition introduction, It is only to the Illuminator's palette. prepared by Messrs. G. Bowney " Co., and is permanent,working well either in washes or body colour. Is a gorgeous full-toned blue; in its tint 5. Smalt. of violet. It is permanent, and in illuminating partaking colour is of recent
"
*1.
Vermillion.
on
"
Scarlet Yermillion
is
one
of the most
useful colours
beingin itspure palette, and drying state a rich brilliantbody colour, flowingwell, dead and uniform. With Lamp Black it forms deepbody Browns, and with White, a series of beautiful and useful
the Illuminator's
". Red
which tints,
be shaded with the pure Yermillion. of Lead. A very bright, scarlet-red, opaque,
may
"
working. It is a useful colour when it can be carefully It is not quite protected. permaliable with dark to if in contact turn ment, being kept foul air for any length of time. *3. Carmine. This splendid colour is the richest of the Crimsons,and is indispensable. It washes well, with and force, but does not make agreegreat transparency able tones with White, unless a considerable proportion of Yermillion be used. Used as a body Crimson,it must have excess of pure Yermillion, otherwise its colour
in
"
would Erench
4.
to be
Claret.
With
Chrome
Yellow
it
produces many
beautiful
and It is
substitute for
Carmine, being somewhat however, less brilliant and Yermillion and White, and
*5. Rose Madder.
"
MATERIALS.
29
toned Carnation.
mixed
with Carmine
Very
useful for
illuminating purposes
and Cobalt, Vermillion and White, it It is more a series of beautiful tints. produces permanent Lake. than either Carmine,, or Crimson A permanent, deep-toned,, dull 6. Indian Red.
"
useful in combination
with
Yandyke Brown,
and
Red, Lamp
colour, indispensable very brilliant and vivid; having great power of lighting up with them. other colours,when in juxta-position It is
*].
Emerald
Green.
"
An
opaque and permanent,but does not work well. It may be mixed with White, which assists it by giving it greater
body ;
but
the tints
produced are
"
not
so
as bright
the
of
Chromium.
Green.
Mixed
with Emerald
a valuable seriesof effectivetints ; and is permanent. gives 3. Sap Green. useful,though by no Occasionally colour. Used* in foliage, in or means an indispensable other body Greens. Moderately toning permanent. Green. This indispensable *4. Moss and beautiful pigment for illuminating is preparedexpressly by Messrs. Eowney " Co. It may be considered one of the most for the Illuminator's use valuable colours adapted being It likewise quite permament, of intense body and opacity. mat green. It is useful works perfectly, a brilliant drying be lightened in shadingEmerald Green, and may with body Yellows or darkened with body Blues,making an
" " "
*1.
Cadmium
Yellow.
"
most
beautiful and
useful
rich and glowing when of good colour; particularly be mixed with Carmine, Vermillion, It may quality. Lemon brilliant Yellow, and White, producing numerous and is quite tints. It works well, permanent.
MATERIALS.
"
An
almost
washes ; very rich in its lighter Mixed used thick. It works well,and is permanent. Yellow it yields with Carmine and Lemon useful tints. Used with Vermillion it greatly itstone,changing improves it towards Scarlet. Yellow. Yellow of great A vivid pale *3. Lemon to use
"
the Illuminator ; mixingwell with Cobalt, Carmine,YerRose Madder, Emerald Green,Oxide of Chromium, million, It is permanent. Cadmium, and Indian Yellow. but Yellow. A useful, 4. Mars rich, permanent colour,
"
for illuminating. required A powerfulbody colour; very Yellow. 5. Chrome useful in combination with French Blue,producing intense of great depthand freedom in working. It body Greens, and must not be used alone. is not permanent,
not very
much
"
*1
.
Mars
Orange. beingpure
"
Sienna.
"
of perfect Orange,
Works
and washes
|ht*pU*.
Purple. A valuable colour, working well alone, showing a Violet hue. Mixes well with French and Carmine,yielding useful tints. Blue,Cobalt,
*1. Indian
"
and is tolerably permanent. intense Purple. Mixing A warm, Purple Madder. well. More permanent than the above. and working An cold Purple Tint. *4". Neutral indispensable with White used in shading. Mixed much it colour, service. a beautiful Grey of great yields
3.
" "
Sfttoton. *1.
Vandyke
Brown.
"
The
most
useful Brown
for
MATERIALS.
31
illuminating purposes.
Mixes, works
well,and
is permanent.
HEP*.
to use greatest the Illuminator, with,and giving combining body to allthe colours. Used alone in the shapeof lines, dots, previous ornamental figures or gold or coloured grounds,it upon and power of effect, it is permanent possesses greatbeauty and works well, hard and clear. drying
*1.
Chinese PFhite."The
material of the
Bladts. *1
.
Indian
Ink.
"
The
Works lettering. *2. Lamp Black. A used when of grounds or masses amidst colours,drying mat
"
and
ing onlymaterial suitable for outlinand dries glossy. perfectly, very useful,dull body Black, black
are
to
be introduced
without
any
tendency
in tone
or
russet.
be opinion, found for the practice of the exception the Art of Illuminating. They may all (with in three of Chinese White and Indian Ink) be procured differentforms,namelyin powder, cakes ; either, or paste, all of these may be used by the Illuminator, or although colours prepared in the shape of powder are ably unquestionthe best for the general purposes of his art. What is most for illuminating, is a series of required capableof beingkept clean pure, intense body-colours, The listof colours will,we to include all those necessary
are
of
togethe alimpossible,
Cake
times, however,
they
are
useful when
are
Powder
are
colours, as
at
once
32
MATERIALS.
Firstly from
" "
the
ease
with which
an
intense
body
in any quantity, be obtained, notice. at a moment's cleanliness in which they secondly from the perfect be
may And
can
of small china A number kept while in continual use. to mix the colours in,which saucers are requisite being preparedwith a strong glutinoussubstance,only require after having the addition of pure water, (slightly warm, been boiled). be seen colours lay claim It must at once that Powder both moist and cake : indeed, to a vast superiority we over now can speak from experience, using them almost in illuminating, and other decorative designs. entirely Messrs. George Rowney and Company have lately produced of set a illuminating complete body colours,in and brilliancy powder,of great strength ; and havingused
them them
for
to
some
time,
may is
we
can,
with
assurance,
recommend
be
desirous of
a perfect procuring
selection of materials.
moist,placedin a bottle, prepared similar to those in which the powder colours are preserved. Indian Ink can only be had in cakes (as imported) smooth and free from and if good, it should be perfectly have a slight aromatic odour when any grit whatever and dry with an intense gloss. mixed We feel it our duty, remarks on colours, our ere closing
" "
Chinese
and the Chrome Scarlet, Yellows, (brilliant as they are) being liable to fade and
to
warn use
of Pure
become
perhapsspentweeks, fade,or become unsightly, through be the case the materials he employed. Yet such would
were
would recommend If expense is no we consideration, the student to procure duplicates of his powder colours, in the form of cakes or half cakes,as theyare useful at times in very small and delicate works.
METALLIC
PREPARATIONS.
33
fHetalltc preparations.
used in all the branches Metallic substances are largely add of the Illuminator's Art, and when properly applied, and brilliancy of the colours, to the beauty greatly among which theyare introduced. The forms, in which follows i are as the various metals used
"
are
pared, pre-
Gold
Leaf, Gold
Paper,Silver
Leaf, Gold and Silver in shells and saucers, Green Gold and Aluminium Platina in shells, in shells. in shells, readers against the use of any inferior, We warn or our
imitation of the preparation none Bronzes,Inks, and Paints, untarnished. Shell and Saucer to Silver Leaf, and preference recommend the preparations of Platina and we Silver, with a varnish, to be used,for unless protected Aluminium black. Platina and Aluminium turn silver will quickly but from their perbrilliant not so as are pure silver, manency, claim should the hands of at they preference In the illuminator. is pure Gold Leaf
"
above
metals,
such
as posure ex-
of which
will bear
goldbeaten
of small
each books,
twenty-five containing squares of gold. This is the but is somewhat difficult form of gilding material,
"
to work.
is of the
"
same
nature
as
Gold
leaf.
Paper is thin paper covered on one side with leaves of gold large plain ; it is a useful material when It of be attached surfaces to the goldare required. must illumination with gum-water,or a weak mixture of glue
and sugar. Shell Gold
"
in small placed
requiredfor
84
METALLIC
PREPARATIONS.
will treat
more
in fully
another
is similar in every way to the articlein which it is placed excepted. Shell and Saucer Silver
"
above,the
may
as
be Gold
manner
"
is
it is of preparations,
hue peculiar
are
and may
be used
of those preparations tarnish metals placed in mussel-shells ; theydo not readily discolour. They are mixed for use in the same manner *or
"
as
Gold
shells.
