?M
University of California Berkeley
v
3Ut 0f illuminating
JEissal fainting.
BY
W. & G. AUDSLEY, ARCHITECTS.
WITH
EIGHT PAGES OF LITHOGRAPHIC ILLUSTRATIONS.
SECOND EDITION.
ICnnfoan :
GEOEGE EOWNEY AND CO.
MANUFACTURING ARTISTS' COLOURMEN,
51 AND 52, RATHBONE PLACE.
1861.
The right of Translation is reserved.
Owing to the rapidly increasing love for the beautiful
Art of Illumination, and the devotion with which it is being
studied throughout the length and breadth of our land
no apology is required for the appearance of this little
volume.
We have endeavoured to write it throughout in a
simple and connected manner, in order to save, as much as
possible, confusion and doubt in the ininds of our readers ;
and we trust it will be found of practicable value to the
Student and Amateur.
Having had considerable experience in all branches of
the Illuminator's Art, and being at the present time
engaged upon the most extensive modern original illumi-
nated work* that has ever been offered to the public, we
* " The Sermon on the Mount," large folio, Day and Son, London.
4) PREFACE.
can, with assurance, lay before our readers our few remarks
on materials and the manipulative processes.
With the able assistance of the publishers, we have
introduced a more complete series of illustrations than has
ever before been offered, even in works of five times the
price of the present.
W. & G. A.
Liverpool, January, 1861.
wire
TO
flf JUttmhrating
AJTD
fainting.
We are living in the nineteenth century, an age des-
tined to be rendered glorious in the page of history.
Great indeed is our birthright, for we are children of the
brightest day that has ever dawned upon the world, with
tools forged by our forefathers at our hand, wherewith we
may carve for ourselves an immortal name.
Wonderful and vast are the .resources of our time, and
truly astounding are the discoveries and inventions which
have been made, and are being made every day ; but it is
not to these alone we <will owe our golden throne in
history, it is not in these alone we are singular from those
centuries which have rolled along the pathway of time
into the limitless past; Art, the expression of man's lofty
soul, the poetry of mind, will be the pen which shall
illuminate our glory on that immortal scroll.
Art may be said to be on its revival, being awakened
from a sleep of nearly three centuries, and who dare say
that its renewed light will .not outshine in glory that which
has gone before.
Never, we may say, have the fine arts stood on so firm a
basis as they do at the present time, never has painting
been so universally and liberally encouraged, music and
poetry so enthusiastically sought after; and never has
6 INTRODUCTION.
architecture proved such a subject of general interest, and
been so liberally studied.
In the art-world, amongst the most brilliant achieve-
ments of the present century, is the revival of Gothic
Architecture, with its attendant train of decorative arts.
It would be difficult, indeed, to 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 has but begun.
One great handmaid of architecture has already burst
before the world, and we may look forward with almost
certain hope to behold its revival producing works more
brilliant than those which marked its brightest eras. I
allude to the Art of Illumination.
Numerous are the treasures scattered amongst our many
national and public libraries, from which modern illumi-
nators may derive inspiration in their glorious art. Yet to
beginners, such sumptuous monuments of the labours of
the Early Fathers, act but as checks to zeal, for even to
the master it appears vain to endeavour to rival or approach
them in beauty of design and execution. We must not
forget, however, that mortal hands and heads gave them
birth, and that mortal hands and heads can do now what
they could not do in former times.
To the uninitiated, works of a more elementary charac-
ter, based on the schools of the Middle- Ages, must be
supplied, educationary in style and in directions, with
regard to the manipulatory processes in connection with the
practice of the art, and encouraging in their tendency, until
the beginner becomes the student, and the student in turn
the master and teacher.
That public taste is improving, we can have no doubt,
for every day we may observe a marked advancement in
articles of utility and luxury, but in no department is the
improvement we speak of more manifest than in works of
Gothic, or Ecclesiastical Art.
The sesthetical principles and feelings which may be
observed to pervade all the remains of the labours of the
INTRODUCTION. /
early Gothic Masters, and that master-spirit, or sympathy,
which seems to form the great connecting link between
the several departments of their works, is becoming every
hour better understood, and more inwardly felt amongst
the students of the mediaeval schools of art. This is much
to be desired, for unless the poetry of inventive genius, the
freemasonry of mind be breathed into material things, it is
but little they can be expected to express in sympathy to
the educated eye and taste.
Of all the arts which nourished during the Middle Ages,
that of Illumination may be said to be the most glorious ;
this cannot be wondered at when we consider to what
purpose it was mainly applied, namely, the decoration of
the Scriptures, the revered word of the Deity to the Crea-
ture.
It is not necessary for us to enter at all upon the
question of the utility of the study of illuminations, as we
find them during the ages of their birth and growth,
for the purpose of art-education, or into the question of
the vast light such a study throws upon the subject of the
knowledge of the ornamental and pictorial arts of design,
as practised during the periods of their execution. No
one will, we venture to say, be bold enough to deny
either.
We have remains in Italy of ancient wall paintings,
frescoes, and mosaics, but in Western Europe we have
only perfect guides in the form of Illuminated MSS.,
with the partial exception in favour of sculptured works,
which are, however, fast disappearing, crumbling away
before the rough winds of time.
Ere we proceed to treat of the subject which forms
the first portion of our Manual, viz., the History of the
Art of Illuminating during the Middle Ages, let us say
a word to those who read these pages, and to all who may
be filled with the laudable ambition to aid by their indi-
vidual labours the revival of our national arts that the
fabric to be reared, to be worthy and permanent, must be
built upon the foundation stones of eld.
fart <$trat
art toting tjpe IttiMtb
However interesting to a general reader, and in an
archeological point of view it might be to trace the rise
and progress of the caligraphic art from its first struggles
for existance, and comment on the various rude materials
used in connexion with it, anterior to the important intro-
duction of parchment and vellum, it would be out of place
in such a necessarily circumscribed work as the present.
Nor is it required for the progress of this Treatise, to allude
to the art of writing in any way save a sketchy manner.
It is almost needless to tell you that an illuminated
manuscript is one in which decorative material is intro-
duced as an adjunct to the writing. This ornamental
matter is sometimes found in the form of paintings, or
miniatures, illustrative of the text, sometimes in the form
of partial, or complete borders, forming a frame-work to
the writing, in which the fancy of the illuminator has been
indulged by the introduction of animals, birds, insects,
&c., amongst the scroll-work and foliage; however, it
was in the initial letters that the illuminators of old
delighted and excelled. Of all these we shall have to
speak more fully hereafter.
That the Art of Illuminating, or decorating manuscripts
was known at very early times, we have conclusive evidence.
The Romans are said to have had the practice of decorat-
ing their books with portraits and imaginary subjects ; but
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. 9
Greece, Egypt, and the nations .of the East nursed the art
prior to its introduction into Home in the second century.
However, with these remote times we have but little to
do ; it is to the centuries between the fifth and sixteenth
that the true Art of Illumination belongs.
Of the Saxon era we have some valuable and beautiful
manuscripts preserved to us, all of which we may safely
say, are calculated to astonish those who may gaze upon
their time-worn pages.
It is an acknowledged fact that civilization and Christian-
ity reigned long in Ireland, before either was fully in-
troduced into England ; it is natural, therefore, that we
should first look to Ireland for the art of illuminating, nor
do we look in vain, we find it nourishing there long before
it was known with us.
Speaking of the state of Art in Ireland, Professor "West-
wood in his " Palseographia Sacra Pictoria," says, " that at a
period when the fine arts may be said to have been almost
extinct in Italy and other parts of the continent namely,
from the fifth to the end of the eighth century a style of
art had been established and cultivated in Ireland,
absolutely distinct from that of all other parts of the
civilized world. There is abundant evidence to prove that
in the sixth and seventh centuries, the art of ornamenting
manuscripts of the Sacred Scriptures, and especially of the
Gospels, had attained a perfection in Ireland almost
marvellous, and which in after ages was adopted and
initiated by the Continental Schools visited by the Irish
missionaries.""