Of vellum
connect intuitively itself. Vellum, this material with the Art of Illuminating, used by the artists of old. however, was not exclusively At an early period, employed for MSS. largely paper was in the countries of the East, long, indeed,before it was
dictate its use, for all the finest MSS. executed upon it ; thus itis that we ever
lands.
for the use of the procuredprepared Illuminator of any size, tunately unforup to whole skins ; though, sometimes find in the old not of the quality we It is, from the beauty of its texture and the manuscripts. the best material for the purpose high finish of its surface, from its expense and the greatcare of illuminating; though, inferior to in working upon it,it is somewhat required cardboard Yellum
or
be
in the hands of the tyro. from the skin of the calf is manufactured
paper
or
kid, which is treated with lime to get rid of all fat and matter, and afterwards stretched on a frame and fleshy with a knife ; the skin is then finished by carefully scraped
36
INSTRUMENTS.
illuminating tions. on, and combine all the necessary qualificawith which all those o f are we Yet, perhaps, the illuminating vellum papers manufactured acquainted hot-pressed by George Eowney " Co., and Whatman's the best. are drawing-papers The paper selected should be thick and firm, having a and free from nap or hairs, smooth fine grained surface,
should be stretched in
upon,
a
similar
manner
to
vellum
ere
beingworked
the paper may
be attached to the
pins. drawing
"c. jfnstrunwnte, service to the Illuminator to possess greatest set of gooddrawing of which we a complete instruments, givea list.
Small compass. Compass with shifting legs. Bow Pen. Bow Pencil. Drawing Pens. Tracer.
It is of the
Straight edge.
Curves.
T
littlepractice in their use) the a (after student will have no difficulty in laying out and planning his design. The drawing-board, and T square are most articlesin the hands of the Illuminator, arid we important somewhat surprised to find little mention made of are or no them in the
numerous
With
these
manuals
on
the Art of
Illuminating
lessons before well
lately published. "We advise the beginner to get a few (if possible) in the use and mode of workingthe instruments
mentioned
;
we
can
assure
him
spent.
BRUSHES.
37
of for
curves
are
great use
while
inkingin
the lines of
several compasses may be at times used for the end : but it being more difficult for the student to
on of beauty(whichis never developed with them than with the curves, circle)
the
it is
desirablefor the
student to make
forms,and are smallest in their details. Ere closing remarks on let us the instruments, our advise the tyroin Illumination, would the indeed we as advanced student, to trust to the unaided hand, that never which can be done by the use for no of the instruments, human attain their precision. nerve can
are illuminating,
red
sable,
in their hair than either black sable or being stronger camel's hair : and theyretain a finerand firmer pointwhen of chargedwith body colour than any other description brush. All sizes are
a crow
for required
to the
swan
quill up
quill.
size may A few camel's hair brushes of small goose quill be procured, for mixing up the various colours, thereby the saving The
more
brushes
undue
are as
wear.
noted
in the
list. following
Small Swan Goose
Duck Crow
Quill
Quill
.""'
38
PENS
AND
PENCILS.
for
sponge
is superior ; both
had
anfc
It is very importantfor the Illuminator to possess a good selection of pens, for without such he will find great
of the in executing in a satisfactory difficulty manner, many branches of his art. most important The pen is in constant use outlining, shading, scrolling, the pencil or hatching, lettering ; in close attendance upon and brush, throughout the execution of the work. Both quill and steel pens are required for illuminating,
"
and
must
be
procured.
and Steel pens are mostly used for scrolling and outlining, for executingall the delicate linework ornaments duced introinto illuminations. Plate b* contains execution Pens
a
collection of
which figures,
in their the
dependsolely upon
of various breadths of
Those "mapping pen," up to the middle text pen. manufactured by JosephGillott are the best. ing, For the general and delicatescrollpurposes of outlining there combines
minute
better pen than Gillott's No. 303 ; it and and size with a beautifully tapered strength
can
be
no
work point. For bolder work in ink, and general in colour,a broader pointed pen may be used with such as No. 404. advantage, used for hatching, is working Quillsare principally (that goldor colour in lines upon any coloured ornament) and lettering. For hatching, is the best,and a soft flexible goose quill for writing hardness and durability are or lettering (where should be essential qualifications) a well baked turkey quill procured. The
pen
should have
BUENISHEES.
39
littleless in breadth than the the text to be written, a thick strokes of the letters. Hair lines are made by moving the pen sideways. the quill, In cutting care material
on
must
be
taken to have
equal
and to give to the pen a split, will overcome smooth, bevelled point. A littlepractice clean, in prethe beginner paring may experience any difficulty the turkeyquills for lettering. The hatching pens but had better be be cut as for common writing, may the upper side to secure on greatflexibility scraped ; a hard to hatch. pen is apt to disturb the colour it is employed but are too small to be Crow quills useful for hatching, are each side of the comfortable pens to work with. Few pencils for illuminating are required purposes ; and a H.H. drawingone superfine stronghard pencil, all that
are
one
are
for cartoon drawing, "c., the latter for the guide lines of the text, tracing, and ornaments borders, upon the illumination itself. A piece of vulcanized india rubber,arid an ink eraser,
necessary ; the
former
be
procured.
Burnfefjera.
There
are
the flat, the pointed, and the curved. purposes, viz., the two firstshould be selected. these, The for
flatmasses of gold, and should alone bringing up large be used if the gilding be executed with shell-gold, without raising preparation. burnisher is useful with raised gold, The pointed or very small ornaments. Flint and agateare the materials from which the best bur* rushers are made; and should be highlypolished when
brought to
handle.
the
Sfonfcrieg.
TracingPaper.
"
The
tracing paper
used
should
be
40
SUNDRIES.
-
moderately
had of almost
thin,
any
white,
size.
and
very
transparent.
It
can
be
Transfer
one
Paper.
with lead its india A
"
There
"
are
two
sorts
of
prepared
The and
to
black-lead,
transfer should is the be
the for
chalk.
paper,
both with
lines
rubber. china
Palettes. ink
are
palette
upon, mix
as
must
be number
procured
of
for small
rubbing
saucers
and
cake
colours
to
indispensable
are
powder
colours of
colours
may
in. be
Nests covered
of
saucers
very
useful,
dust for A
"
kept
and
free
from
any
length
time. of
Tracing
somewhat
pointed
of
a
ivory
lead
or
bone,
is
form
pencil,
The instruments
required
tracer
working
figures
in
cases
on
grounds.
steel
usually
in
on
supplied
the list but
mathematical may
as
(mentioned indenting
of is
not
instruments)
so
be
used
for
gold,
handy
the
ivory
tracing
point
we
have
recommended.
41
art
We
now
come
to
the most
branch important
of
our
and we trust that our readers,who have read subject; interested the previous of our manual, feel sufficiently parts in the studyof the most fascinating of all arts,to attend us
yet farther. To the student, in the practice eager to attain proficiency of illumination, his have a treat in store,and we crave we attention while we laybefore him the result of years of and laborious practice. constant study in he who would become Yes, gentlereader, years truth an Illuminator, think that not for one moment must weeks or months will terminate his study, If it did, the charm which dwells with the art would be of short duration, instead of increasing it ever does day by day continually. as
"
Our
readers must
a a
remember
that he is no
illuminator,
who,
for
execute
takes up the implements of the art, to for a friend, book-mark fair to adorn some or time with
goldand
some
them colour ; and then consigns like occasion prompts their use.
different is
it
who toils, he, the true Illuminator, yet not, day after day, in every spare hour, and
42
LETTERING-
throughthe night far into the hours of the glorious art itself ; who wanders
works
of nature
of
morningfor love
among
abroad
the
that he may derive new inspiration ; who bears home to his quiet the wild gems of the forest, studio, and converts their wonderous forms to the beautiful conventionalisms, which careless whether
are
hands,
other eyes see them or not. Other eyes will see them, however ; and many tonguesshall convey to him the measure of his praise.
^ettermg.
that the Illuminator should be a important the student should spare no good caligraphist ; therefore, in this department of his a proficiency painsto acquire
art.