The most beautiful and wonderful of the Irish, or
Hibernian illuminations, is the " Book of Kells," pre-
served in the Library of Trinity College, Dublin. This
valuable manuscript was executed during the sixth century.
Few persons can gaze upon its wonderous richness and
intricate detail without astonishment, and we can fully
enter into those feelings which prompted Westwood to
exclaim, " Ireland may justly be proud of the ' Book of
Kells/ " For an interesting and complete description of
10 THE ART DURING
this great specimen of early Celtic art, we must refer our
readers to his able article, in his " Palseographia Sacra
Pictoria."
The English illuminations which sprang from the Irish
school,, may be best represented by the " Durham Book,"
the finest specimen of Anglo-Hibernian illumination in
existence. This splendid MS. was illuminated on the
Island of Lindisfarne, about the year A.D. 700. In it we
may observe a decided improvement in figure drawing, and
in the decorative portions an advance in the direction of
harmony, and in connectedness and completeness of style
and design.
In the illuminations of both the Irish and Anglo-Irish
schools, we may observe the following features, or peculiar-
ities.
The general tone throughout is that of laboured intri-
cacy, with a decided want of repose and artistic simplicity.
The initial letters are often large and rich, filled in with
intricate ribbon-work, mostly in white on black grounds,
(See Plate 1, Fig. 1) though colours are sometimes
introduced.
Complex masses of a rather confused style of decoration,
which is peculiar to Celtic ornament^ generally occupies
the open spaces of the letters. This decorative material
is chiefly formed by two or more opening spiral lines
starting from a point, and sweeping into minor volutes
formed by other lines, the interstices being filled in with
colour.
Panels within the letters, and often the initials them-
selves, are formed or filled up with a great variety of
lacertine animals, reptiles and birds, attenuated in a
hideous manner, with their tails and tongues extended into
long ribbons, and twined among their legs and bodies.
Intricate and beautifully executed spiral lines, and animals'
heads terminate projecting parts.
Borders of this period are mostly executed in the
interlacing ribbon-work, shewn in Fig. 1.
Diaper patterns are found, formed of intertwining animals
THE MIDDLE AGES. II
or birds, several times repeated. The human figure is
sometimes introduced into the illuminations, treated after
the manner of those monsters.
Around the initials, borders, and the texts, are placed a
countless number of small red dots ; and the text itself,
contiguous to the great capitals, is often rendered decora-
tive by being grounded with colour and ornamented with
animals, birds, and ribbons. It is worthy of remark that
natural flowers and foliage are almost entirely omitted in
works of Celtic art.
A style of illumination which arose about the fourth
century, was in full vigour during the eighth. Its principal
peculiarity consists in the vellum on which the illuminations
were executed ; it being stained (or in later times painted)
with different shades of violet, purple, or rose ; the illu-
minations and text were usually entirely executed in gold
and silver, though colours were sometimes introduced.
We have some valuable early examples of this regal
school of illumination preserved to us ; fine specimens may
be seen in a manuscript copy of the Gospels, in the
Cottonian Library, British Museum, (Tit. C. 15.) while
there are others in the Libraries of Vienna, Munich, and
Stockholm.
Perhaps the most interesting and ancient of the stained
vellum manuscripts, is the " Codex Argenteus/" or Silver
book of Ulphilas, now in the Royal Library at Upsala, it
is nearly a complete copy of the Gospels, written in silver
and gold letters on violet coloured vellum. Its date is
about the fourth century.
Speaking of a purple MS. of the Anglo-Saxon school,
Professor Westwood remarks : " The Eoyal Manuscript
preserved in the British Museum, (marked 1 E 6,) must be
esteemed one of the most precious monuments of early
Anglo-Saxon caligraphy and illumination which have come
down to our times.
Its noble size (18 inches by 14), the clearness of the
writing, united with the circumstance that several of its
leaves are stained with a very dark purple colour, might
THE ART DURING
lead almost to the presumption that this was the identical
copy of the Gospels which St. Wilfred presented to the
Church of -York, and which his biographer, Eddius,
described as a thing almost miraculous. From an inscrip-
tion on the fly-leaf in a hand about 500 years old, the
volume appears to have belonged to the Monastery of
Saint Augustin, at Canterbury."
We may remark that in the valuable MS. alluded to,
colour is largely introduced on the purple grounds, with a
truly wonderful effect.
Plate 1, Fig. 2, contains three letters from this manu-
script, which are curious, showing the manner in which
letters were entwined during the reign of the Anglo-Saxon
school of caligraphy. The letters in question are QUI,
the first half of the Latin word QUIDEM.
A very magnificent Psalter, written throughout in golden
letters upon purple vellum, (if it may not be considered
the finest specimen in England) is now preserved in the
Bodleian Library.
Writing in gold was not confined to purple manuscripts
however, as we have several examples of it on white vellum,
There is a fine specimen in the Harleian Collection, No.
3788.
On the continent, during the reign of the greatest
patron of the Illuminator's art, Charlemagne, and under
his fostering care, illuminating rapidly advanced. In the
works of his school we may observe traces of classic treat-
ment; it may therefore be inferred .that the love for
Roman art, which could not have altogether died out, must
have led to its partial study as a model. Hence it comes
that we find the acanthus, (or rather a conventional treat-
ment of it) liberally introduced in the manuscripts of the
period. All traces of Hibernian art disappear, while the
ornaments and capital letters assume a simpler and more
massive character.
About the time of Alfred, considerable intercourse took
place with the continent, this as might be expected, had
the effect of introducing into the Anglo-Saxon Scriptoria,
THE MIDDLE AGES. 13
features of the above mentioned Prankish school; not,
however, to the exclusion of the peculiarities of the early
Anglo- Hibernian manuscripts.
In the works of this style, which we may term the
Franco- Saxon, the massive simplicity of the Charlemagne
is cleverly combined with the intricate interlacing feature
of the Celtic School.
This interlaced work, however, underwent a change,
becoming bolder and more open in treatment. The initial
letters were generally formed of plain broad gold bands,
occasionally divided into panels, which were filled in with
Celtic ornament, or other decorative matter. An illustra-
tion of this peculiar style is given in Plate 1, Fig. 4,
although it is taken from a manuscript rather late in the
school.
Animals and detached heads were at times introduced in
the illuminations of this style.
One of the finest specimens of the Charlemagne era
extant, is the " Golden Book/' (Codex Aureus) preserved
in the Harleian Collection, numbered 3788.
During the ninth century, many manuscripts were
executed, worthy monuments of the Limner's art. Great
beauty is to be observed in the border-work of this
period; we have given an example in Plate 1, Pig. 3,
which may serve (though but poorly) to give an idea as to
the prevailing character.
We now arrive at the latest Anglo-Saxon style, and
perhaps the finest as far as regards artistic merit of all
the schools prior to the twelfth century.
We have good reason to believe that the style in ques-
tion, which dates about the tenth century, is purely
national, no parallel being found in continental work.
The finest specimen of this school remaining to us, is
the far famed Benedictional of Ethelwold, belonging to the
Duke of Devonshire. There are others of great beauty at
Rouen, from one of which we have a reduced fac-simile,
Plate I, Fig. 6, and a copy of the Gospels executed in
the same style, a fragment from which is shown in Fig. 5,
14 THE ART DURING
is preserved in the British Museum, commonly called the
"Gospels of -King Canute."
The leading peculiarities of this period are mainly con-
fined to the borders, which form complete frames to the
text. They are usually constructed of massive parallel
gold bars, outlined with yellow, with corner and centre
ornaments of geometrical form, in and about these bars
and ornaments, foliage of a severe, though graceful con-
ventional nature is twined. It is a fact of some interest,
that the foliage alluded to bears a strong likeness to that
adopted in the sculptured decoration of the Early English
period of Gothic Architecture two centuries afterwards.
Miniatures are sometimes introduced into the centre
pieces of the borders, as in our example from the Gospels
of Canute, Fig. 5. Keference to Fig. 6, (a corner orna-
ment from one of the Gospels preserved at Eouen) will
illustrate the peculiar treatment of the foliage.