It is very
Ages, the scribe and the Illuminator were different persons, althoughboth their various avocations within the precincts of prosecuted the Scriptorium. Yet it would be very inconvenient for the Illuminator of the present day,to have to dependupon
the labours of In Plate 5
a
It is true that
the during
Middle
second have
we
initial,
They are both, we think, well suited to modern taste and requirements from the most worthy ; beingcompiled to correctness of form. models,with strictregard As a few hints may we prove of service to the beginner, him, however,that without the most givethem ; assuring rules or directions are of no avail. severe practice, calculated to astonish Perhaps there is nothing more those who examine the manuscripts of the Middle Ages, than the beautifully in executed text. Faultlessly regular in form of every letter, on every line, every page, perfect
it is indeed executed
a
mystery to
We need
us never
how
mortal hands
could have
it.
LETTERING.
4"
scribes. We may early say the art, has gone for ever. for its practice, with the necessity Be not discouraged reader, you may (and doubtless attain greatexpertness in writing, will if you persevere) equal the work of our althoughyour work may never those labours of
our
forefathers. We have examined hundreds stood the letters of which of pages of minute not one-sixteenth of an
text,
inch
false line, without detecting one letter, or misshapen high, trace of an erasure. a single first rule double lines (with the In proceeding to letter, with text, the space to be filled in distance T square) across of intended letters. from one another equal to the height The
to
space between
one
these double
lines may
about
to be
often drawn
between
to commencing previous in the writing, to fill to the as they act as guides ing j ftI p q t g the remainlongstrokes of the lettersfoi f g jj lettersB " C im n**t * t fetaX) being confined by the
to
done, it is advisable
text lines.
before you, carefully Placing put your copy or alphabet in letterby letterwith a broad pointed quill pen ; the hair strokes may either be done by drawing the quill edgewise,
or
afterwards with In
303
steel pen.
be left for the great initials lettering, spaces must which must be put in (after and the small capitals the text is executed) with the brush to traced outlines; Practice alone can, after the student has gone thus far, make him expert and exact in the beautiful art of cali-
must
depend, not
being
We
now
come
to
in illuminating
the proper
sense
of the
44
OUTLINING.
branch not -being or lettering, word, writing, a legitimate of the art, that it connected with it, thoughso intimately be considered one. might with propriety Under the head of outlining, four different processes may be included, ring, transfernamely, cartoon drawing, tracing, to and inking in. Each of these we now proceed describe.
it draw the cartoon,of course be is necessary that the idea for the design of the subject formed in the mind of the Illuminator ; to which, perhaps, Previous to
to proceeding
he may as well give some dashes of his pencil on which design, inventive faculties aided
is purely mental a
exercise of the
be procannot by careful study, nounced touch do not a manipulative upon it process, we in this partof our manual, but must refer our readers to Part Fourth, which is entirely devoted to that subject. We here take the opportunity to inform our may in that we give all the processes of manipulation readers,
their proper order ; that is to say, in the order in which luminat the Student his ilthem must in executing practise
"fje Cartoon.
The cartoon is a correct pencil sketch of the design to be illuminated, the first embodiment of the artist's : thought all it be must be T his flower must on improved perfected.
opened flower there, the space will not admit of a fullflower, yet in rich colour will be required there to balance something and harmonize such will doubtless be the thoughts flitting through the Illuminator's mind, as he bends over his cartoon,and such should be his thoughts. To prepare the cartoon, proceedas follows. Stretch a of drawingpaper in size than the piece (a littlelarger limits of the intended design) and upon a drawing-board, draw or trace on lines of your text,with it the boundary
" "
"
half
"
TRACING.
TRANSFERRING.
45
It is advisable to "c* the initial spaces, terminal slips, render these outlines permanent by inkingthem with the this because however much drawing pen. We recommend it will fail to be used at the design, the india rubber may the boundarylines. remove work ; you must laydown The rest is straight-forward
until with its step by step, line by line, your design, caused by a hundred afterthoughts, hundred alterations, A careful studyof Part find it perfect to your mind. will aid you much in embodying and compiling Fourth you correctness and your design. Practice alone will give
you
of precision
even
execution
and
this must
not be overlooked
dependsupon
its merit.
tracing.
The finished cartoon must of
now
be covered
with
piece
every
tracing paper, and a copy taken,by line on the cartoon below,with a HHH. pencil.Care
or outline,
going over
common a
drawing
clear distinct
to
an
must
be
taken
to
make
the
great value
of the
will be tracing
extent
Ibst. should in
or
In
case
no
incorrect
which may exist in the cartoon. coloured examples, In copying old MSS., the artist or in'precisely the same must directed for manner as proceed form that in copying old difference, tracing ; with one he must rigidly adhere to the original manuscripts outlines, be theygood, bad, or indifferent that is if to simile a fac; say
cartoon
be aimed
A
at.
for
The
cardboard
to
be
be
TRANSFERRING.
fastened
to regard must
by wax
the
then be
in its proper place with drawing-pins, A pieceof black-lead transfer paper text. between the tracing and the sheet, slipped
or over
with the leaded surface downwards the lines carefully pencil gone
pressure.
upon with
moderate
If too greatpressure is used,a coarse, broad mark will be the result, which it is desirable to avoid, for the finer and the lighter
corners
Two
may
lead line is, the easier it is to ink in. of the tracing at bottom or (either admit of it
sides)
amine ex-
then be
to detached,
being raised
to
the result.
which is observed, must be filled in, by Any omission, the tracing fall again into its place, and the overlooked letting with the blunt point. portion gone over or ecuted, excarelessly Any partswhich may be imperfectly had better be removed with bread or the rubber, and re-transferred. think readers may useless or been describing, Our the the the processes
"
which
we
have
"
not so however superfluous ink outline, is a clear, without to be gained, perfect point of any sort. The only means by which imperfection secure this, is by carefully beginner following may
giveto the eye and that cartoon and hand such precision, drawing, tracing in with, although transferring may at times be dispensed intricate compositions, can "c., they never largeinitials, of success. be laid aside with certainty
in.
the various processes here laid down. Years of studyand practice may
Tew
directions are
with a fine steel and firmly be gone over very carefully not be dark in the portions The Indian ink must pen. but in the scrollsand ornaments which are to be coloured,
INKING
IN.
which The
are
to remain
in outline
onlya
must
considerable experience in this branch of his art ; but above allthings he difficulty muvst not be daunted,even though his failures be many, and practice for by constant application the most difficult the most laborious undertaking problemsmay be solved, completed. outline be secured It is most desirable that a perfect the gold and colours,for before proceeding to lay on we imperfections although may cover, or correct any slight must not depend upon them to with those materials, we exist in the outline, If errors colour a bad outline. perfect visible. only tends to make those errors more all students in illumination, We would recommend (at to procure least those who are not clever draughtsmen) from original to original or manuscripts, access goodcopies line for line and aftertrace them wards works, and to carefully transfer and ink them This most
doubtless
in,either on
valuable
vellum
or
board. card-
useful and
in work, but it has a decided precision with reference to design, and supplies educational tendency from the works the student with a collection of examples which will ever of the different periods, prove of the to him. use greatest After the process of inkingthe transfer is completed, the whole should be cleaned with bread,and the work is which is the next department the student readyfor gilding
givesthe
hand
has to turn
Two
of distinct styles
"
Middle
the were gilding practised during raised gilding, the latteris to be most rich MSS. of the fourteenth and
48
GILDING
AND
SILVERING.
In
raised silver is seldom to be any form in late works. initialletters, tures, minia-
In fourteenth and fifteenthcentury MSS., the raised gilding used is generally and
groundsfor
borders ; and when in smaller masses, as dots, slip and nimbi around the heads of figures. leaves, spraywork In the illuminations of these periods, flat gilding is used leaf work, and in lining and hatching in the curling upon of figures in the drapery and diaper colours, particularly back-grounds. to the use of raised gilding There are some objections in modern its work, apart from the difficulty attending in the firstplace successful execution, it is so very liable
to crack and
or bent,
in' any
used. If it has to be rolled up, raised work roughly admissible at all. In the second place, its apis scarcely pearance it if it be used to any great is at times against colours extent,it has the effectof throwing the-surrounding the general into the shade, and destroying repose and harmony of the whole composition. around it, There will alwayshang a charm however, from the fact of it beingsuch a favourite style of work with the artists of old,and it will doubtless be eagerly by the modern student of the Art of Illumination. practised directionswith We therefore feel called upon to givesome well as flat gilding, which at the present to it, as regard day is by far the most useful of the two, from the fact of it beingable to be copied by the processes of printing. of gilding be executed Flat Gilding. This style may and goldpaper. shell gold, with three materials goldleaf, suitable for the purpose, the most Shell goldis, however, managed than leaf gold beingmore easily ; gold paper can flat surfaces are to be onlybe resorted to when very large
way
" " "
covered.