The initial letters which are contained within these
elaborate borders are still large and rich, and the interlaced
feature is retained about their extremities.
The latter portion of the tenth and the whole of the eleventh
centuries, may be looked upon as disconnected and transi-
tional periods. It, therefore, becomes a difficult matter to
give anything of a satisfactory notice of the state of the
art during those eras.
The Normans did very little to encourage the arts in the
first years of their sovereignty ; in fact, we may say, illu-
minating was for a time entirely forsaken, if not abandoned.
However, the eleventh century has produced some works of
considerable merit, and the colouring of some examples is
particularly rich and harmonious.
Modifications of earlier illuminations are used in MSS.
of this period, the interlaced feature for instance, see Plate
1, Fig. 7, and border work, Fig. 8.
"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 styles of illumination, that which occupied
THE MIDDLE AGES. 15
the twelfth century, may be said to be the finest. The art
seems, during this period, to have reached its culminating
point, availing itself of all that is grand in conventionalism,
colouring, and artistic treatment.
About the middle of this century, a continental influence
began to display itself in English work, and for about a
century afterwards, illuminating seems to have progressed
in an almost parallel style in France, Germany, and
England.
During the period we have alluded to, new life appears
to have been infused into all the ornamental arts. Gothic
Architecture assumed its noblest garb, and called forth the
fullness of mediaeval decoration to add splendour to those
structures which must ever remain the wonder of the
world.
In the illuminations of the twelfth, and opening years of
the thirteenth centuries, the peculiar Gothic feeling may be
observed to prevail, while gradually the Komanesque
features of earlier works died out, never to be again revived
within the reign of legitimate illumination. In fact the
extreme of all that is classic was followed in the decoration
of manuscripts, as it was in ornamentation, as applied to
architectural works.
The principal peculiarity in the illuminations of this
period is to be found in the scroll work, which is of a bold
and open character, without leaves. The scrolls are of a
volute outline, coloured in flat, hard edged shading tints,
generally terminating in the centre with a rich conventional
Sower ; minor portions of the scrolls often finish by turn-
ing over and spreading slightly ; these terminations being
generally of a contrasting colour, add greatly to the effect
of the composition in which they are introduced. When,
however, the scroll-work alluded to is monochromatic,
which is often the case in continental work, shading is
alone employed in the flowers and turnovers. Ground-
works of gold, silver, and contrasting colours are intro-
duced within the scrolls, adding greatly to the general
effect. Small specimens of monochromatic and poly-
16 THE ART DURING
chromatic twelfth century scroll-work upon different
grounds, may be seen in Plate 1, Figs. 9, 10, 11, 12.
These scrolls, although forming the characteristic feature
of the period, are still only adjuncts to the initial letters,
to which the decorative illumination was generally applied.
It is much to be regretted that the fancy and inventive
genius of the Limners of the twelfth century, did not
extend to borders, such as were introduced both in
previous and after eras.
The forms of the capital letters of the twelfth century
are perhaps the most perfect in our collection, being free,
graceful, and correct. The minor initials are studies
themselves in conventional design and treatment. See
Plate 1, Fig. 13.
A very peculiar style arose during this period applied
principally to initials, though occasionally to slip borders,
(where great architectural merit is to be observed). These
initials and borders were formed of scroll-work, foliage, and
animal forms, outlined and shaded in red alone, with
grounds of blue and green introduced within the features
of the design or letter ; specimens of this work may be
seen in Plate 1, Fig. 9, and Plate 2, Figs. 1, 2.
Pen-work appears to have been much used during the
twelfth century, greatly to the exclusion of the brush.
The last mentioned style is altogether pen-work in its
ornamental portions, resort only having been made to the
brush in the groundings of blue and green. Splendid
specimens of this treatment may be found in the Har-
leian collection, MS. No. 2,800, extensive selections from
which have been figured by Mr. H. Shaw, in his valuable
work on Illumination.
In works of the latter years of the thirteenth century, a
decline in bold display and artistic feeling is to be traced.
During this period, the scroll-work and detail generally
became crowded and reduced in scale, while the colouring
became heavy, and comparatively speaking indistinct.
The initials themselves were reduced in size, but, in com-
pensation, their extremities were extended and worked into
THE MIDDLE AGES. 17
floriated terminations, sometimes reaching to the bottom, or
extending to the top of the text. This peculiarity in
connexion with the capitals, was the forerunner of the
celebrated bracket of the following century.
Miniatures became more common during this period
than heretofore, generally treated upon a solid background
of gold. The colours employed were for the most part
pink, blue, and green, shaded with their deeper tones, and
hatched, or delicately worked with white lines. Red and
purple were sometimes used in the miniatures.
Conventionalized animal forms were liberally introduced
amongst the scroll-work of this century; and were ofttimes
elongated into the tail-like extension alluded to with
reference to the initial letters.
Several leaves, beautifully conventionalized, were used
in the illuminations of the thirteenth, though to be more
extensively so in the works of the fourteenth century.
The forms of some of the leaves in question are shown in
Plate 2, Fig. 3. Towards the close of the period, the
manuscripts became very rich and beautiful, though they
lacked the simplicity and boldness of the preceding, and
the intricate completeness of the following style.
It is indeed difficult, in the present little manual, to
attempt to give anything like a description of the very
numerous beautiful works executed by the Illuminators of
the fourteenth century; to give a complete description
would be impossible, were the whole contents devoted to
that purpose.
A general idea, or outline of the leading features to be
observed in the manuscripts of the period is all we can
give ; yet we are all well aware how inadequate our
remarks must be to convey what we would wish to have
known by the eager student of the glorious art of illumi-
nating.
It is very important that all who wish to become
illuminators, should have a good, general knowledge of the
history of the art, and the prevailing peculiarities of the
various schools and periods ; to acquire this, such works
c
18 THE ART DURING
as those produced by Count Bastard, 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 ; being of all the periods
of the art, perhaps the most complete and adaptable. In
real feeling and artistic merit it is inferior to earlier styles ;
yet owing to the generous distribution of its ornament in
borders of all classes, miniatures, initials, and the like, it
may take its position among the most brilliant periods
which flourished during the Middle Ages. In brilliancy
and beauty of colouring the manuscripts of the four-
teenth century stand almost unrivalled ; and the initial
letters, which are generally large and of intricate design,
display, in many instances, a wonderful perfection in
harmony.
A peculiar style of capital letter, was introduced in the
illuminations of this period, formed of two colours
worked into one another in some ornamental manner,
divided by a white thread line. The colours generally used
were red and blue, and gold and blue, laid on in flat body
tints, Plate 2, Figs. 7, 9.
A beautiful species of outline work pervades the illumi-
nations of this century, principally grouped around the
capitals, or extending in graceful tendrils from their
extremities, see Plate 2, Figs. 4, 5, 7, and 8. In
important works, miniatures on gold and rich diaper back-
grounds, and elaborate masses of ornamental work, partly
in outline and partly in delicate colours, were employed
to fill up initials and panriels around them.
Several new features characterize the schools of the
fourteenth century, as may be observed by an inspection
of Tigs. 3 to 9 on Plate 2.
Line scolls bearing such leaves as are shown in Fig 3,
were largely used, forming an elegant peculiarity of the
style, as also another class of leaf, a specimen of which is
given in Fig. 6, where its mode of curling, displaying at
intervals its reverse side, illustrates its adaptability to
receive the greatest display of contrasting colour.
THE MIDDLE AGES. 19
In the illuminated works of the fourteenth century,
raised gold, highly burnished, was largely introduced as
grounds for miniatures and initials. This was at times
diapered and ornamented in the most careful and beautiful
manner.
Towards the close of the period, when a continental
influence began to extend itself to English illuminations,
the raised gold grounds gave way to architectural and
landscape ones. This change was mainly due to the
school of Italian illuminators, and those founded by the
Yan Eycks.