Shell
a
very
have before stated, we as gold reduced to goldis, and placed in clean fine powdermixed with a gum
use.
mussel-shellsfor
50
GILDING
AND
SILVERING.
raised
a raising GeorgeRowney and Co. have prepared which we think will be found permedium to our receipt, fectly of and all the to satisfactory, qualifications possess the Mediaeval ground. It is very necessary to secure a good is impossible gilding raising preparationfor without it perfect
"
and
may
all labour
and
time
bestowed
away.
upon
may
it be
be
pronouncedas justly
we
thrown
our
The
raising
addition
to
medium had of
a
name/* and
in tubes
ready for
at times.
use,
littlewater
first
The
part of the
are
process
is gilding,
at
roughenthe
parts which
a
cardboard
those
be
Care the
be
taken, however,
The
not
the vellum
or
cardboard be laid
too much.
is to enable
must
next
follows
"
a Having squeezed
of the sufficientportion
from raising If it be
a
the tube, mix it up with a firm red-sable brush. of add a littlewater until it becomes too thick, in that consistency, work.
i
flowing
on
state
it is fit for
being laid
the
evenlyand let it dry; and until the required ness thickafterwards repeatthe application each coat to dry before another is obtained, allowing Lay
on a
coat
of the above
knife and remove scraping that may exist, and then irregularities
a
ground
when
is now
readyfor
and laid
on
with water
nearlydry it
is in
fitstate to
receive the
gold-leaf.
*
GILDING
AND
SILVERING.
51
goldfrom the book, by gently flapping the edge with a knife" until the leaf rolls back. gilder's flat near The knife must then be placed the leaf, which on blown upon, will fall evenlyover the knife beinggen(ly blade. The leaf may thus be safely and easily removed with a side motion from the book, and deposited on a cushion." It may then be cut pad, called the gilder's with the edge of the knife, for convenience up into small pieces in working. than is required A piece of the leaf (alittle larger to should be removed the the part to be gilded) from cover cushion with a pad of clean cotton-wool, with a brush or and carefully the termed a on tip," gilder's deposited sized ground, flat with a soft tuft of beinggently pressed cotton quite dry and clean. The size had better be to being gilded. The breathed upon previous pad of be slightly to lift the cotton, or the "tip"must greased the hair of the this may be done by touching goldeasily, head (provided it is oiled) with them before lilting the
a
" "
"
Bemove
leaf of
have
been
in the and all imperfections manipulated, remains but to burnish it, this up or made good,nothing is directed as dry, may be done when the size is perfectly in the next
division.
Burnishing.
"We have best nishing on given, already page 49, directions for burand have now flat gilding, only to describe the raised gold,and of etching mode of treating or menting ornait. be taken, that (as before noted)the gold of the work covered size be perfectly dry,and all portions Care
must
to proceeding
burnish. be
Too
much
in, in indulged
of the art, as
rectifiedwhen
made.
52
BURNISHING.
raised gold, two burnishers may be used burnishing the flat and pointed. Tor largemasses, with advantage, the broad burnisher is most handy, while in small works burnisher is of greatservice. the pointed or pencil Illumination lately it is stated In a Manual on published, little that there is some art in burnishing only differ ; we with its author sufficiently to remark, that there is a very The wondrous to do it properly. greatart in burnishing, of the gold in old illuminations, is almost altogether brilliancy due to the perfect in which it is burnished. manner In have before us two MSS. we this, writing nearly is five hundred gilding years old,in which the original While
more ever
and
We
do not
wish
readers to
fancythat
we
lay more
stress upon
burnishing process than on any other in connexion with gilding. of all the departments of the Illuminators art, Perhaps, is the most delicate and difficult with gold-leaf gilding ; in none failures and disappointments and again, are so
common
the
and
numerous.
The
student must We
not be
difficult a
execution.
recommend himself
little personal
instruction from
by
so
doing,save
to return
more
and vexations.
to our immediately subject. raised To burnish gold,the burnisher should be moved direction with a gentleuniform in one pressure, which increased as the goldbecomes bright.A may be slightly delicate touch is required for this process, which skilful, recommend can only be secured by practice.We of trial piecesof student to execute number the a to operateupon raised gilding ere formal a proceeding study.
But
BURNISHING.
53
The
burnisher
must
be
cleaned carefully
come
before it is
the
torn
dust
between
agate or
up
or
must
its injure
brilliancy.
it had better be rubbed before burnislier, of commencing,and at times duringits use, upon a piece chamois leather, stick. stretched for the purpose over a The goldlikewise should be dusted with a soft camel hair To clean the
to
here. A really good impertinent is stone a difficult thingto get at times, and yet without it little be done in a perfect A smooth stone can manner. be selected, must facits. free from irregularities or entirely It should also be strong at the shoulder, secured and firmly to a wood handle, ferrule. by a metal-casing When the process of burnishing is completed, the gold by beingetched or dotted. This must may be ornamented be done with the pointed cient burnisher, using pressure suffi-
agate or flintmay
be
to
secure rows
the amount
of effectdesired.
Dots
or
tured punc-
in have
a
alongthe
was
edgesof
used
gold
letters
"
panels,
brillianteffect in late
this mode
of decoration
Both manuscripts.
flatand raised
admit of beingetched and dotted. gilding be worked with of great beauty Diaper patterns may burnisher on of flat gold,such as the etching masses fieldswithin them. around initials, or panels ment remarks principally to the treatWe have confined our confusion as much of goldleaf, to save as posso as sible. with for Nevertheless, theyhold good, the most part, introduced for regardto all the other leaf metals lately illuminating purposes.
Colouring.
We
now
manipulative process,
and at
54
COLOURING.
importantof all. We dare not of colouring to treat the subject sarily profess fully, space necesout of our puts it entirely power to do so.
same
the
time
the most
In
the second
part of
our
"Guide/'
we
have
to
some
length noted
of the various prevailing peculiarities colours useful for illuminating; and therefore now only hints and directions for working to give practical require them on, in body or wash, as the case may them, or laying be.
the
Theoryof Colour,with a few remarks on its laws of harmony and This again has the desired effect of confining contrast. remarks here to manipulation alone. our used for all branches is most Body colouring generally of illumination; is necesat times wash colouring sary. although
In the fourth
we part,
intend to
speakof
the
of illumination generally contains both complete piece combined. of colouring species There is considerable art in laying on body colour perfectly flat and uniform,practice overcome however, will, every difficulty. The Powder Colours prepared by Messrs. GeorgeRowney and Co. are for flat or body colouring. adapted beautifully We use them entirely and that is the best assurance ourselves, we can giveof their quality.We before mentioned that the student should provide himself with a set of cake colours for washingor executing any very delicate work, this we again recommend. Body Colouring.Take a little of the powder colour
A
"
from
brush.
The
colour
should should
stand be about
for
few
minutes
water to
before
an
reduced with
the
thickness of
good
cream,
brush
colour
should be
be well
COLOURING.
55
ing full
upon. When
and
over uniformly
the
completespace operated
the whole is covered, the colour should be still wet throughout, As the and raised with excess of water. with a velvetwater drys,the colour becomes deposited like surface,a feature in body colouring which is ever
charming.
No If
on
gum
more
must
be added be mixed
colour is mixed
hand, it can
saucer
powdercolours. for the work than is requisite care being taken to up again,
difficultto
to the
keepthe
Some
free of dust.
are more
lay on than others ; but the student will, and observation, by a little practice become acquainted with their several peculiarities. soon Wash Colouring.Washes may be laid on in somewhat the same of tint but no manner excess as body colours,
colours
"
must,
the
on
case
as in any account, be left on the surface to dry off, of body colouring. The brush should be moderately
duringthe process of washingthe be keptevenly must at the edge of the wash liquid flowing only. As the surface operated upon becomes covered,the of tint must removed be gradually excess by the brush, all uniform. leaving As colours at times show a tendency to flow in irregular little prepared when laid on vellum especially, a masses, should be used. ox-gall useful for As we before hinted, cake colours are most Cake be used. the body colours may washing,although colours are nearly useless for body colouring, however. Care must be taken in all the departments of colouring, to have everything clean. The brushes employed, perfectly free if used for different colours, be washed entirely must from any trace of tint, in another. before being worked caution. alone can be retained by the utmost Brilliancy Scarlets and Yellows are the most sensitive to foreign of their tones are matter; and the purity only too easily impaired.
A few hints
on
combinations
56
COLOURING.