In France, under the fostering patronage of Jean, Due
de Berri, the art of illuminating made rapid strides, sur-
passing that of almost every other nation at the time;
though the Italian, Flemish, Netherlandish and English
works were by no means poor, even in comparison.
Animals of peculiar shape, sometimes oddly convent-
ionalized, were introduced within and around letters and
borders. Conventional flowers of great beauty were pre-
valent in the illuminations of this and the early portion of
the succeeding period; examples are shown in Fig. 1,
Plate 3.
As we enter upon the subject of the illumination of the
fifteenth century we find our task not only arduous, but
one next to imposible to do justice to ; not that it matters
much, for the early portion of the period was but a con-
tinuation of the prevailing schools of the fourteenth cen-
tury, perhaps inclining rather towards a more natural
mode of treatment in the detail.
Towards the close of the century, however, a decay may
be observed in illuminated works. The pure artistic feel-
ing and treatment of conventional ornament sank with the
debasement of Gothic Architecture, never to be again
revived until now.
We have only given one or two examples from MSS.,
dating in the early years of the fifteenth century, as we
consider the works of the later years unworthy of the
modern illuminator's attention.
c 2
20 THE ART DURING
Plate 2, Pigs. 10 and 11, show the modes generally
resorted to in shading rods, much used in the borders of
the period, as also during the fourteenth century. Figs.
12 and 13 illustrate the treatment of conventional leaves.
A less severe feeling may be plainly traced here, when we
look at the fourteenth century example, Fig. 6.
Plate 3, Fig. 1, gives a few of the conventional flowers
from fourteenth and early fifteenth century manuscripts.
These will be of value to the modern student, being
selected so as to be worthy of his imitation.
During the fifteenth century, illuminating received its
death blow by the invention of printing. For many years,
no important effect was visible, though the art of the
Illuminator was being gradually undermined.
The first sign of the disease which ultimately carried it
off and consigned it to a tomb of centuries, was the cessa-
tion of the labours of the scribe.
Illuminations, principally in the form of initials and
small capitals, then became introduced into the printed
books, spaces being left in the form to receive them.
Wooden blocks printed in coloured inks were at last
introduced, and the Illuminator ceased to be.
As we enter the sixteenth century, the decay in art is
still more visible ; large, crude, and gaudy imitations of
natural forms came from the would-be illuminator, entirely
devoid of the truthful feeling pervading early works. We
must say, having read many Manuals lately published, that
we are literally astonished to note the extravagant words of
praise bestowed upon the illuminations of the sixteenth
century, which, beautifully as they may be executed, lay no
legitimate claim to rank amongst works of pure decorative
conventional art.
Our grandmothers, or perchance our maiden-aunts have
handed down to us in the shape of fire-screens, card-
baskets, and other nic-nacs, specimens of this style (if it
may be termed one) and many of their flowers and fruits,
butterflies, caterpillars, and other scions of the insect
world, vie, and that ably, with the best attempts of the
Hate 5.
THE MIDDLE AGES. 21
worst of all schools of illumination, that of the sixteenth
century. Several very beautiful works, however, in the
shape of miniature paintings were executed by Italian and
other artists for the purpose of illustrating books. Some
of their works remain unequalled to the present day.
Having given a short notice of the rise and progress cf
the glorious Art of Illuminating during the Middle Ages,
we will now direct our readers' attention to the materials
used then, and to be used in the present era of its
revival.
22
fart
SSfobrwb umb in tjp (forty ^rnrfo nf tjjB art.
But little can be said on those materials which were
employed in the practice of the Limner's art, at early times,
save it is, that they did in every way excel those we now
press into our service, perhaps with one exception in favour
of paper.
Yet in being forced to acknowledge the perfection to
which our Middle Age artists brought their illuminating
materials, we must not forget the debt of gratitude we are
under to our manufacturers, for the time they have spent,
and the great trouble they have put themselves to, to
enable us to approach, or rival the works of bygone times.
And we are glad to be able to say that Messrs. E-owney &
Company, have not been backward in lending their assistance
towards the revival of the beautiful and useful Art of Illumi-
nation, having produced, after careful study, an assortment
of colours unequalled for purity and brilliancy of tone.