We Guide." trust our sincerely present partof our readers have found what we have already written, patient useful and intelligible. We have done our best to divest the Art of Illuminating of that absurd veil of mystery which others are too fond of throwing it. Whatever over want or our to, we imperfections simplemanual is subject done our best. can onlyurge one excuse, we have,in truth, the
"
composedby the union of two or more colours. Pure colours likewise are or positive pure ofttimes used of two or more formed by the mixture shades, of another colour in different proportions.
be will firsttreat of the proper colours to be used with to obtain graduating shades or tones. others, with Blues. Ultramarine and Cobalt, may be lightened We
"
are
used in the
of Illuminating, practice
White
and darkened with Black or Indigo. only, Reds. be lightened with Cadmium, Vermilllion, may
"
or
Indian Yellow, and darkened with Carmine. Indian Red, to be lightened with Vermillion. Crimsons.
or
darkened
with Black. rich and Carmine, may be rendered more brilliantby the addition of Vermillion, and darkened with Blue, Black,or Yandyke Brown. Eose Madder, should be treated much in. the same
"
manner
as
"
Carmine. Emerald
Greens.
or
Green,may
be
with Blue. deepened Indian Moss Green, must be lightened with Lemon or Yellow,and darkened with Ultramarine. Yellows. with Lemon, Cadmium to be lightened Yellow, and deepened with Yermilliou. Indian and Lemon Yellows, may be mixed with White, and deepenedby Cadmium and Vermillion. Purple. Purple,may be altered to any shade by the
" "
mixture Mixed
with Blues
or tints, as
or
Carmine.
most in
use
compound colours
may
be
formed
follows.
53
art
few remarks
processes
we
Manual, to to say and composition : and design which have a bearingupon subjects
illumination.
the
with
reference
on
to
few
words
of
those
the art
designin
fascinating part Designing may be said to be the most well as the most of the studyof illuminating, as difficult, if the student has not the faculty of invention and power and of imagination observation, naturally. By attention, the power of however, almost anyone may acquire study, by nature, likewise design;while those who are gifted education and practice ere they become perfect. require We hope to be able in our following remarks,to lend the student assistance in the art of design, by givinghim advice and a few rules, which, if followed,will keep him from failure, and any greatdisappointments. Let us impress upon him, however, that too great care after-work can be taken with his designs, cannot as no reform a bad composition.
Con"mtionalism. in all great principle is conventionalism; and it must
or
The
decorative
ornamental
art
failure is certain.
The
CONVENTIONALISM.
59
any nation's
was history,
when
conventionalism
"
was
most
adhered to, both in design and colouring the most strictly certain signof decay, and when natural forms were copied, nature's pervading used. It is a fact hue most liberally in of green use worthy of remark, that the frequent decorative works, has ever heralded a prostration or decay in art. Our readers must decided
not
think
that
we
countenance
from the laws and forms of nature: departure it conventionalism can as only be worthy in proportion adheres to those laws which govern the vast empireof the visible world. In illumination, it is imperative to have resort to on us conventional ornament in all designs, great or small ; for wherever
we
observe
natural forms
"
observe poverty oi design an It may appear strange and after what we have said,that, should
eager student where and from what
likewise
a our
failure.
part,
be asked
may
nature
"
by
must
the
source
alism conventionbe
be studied, we
should
derive
inspiration yetso
Conventional
forms
;
is founded upon natural laws and natural the former cannot in any way be departed from with
art
impunity.
It must from
one
be obvious to everyone, that two leaves growing from that stalk in opposite stalk,yet starting be
quiteabsurd
ones.
and
hideous, be they
But
conventional
and leaves to be conventionalized, the result would their connexion with the stein, as regards true to nature's conventional composition, be a pleasing laws. It is somewhat conventionalism. the detail and
or
describe what
a
is meant
by
be said to be and
treatment
a
embodies
"
treatment
of nature's
art
free and
forms. ever-changing
Conventional
aims not
60
SYMBOLISM.
at
expression
In conventional ornament, the greatest of colour display in. Having no copy to chain us down, may be indulged need onlybe governed we by the laws of harmony and
contrast.
inventive powers are also brought into playin conventional if art, while they become cramped and torpid, naturalism be alone resorted to. In all the illuminated works of the best and periods, indeed in all priorto the fifteenth century, conventional almost entirely forms were while from that date, employed,
to the amount of realism proportionate infused into the designs which decorate the manuscripts. Let us impress our readers with the fact that no attend an if it procan success ever illumination, fesses to imitate natural forms ; it is not possible for it and as such, to be considered other than an ever attempt,
The
is to decay
be observed
it must
be
failure.
as
symbolism has
ever
been
with
formingas it has ever done, so marked a feature in illuminated MSS., we feel called upon far as it to say a few words on the subject, as especially in illumination. has reference to design in its widest sense, Symbolism, may be said to embrace the whole range of art, for all art is symbolicalthat is, it aims at expressing beyond itself. something and from that Conventional art is purelysymbolical, fact derives one of its greatest charms. of it here in the We, however, do not intend to speak of the term, but in the way it is broadest signification most commonly understood. and if decorations, Symbols are most appropriate to the beauty and interest of used, add greatly properly the illuminations into which theyare introduced.
"
and
SYMBOLISM.
61
era
In all countries and in all ages, from the early Egyptian has been sorted resymbolism day, largely up to the present
to.
With
the ancient
we Egyptians
to
note to what a great extent to do, yet it is interesting they carried the art of symbolism. In their architectural
it the
times,
we
must
come
to
to have attained the Christian era, ere we find symbolism nature which is of service to us in the prosecution of the and its modern studyof mediaeval illumination, practice.
The
must
or
of symbolism beingone of great extent, we subject ourselves by givinga few of those symbols content
in most
common
emblems The
use,
to
the student.
or
symbolsof oui BlessetJ ILotfc are Holy Lamb, the Pelican,the Fish,and
or
Agnes Dei,
the monogram
!.*.".
The
I*".
the Agnes Dei, is generally symbol, sented reprewith crossed lamb, as a spotless times nimbus, somea bearing a cross, emblematical of our Saviour's and sometimes small banner, emblematical of a passion, sin and death. His triumphover is represented The second, the Pelican, its as feeding shed by its beak,which is shown blood, young with its own as employed tearingits breast. This symbolis likewise
first
shed for the a represent martyr, whose blood was The third emblem of our Lord, the Fish,originated truth. for a fish, in the fact that the letters in the Greek word of the ^cb $ame Degus (JTfjrist, j$0it form the initials tjje Sabiaur. This symbol gave rise to a form of "oti, tfje used throughout all the branches of mediaeval very largely Plate VIII, Fig 12. art called the Vesica Piscis, see the monogram The fourth, needs no E.^.S. or "Jf."tt., and well known. common explanation, being sufficiently in Plate VIII, Fig ] 0. within a cu"ped It is displayed figure before us next, of the ^olg "tinitg The symbols come and the pentacle, the trefoil, or they are the triangle, used to
"
62
SYMBOLISM.
The triangle should be drawn equilateral triangle. The trefoilis supposed first introduced by to have been Saint Patrick, he illustrated his doctrine by the when used in shamrock leaf. This beautiful form is very largely illumination?. It is shown
in
doable
combination
with
the
in Fig 10. triangle The pentacle is formed by two triangles placed together in different directions, six Plate making a figure, pointed VIII, Fig.6. The most common and appropriate symbolfor the l^olg is the representation of a dove, generally Spirit white, of this beautiful shaded with delicate grey. The origin descending symbolis obvious,a dove having appeared, Saviour illuminations His In during Baptism. upon our
a
nimbus
is at times
introduced around
the head
of the
dove. that of Cfjristfam'tg is the most Perhaps of all symbols, however, singularly commonly used. There is something, beautiful about the simple cross, apart from its symbolical which may have favoured its adoption in many interest, in general instances. There are two forms of crosses use, the Latin and the Greek
cross,
the former
member
than the remaining the latterhas all tliree, longer in Plate VIII, Fig 14. its arms as equal have symbolspeculiar The four (JEftangetistg to themselves. St. JBattjjefoj is represented by a winged man, St. 3Lufee by a winged ox St. JHarfcby a wingedlion likewise have, and St. Joijn by an eagle. The Apostles but as we cannot go at any length into their own symbols, this very interesting readers to must refer our we subject, works. larger the symbol of The circle is generally as acknowledged nor SEterm'tg, havingneither beginning ending. In illumination, symbolsmay be used with great effect, introduced into the interiorof initials, or prominent portions
" "
of the
may
borders
around in any
the
text.
Tasteful combinations
more
be made
of
HARMONY
AND
CONTRAST
Ofr
COLOURS.
63
the
SacntJ $anu
is enclosed
within the
symbol of
the
The
powers,
to
studyof
exercise for his designing pleasant and we recommend him symbolism, of his attention.
giveit a
fair amount
of Colours.
be well must Illuminating of his works depends that much of the beauty aware upon in the arrangement the knowledge and taste displayed of his colours, and should accordingly givea considerable of his attention to the subject of the harmony and amount contrast of colour* We have used the words knowledge and similar in their taste, because, althoughsomewhat influence and effect, they are dissimilar in their natures. of the Knowledge may be said to be the learning and effect of colour, and its combinations, principles, power by research and study. acquired is again, Taste the innate delicate feeling, or perception and its harmonious of the value of colour, groupingin be acquired. and cannot easily design. It is a natural gift, One who possesses knowledge without taste, or taste without knowledge,rarely arrives at any eminence as a of knowledgeto the possessor colourist. The acquiring of natural taste, is nothingmore than the cultivating of that gift. here material enough for We do not profess to supply the cultivation of taste,such would be entirely out of our
Art
the
of
"
"
power
to
in such
circumscribed
hints
work
as
to calculated,
extent,
of grouping
his
glowing
colours.
Beginningwith
out
those
which The
their
harmonies. Blue.
"
be
most
should of the firstimportance, primary used in all works of decorative art. largely
Its
64
HARMONY
AND
CONTRAST
OF
COLOURS.
is
Orange : and its most perfect ture of itself, producedby its admix-
The second
has Green for its contrasting primary, scales of Orangesand Crimsons for its
most
lightand power, has Purplefor its contrast, arid the compounds of itself with harmonies. White, and the scale of Oranges for its perfect in These colours, be used together cannot therefore, with injurious effect. juxtaposition, Green. The contrasting colour of Bed, should be sparingly used in illuminating, colour. It beinga lighting-up be employedfor its own must never value,but onlyfrom its power on other tints, which it lights vigour up, or gives to, in an extraordinary degree. The following will assistthe student diagram, perhaps, in the arrangement of his colours, either in contrast or do. harmony,better than words could possibly
"
The
primary of
66
STYLES
OF
COLOURING.
is nothing
more
of decorative
"
all departments commonly seen in nearly art,than the tripletBlue, Red, and Gold.
"
of
Grey may be introduced into almost any combination and forms a beautiful harmony with brilliant colours,
The
should
combinations
prove
most
of
which
pleasing,
A collection of combinations
a
small
made and preof colours, served would prove of value for scrap-book,
sake of reference.
of of Illuminating characterized were Nearlyall the periods less of colouring, readers have doubtas our by peculiar styles observed while perusingPart First of our Guide." The remarks there,however, being so sketchy, we urge allwho have the opportunity, to studyoriginal manuscripts
"
of the various
eras.
In many
works
the colours
attempt to give a executed on the vellum styleare usually any ground colour. relieved effect is given to In others, a details by shadows. In Illuminations of enrichments are generally worked upon a
or
and fifteenth fourteenth, thirteenth, white linework upon colour was centuries, largely In the party-coloured used. of initials and ornaments the fourteenth century, divided the white line generally a which were ful Beautiat times outlined with black. colours, surface decoration various rich ornaments in white upon of the thirteenth centuryand
was
executed
the
early
fourteenth.
DESIGN
AND
COMPOSITION.
67
In
to
leafmonies shading work, the Illuminator must use the harthe deeper tones of the colour employed : such as ground the leaf,or those colours nearest to it on the
colour circle. For instance, if the leaf be shaded with dark blue ; if normal
to
lightblue, it
should
be
purple. If red, it should be shaded with the tones as before. (red-purple) runningto purple
The
reverse
side of the leaves, or turnovers, should be coloured with the full contrasting colour of the leaf proper. For
if the leaf be blue,shaded with dark blue instance, the turnover should be orange, shaded with or purple, scarlet running to crimson. Leaves may in be lighted up with delicate hatchings shadows colours. The deepest gold,white,or very light in black. may be executed with hatching In conclusion, let us urge our readers to studywell all of early art, they will gain more examples by that than structi infrom written matter can or they possibly personal into the principles They derive their insight of their art direct from the fountain-head, in their native purity.
Benign
anfc
Composition.
the
art glorious
student
will be
It is,at the same time, the most important Some may ask how composition partof composition. bothered. be
so
to admit of the as separated is the most one important part of the allow that such a question is someother ? And we must what difficultto answer. Design,however, may be said of individual to allude to the formation or development while composition partsor details, expresses the grouping of those details into one harmonious whole. together of design, and harmonious grouping of Appropriateness
and
far
68
DESIGN
AND
COMPOSITION.
parts,are
art.
the two
or
rative deco-
In Modern much
as
the Illumination,
endeavour,as
his compoto have one spirit pervading possible, sition. also must His design be in keepingwith the illuminated. subject In illuminating school or style, the after any particular student will, of necessity, be to an extent tied by ancient if he truthfully them in reproduces examples ; although, all their vigour, he cannot go very far astray. The frontispiece, illuminated Plate IY., is a beatitude, after one of the styles of the fourteenth century. We do not profess to be able to giverules for design and composition, but trust a few hints may prove of some service to our readers. slight
The
the composition should be is formed, composition although decided by the nature of the written matter. The peculiar be his guidein this taste of the illuminator must be supcan respect. No exact dimensions or proportions plied and margin; allis a for the relativesize of text,border, recommend the student, and taste. We matter of opinion is apt not to overdo his ornamental portions, or one however, and to the illumination, to think that the text is secondary
not that the illumination is intended
to
A rather
beauty of
the
text ; this is
The
Illuminators of
old,loved
to
expendtheir greatest
of their initialletters; and those advise the student also to bestow great care we upon he introduces into his illuminations. The letters may be surrounded of gold or colours, or placed upon solid panels in energies the ornamentation with rich in
some masses
of delicate line
work, as
may
be observed
fourteenth centuryMSS.
DESIGN
AND
COMPOSITION.
69
lettersthemselves may be executed in various ways. This dependsgreatly, of illumination of course, the period on
the student has
The
selected to work
after.
The
are
teenth, thirthe
and requirements. to modern use adapted Miniature subjects, scroll and leaf-work, or diapering, be used to fill tures up the centre of the initials. If miniaare introduced, anywhere they must have immediate
sult con-
may
reference to the subject of the text. In designing the student will do well to borders,
MSS., or fac-simile drawingsof complete original insight pages; he will gain,by such examination,more into the practice and treatment than words could ever give him. But it is not our duty to leave the subject with this lowing remark, however much we feel that he would gainby folwhat he will by reading our over our monplace comadvice,
border may be composed. It may be made surround the text, to entirely of gold or colour ; it may extend placed upon a background
a
There
three
or
two
sides,or it may
be confined to
all these,the
most
and is border is the richest, complete of the to be found in the MSS. generally is that beginnerto practise
presented re-
in Plates IV. and VI. for a simplepage, Fig.1, Plate VI., is a foot-piece into a rich corner ment ornashowingthe terminal rod bursting with lightspray work. and finial, Fig.2 is the terminal rod ornamented. 3, 4, 5 and 6 are finials Figs. for the upper end of rod above the initialletter. should All the spray-work introduced into this design,
from, or have connexion with the terminal rod,which if should itself be a continuation of the initial letter,
start
practicable.
in designmust employed deal of the beauty of an graceful ; a great
be
and flowing
illumination de-
70
DESIGN
AND
COMPOSITION.
pends upon
than
a
this.
Nothing is
or
more
broken
outline
scroll.
not
The
Illuminator must
overcrowd
composition,
gain little by crowdingornament at all. He must seek after repose, simplicity, and elegance. No detail must be executed carelessly; ornament or each leaf and bud, however small or insignificant, should be finished as if it was the page. the only ornament on The student need never hope to attain eminence in his art, unless each thing he does, is done with his.whole might. Plate VII. contains several examples which of scroll-work, will prove of greatservice to the tyro, havingsome choice of leaves and flowers conventionally treated. specimens All the fringed should be filled in with gold, ornaments either flat or raised. The fringed of the centre portions flower in Pig. 3 should also be in gold. animals are often introduced into borders Grotesque and the interior of initial letters. Their bodies usually terminate in sprays of foliage, in Fig. as shown 2, Plate VIII., their tails are continued to unnatural lengths, and or
twined mal in various ways around their bodies. A fine aniin rich colour, forms one of the most beautiful perhaps, for
an
for he will
ornaments
initialletter, when
miniature
painting
is inadmissable.
or Diaperwork may be employedto fill up initials, the panelsaround them, as well as for back-grounds of miniature subjects. On Plate III. we have giventhree different prinof diapering, each designed on a examples ciple, see Pigs, 4, 5, 6. Pigs.2, 3, on Plate III.,and Pig. 1 on Plate VIII., used for surrounding for slip are borders, panel designs for confining the text which is to be ornamented borders, or with scroll or light spray work, as shown on Plates
IV.,VL,
Ribbons shown
on on
VII. creased in
a
conventional
manner,
like that
Plate VIII., Pig.3, and heraldic enrichments shields of the shapesof Pigs.4, 5, sometimes form in illuminations.
suitable ornaments
Plate.8.
CONCLUDING
REMARKS.
7l
Grounds of dotted work and honey-combing be may introduced within scrolls, of solidity "c., when a feeling is desired. See Eigs. 7, 8, 9.
used Fig. 13 shows a conventional treatment of glory in surrounding sacred symbols It should and monograms. be executed in gold line-work regularly from diverging a centre point. We said all on the subject have now of designour but trust we have to some little extent space will permit, assistedour readers in the interesting Art of Illuminating.
Conclutungifamarfcs.
To boon throw have If Art We
many
our
readers
we
have
to
say
few
words
before
partingwith
we our
let us ask the them ; but, ere we say more, minds have had on our so long. When you littlebook aside, if you think we us forgive
wrong
not
givenit a
we
have
guidingyou
in the
of
so, and
task.
have endeavoured
of
student to seek from them the despairing inducing do instruction. All is mockery! Well some personal know their lessons to be useless, these professors as they The student must are depend upon his own expensive. and must be a willing miner,extracting studyand practice, from the accumulation of ages, the pure and sparkling ore to lead him for his own use. Might not another profess and aid him in laying right, open a vein of copper, while he retains for himself the gold he knows to be lying near. feel it our readers We our duty, however, to assure Illuminators that they cannot attain any perfection as unless they embark upon its studyas lovers, no grudging time or trouble. Years are required, years of application, ere one may hope to deserve the titleof Illuminator.
72
CONCLUDING
REMARKS.
In take
all the
the
manipulatory
care,
processes,
the each
student
must
ever
greatest
with
executing nicety
be and
ornament,
however
insignificant,
All and
The
equal
must
correctness.
the admixture.
colours
carefully
preserved
from
dust
brushes
in
use
must
be
cleaned
and
pointed
before
being
"With
to
put
away.
regard
the
to
such
subjects,
rule,
"Have
let
a
us
advise for
oui
readers
observe
golden
in
place
everything,
and
everything
Eeader,
in in
the
its
place/'
you
bidding
practice
farewell,
the
let and
us
wish
you
every Art
success
of
lovely
fascinating
of
Illuminating.
FINIS.
LIST
OF
MATEEIALS
MISSAL
PAINTING,
MANUFACTURED BY
GEOKGE
KOWNEY
"
COMPY/
ists'fiatemen.
KETAIL
DEPARTMENT,
BONE
51
AND
52,
RATH
PLACE,
W.
WHOLESALE
AND
EXPORT
DEPARTMENT,
10
A*D
11,
PEPCT
STEEET,
W.,
LONDON.
LONDON :
FRANCIS,
PRINTER,
GEORGE
ROWNEY
AND
CO.'S
LIST
OF
MATERIALS
FOR
The
revival
of and
"
after Colours
caused enquiry Las naturally Illuminating" of this Materials best suited to the practice
A
careful examination
H. "
Co.
to
conclude
paintedwith
have
colours
prepared in
a
simplest
set
They
produced accordingly
will be found
complete
its
of
Colours, which
those in
use
they believe
to closely
resemble
at the
periodwhen
the Art
had reached
highest
COLOURS
The Powder Colours for
FOR
ILLUMINATING.
ROWNEY
and will be
and
found
Co., are
more
are
readilysohible
brilliant and in bottles
permanent
either
Colours prepared
or
in
any
other with
way. every
They
sold
separately,
in boxes Art.
fitted up
requisitefor the
beautiful
EEDS.
s.
d.
d. 1 0 20
CARMINE,
SIENNA
. . .
per Bottle
"
5 0 10 50
! INDIAN ORANGE
ROSE
RED
.
per
Bottle
"
30
.
"
"
CRIMSON DRAGON'S
LAKE BLOOD
1
.
"
|
!
RED
10
,,
10
.
SCARLET
VERMILION
16
"
,,
LIST
OF
MATERIALS
FOR
ILLUMINATING,
ETC.
Colours
for Illuminatingcontinued"
PURPLES.
s.
d.
s.
d.
INDIAN
PURPLE,
per
Bottle
3 0
MADDER per
PURPLE,
Bottle 2s.
per Bottle
5 0
VIOLET
CARMINE,
BLUES.
CERULEUM
.
per
.
Bottle
"
2 20
INDIGO
.
per
.
Bottle
,,
1 0 10 5 0
COBALT
. .
PRUSSIAN SMALT
.
BLUE
F.
ULTRAMARINE
2 0
GREEN,
. .
per Bottle
.,
1 0 2 0
OLIVE
GREEN OF
per
Bottle
"
1 0 3 0
I OXIDE
per Bottle
CHROMIUM
Is.
SAP
GREEN,
YELLOWS.
CADMIUM
.
per
Bottle
"
5 0 1 0
1
YELLOW,
DITTO ORANGE SIENNA OKER
.
per
.
Bottle
"
2 0 16 50
CHROME
DITTO GAMBOGE
YELLOW ORANGE
. . .
j |
"
"
10
"
10
.
"
INDIAN
YELLOW
16*
.
10
.
"
LAMP
MADDER
per
.
Bottle
1 0
I
NEUTRAL VANDYKE
TINT,
BROWN 6d. to 10s. per
per
Bottle
1 0 Stick.
INK,
of Finest
Quality,from
Powder Colours
The
above
List all
contains
notice.
LiaUID
Carmine
Chinese
or
COLOURS
.
"
AND
MEDIUMS.
s.
d. 6
"
per
Bottle
"
Enamel
White
.
"
"
Indian
Ink
"
Indelible Brown
Prout's
Ox Gall Brown
.
Ink
....
....
"
,,
Per
.
^ot
1 1 "
1 1
0 0 6
Ditto, Colourless
Gum Water
.per
Bottle Per
AUDSLEY'S
Water Gold
RAISING
Size
.
PREPARATION
"
per
"
"
per
GEORGE
ROWNEY
AND
CO.'S
The
Colours
named
in
"
The
Guide
are
to
Illuminating,"are
prepared expressly
stamped EUttminattngColour.
LIST
OF
MATERIALS
FOR
ILLUMINATING,
ETC.
BOXES
PITTED
WITH
COLOUES
AND
MATEEIALS
ILLUMINATING
AND
MISSAL
PAINTING,
FIFTEEN
silver
SHILLING
BOX"
containing
set
ten
colours, half
steel scraper,
shells, gum
water,
of saucers, brushes.
burnisher, HB
GUINEA
BOX
"
pencil,and
sable
containing ten
lead
silver
shells,gum
of saucers,
water"
ste"l
gold
paper,
'pencil,sable
glass,set
scraper,
agate burnisher,flat
BOX"
rule
sponge. twelve
GUINEA-AND-A-HALF
containing
paper,
colours, bottle
sable
Chinese
"white,gold,green
gold,silver and
water,
aluminium lead
gold
steel scraper,
"
TWO
GUINEA
green gum
BOX
containingsixteen
aluminium lead paper,
colours,bottle Chinese
white, gold,
gold,silver and
water,
set of
gold
pencil, sable
saucers,
steel scraper,
Ink,
and
half
instruments. BOX
"
THREE
Chinese colours, bottle containing twenty-one raisingcomposition, white, gold,green gold,silver and aluminium shells, gold size,gum water, gold paper, extra thick gold leaf,lead pencil,sable
GUINEA
GEORGE
ROWNEY
AND
CO.
'
brushes,
tracer,
glass, ruling
water
pen, of
half
set
of
instruments,
scraper,
ivory
agate
glass,
and
set
saucers,
steel
sponge,
Indian
ink.
containing twenty-seven
green
extra
colours, bottle
of
Chinese
white,
gold
and
of sable
brushes,
half-a-dozen handled
1-in.
flat camel,
ing magnify-
ruling
of
of
water
set glass,
saucers,
steel
scraper,
set
sponge,
indian
ink,
square,
and
square.
METALS
PREPARED
FOR
ILLUMINATING.
s.
d.
Gold
shell, double
do. do. ditto
quantity
"
.
10
. . . .
single
green
0 06
.
....
.03
. . . . .
Aluminium
ditto
ditto
....
. .
06 .06
Platina
Gold Silver
Saucers
.
10 .06
ditto
.
Liquid
,,
Gold
in bottle
. . . .
56 .36
Aluminium Silver
,,
ditto
. , . . . . . . .
ditto
. .
26 .16
Gold Gold
Ink Paint
in bottle
.
.
and
Preparation
sheet
.....
ditto
. . . .
16 .46
Ditto
large
size
. . .
Gold
,,
Paper,
squares
in
packets
of
one
doz.
. .
.10
.
Bronze,
Gold
Gold, Silver, or
per book ditto of
Copper
25 leaves
Colour,
per
....
oz.
.
26
Leaf,
Ditto
extra
thick
Silver
leaf, per
book
of
50
leaves
LIST
OF
MATERIALS
FOR
ILLUMINATING,
ETC.
BRUSHES
Small
Swan Goose
,, ,,
,,
FOR
in
ILLUMINATING.
8.
d.
Red
Sables
quill
26
Large
Goose Duck
.13
0 10
.
,,
"
.06
.
Crow
"
"i
-N
"
04
. .
Goose
Camels
"
in
quill
Duck Crow
"
V
J
per
doz.
. . .
.10
Flat
Camels
in
tin, per
.
inch.
.
06
. . .
."
.
.03
SUNDRIES.
Gilder's Gilder's Cushion
.
" . . .
26
.
Knife Points
.16
10
"
Ivory Tracing
Gilder's Rollers
......
02
. . . . .
.03
. . .
Magnifying
Half Set of
Glass
in
case
20
. . . .
Instruments, consistingof
compass
with
pen
and
pencil \
30
. . . .
Finish
ditto
.60
from 9d. to 4 0
Ruling
T
Pens, each
12 in. 12 in.
....
square,
.16
26
.
Ditto,
Set Indian
Boxwood,
divided
with
Rules, and
stick.
Drawing Drawing
Portfolios
drawing
paper.
ditto.
VELLUM May
The is not be had
in
PREPARED
prices from
article
a
FOR
upwards.
so
ILLUMINATING
Whole
Is
Skins
from
14s.
upwards.
it quality,
varying
much it.
definite
price to
10
GEORGE
ROWNEY
AND
CO.'S
ROWNEY'S
LONDON
BOARD.
Foolscap
15 18
in.
"
by
12 each 14
Demy
Medium
20J
224
"
15|
Royal
"
Yl\
TURNBULL'S
LONDON
BOARDS.
4 shts.
s.
6 shts.
s.
d. 9 0 3
d.
0 1 1
1
2 2 3 4
0 6 0 6
7
0 0
2 3
WHATMAN'S
Smooth
DRAWING
Surface for
PAPERS,
Illuminating.
Per sheet.
s.
d. 2 3 4 4 5 9 6
Demy
Medium
0 0 0 0 0 0
.
Elephant Antiquarian
WHATMAN'S
Royal
.
EXTRA
.
STOUT
7d.
1401bs.
DRAWING
Imperial
per 901bs
. .
PAPERS.
per sheet
701bs.
per
sheet
.
9d.
Imperial
sheet
Is.
VELLUM
Imperial 30
in.
DRAWING
a
PAPERS.
and very
.
by
21 in. of
delicate
tint,stout,
smooth
surface,manufactured
Transfer
expresslyfor Illuminating
and
per
sheet
Is.
Tracing Papers
6d. per
sheet.
12
GEORGE
ROWNEY
AND
CO.'S
THE
FOLLOWING
IN
OUTLINES
PARTS OF SIX
FOE
SUBJECTS.
ILLUMINATING.
PLAIN
6s.
EACH
PART,
COLOURED
12s.
EACH
PART.
by
9.
PART
"
5.
mea
Portio
Domine."
"
Principes persecutisunt."
"
Legem
Pone."
"Appropinqua
Bonitatem EF.
deprecatio.""
fecisti."
(Initials.)
PART 6.
"
Beati quo
Immaculati.
"In
"
corriget."
Parimento."
super
Adhesit Et veniat
"
me."
"
Memor
esto
servi tui.'
G. H.
(Initials.)
PART
7.
servo
"
tuo." me."
"
tuoe
fecerunt mea."
"
anima
"
In oeliornum
Domiue."
"
Quomodo
Lucerna
delexi."
"
pedibus meis."
8. odio
PART
"
Iniquos
Feci
habui."
"
Judicium."
"
Mirabilia."
Justus
es
"
Domine."
"
Clamaviintotocordemeo."
Vide humilitatem." gantly ele(23 subjects)
"
The
cxix bound
Psalm in
cloth,antique gilt.
45s.
Plain
25s. ;
PartiallyColoured,
LIST
OF
OUTLINES
FOR
ILLUMINATING,
ETC.
13
PART Nos. 48
"
9. inclusive.
"
13.
to 53
74 to 79 inclusive.
on
Proverbs,"
Letters
PART A
to
Sermon PART
the 14.
Mount."
Initial
F.
10.
"
Nos. The
80 to 8$ inclusive.
on
Sermon PART
Nos.
4t
54 to 59 inclusive.
on
the 15.
Mount."
The
Sermon
the
Mount." Nos.
86 to 91 inclusive.
PART Nos.
"
11.
"
Proverbs,"
"c.
60 The
to 67
inclusive.
On
boards
10|
in. 16.
by 7 in.
Beatitudes." 8s. ;
partially
Nos.
"
PART
Proverbs,"
L.
PART
12.
Size
144 by 10J.
each.
Nos.
""
68 to 73 inclusive.
on
Plain,
The
Sermon
the
Mount."
17.
"
Spiritof Poetry. Longfellow. Idyllsof the King. Tennyson. Maid. Beggar Tennyson.
" "
Size 144
by 10|.
3s. each
Plain,
Is.
"d. ;
partially Coloured,
"PRIZE" Size
Subject.
THE
BEATITUDES.
144 by 104.
3s. 6d. each.
Four
SONNETS.
Elementary Plain,
4s.
Designs,
6d. ;
from
the
most
English
Authors.
partiallyColoured,
THE ROYAL from version
"
PSALTER.
The of the Hours Psalms. of Anne Each Plain
Series of
the
Designs adapted
entire
comprising
in
authorised
six
of
itself), containing
18s. each
monthly.
partially
Coloured
Part.
14
GEORGE
ROWNEY
AND
CO.'S
LIST
OF
TEXTS,
ETC.
THE
FOLLOWING
Plain Is. 6d. ; and
TEXTS
Coloured Partially Pray. 3s. each.
On
Boards, 2U
by 6;
Watch
Fear God We Praise
God. is Love.
Thee,
God.
Read, Mark,
On Boards
Learn, and
2s. ; God thou Will
Inwardly Digest.
3s. 6d. each.
29" by 7, Plain
Thou
Coloured Partially
seest
me.
Hope
in God. be Done
unto
Thy
Suffer This Do
little Children
to Come
Me.
in Remembrance Love
one
of Me.
On
Board
21
by 14|. Highest,
"
Plain
on
2s. 6d. ;
Glory
to God
in the
Earth Plain
Peace,
2s. ; OF
Men.
On
Board
THE
14| by 10|.
ADORATION
Coloured Partially
THE MAGI. INITIALS.
AN
ALPHABET
OF Plain
MEDIAEVAL 2s. ;
On
Board
14J by 10^.
ILLUMINATED
Coloured Partially
3s. 6d.
BOOK
"
MARKERS.
12 small. dozen.
"
The
Twenty-eight subjects large and Coloured Large Size Plain 6s. ; Partially
16 Small ditto ditto Plain
4s. ;
3s. ;
Ditto
ditto
Nineteen
Subjects,
THE
PartiallyColoured
per
Dozen.
SIX
FOLLOWING
the 14th Is. ; away 0
SUBJECTS, Boards,
Illuminated
in
the 11
styleof
9.
by
Plain turneth
No.
1.
soft
answer
grievouswords
my
stir up
anger.
2. 3. 4. 5.
Give Give
ear
to my to
words,
the
Lord,
consider he is
meditation.
mercy
thanks
ever.
Lord, for
for in thee and
endureth
"
for
Preserve
me,
God,
do
I put my
The
Earth
is the
Lord's
the
fulness
the thereof,
world
and
they
of
that
dwell
6.
The
Lord
giveth,and
blessed
be the
name
the Lord.
Several
New
Works
in
Preparation.
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