In the earliest eras of the calligraphic art, before illum-
inating may be said to have been introduced, cumbrous
and rude were the materials resorted to, for the purpose of
receiving the written matter. In the catalogue may be
enumerated stones, woods, and metals, bones of animals,
human skins, and skins of reptiles, &c. We have proof of
the use of papyrus at a very remote period ; the " Papyrus of
Assa" preserved in the Imperial Library of Paris, being sup-
posed to date from about two thousand years before Christ.
About five hundred years B.C. a great advance was
made in writing materials, by the introduction of a paper
MATERIALS. 23
made from the Egyptian papyrus. This material, which
was for many years the staple of Egypt, remained in use
until the eleventh century, when it was entirely superseded
by parchment and vellum ; which are now the only ancient
materials in use and demand.
There is some little doubt as to the date of the first
introduction of parchment, many authors attribute its
invention to Attalus, King of Pergaraus, but we are of
opinion, that it was in use long before his time (200 B.C.)
The credit of its invention is by others claimed for
Cumenes (who reigned at Pergamus B.C. 187 159).
It seems probable, however, from the name it bore, " Charta
Pergamena/' that it underwent some important improvement
either in quality or mode of manufacture at Pergamus
and we learn that for some time it was a staple article of
trade to that kingdom.
As to vellum, we have no decisive knowledge of the
date of its introduction, but we may suppose it to be
coetaneous with that of parchment.
The only great difference between the two consisting in
the skin from which they are manufactured vellum being
prepared from that of the calf, while parchment is from
that of the sheep. The difference alluded to, however,
materially alters the quality of the article produced, vellum
being the only one of the two suitable for the purpose of
illuminating.
We cannot of course speak with any certainty of the
quality of vellum in the ages of its first introduction, but
we know that for the last ten centuries no advance has
been made in its manufacture rather the reverse.
The finest specimens which remain to us, date anterior to
the eighth century, some as early as the fifth and sixth.
And the art of staining vellum purple, violet, and rose-
colour, which had reached such perfection at the above
dates, is now altogether lost, and in fact was so at a com-
paratively early period, for recourse was made to painting to
imitate the beautiful stains of more remote times.
Vellum was sometimes gilded all over with gold-leaf
24 MATERIALS.
attached with white of egg, the skin being previously
smoothed and polished.
JSTo one can examine the works executed by the artist
monks of the Middle Ages, without being struck with
the brilliancy of their colouring more brilliant after a
lapse of centuries, than what can now be produced. Cer-
tain it is, that the colours they employed, were of the
finest and purest description, no expense being spared by
the employers of those artists in procuring whatever was
considered necessary, or conducive to the perfecting of
their works.
A strange mode of preserving their colours, was some-
times resorted to by the Illuminators of old, namely that
of introducing them into linen cloth. For this purpose,
various pieces were steeped in solutions of different
colours, and afterwards carefully dried. The clothlet
colours (as they were termed) were then protected from
dust, damp, and the injurious influence of light by being
placed between the leaves of books made of paper.
When these colours were required for use, fragments of
the differently charged cloths were taken and steeped in
pure water for several hours ; by which means the tints
were extracted, and (after the superabundant water was
poured off) rendered ready for working, by incorporation
with their proper vehicles.
The colours we observe to have been used at early times,
were,
Yermillion Vermiculum.
Red Lead Minium.
Dragon's Blood Sanguis Draconis.
Orpiment Auripigmentum.
Yellow Crocus.
Ochre Carum.
Green Viride Grcecum.
Blue Azorium.
Indigo Gravetum Indicum.
"White Minium Album.
Black Nigrum.
MATERIALS. 25
During the fifteenth and sixteenth centuries, Carmines,
Lakes, and Ultramarine came into use, and were largely in-
troduced into illuminations. The Italian artists liberally em-
ployed these colours, and that with pre-eminent success, as
may be observed by the two valuable specimens preserved in
the Soane Museum, executed bv Giulio Clovio, between
the years 1525 and 1580.
There were several modes of gilding illuminations prac-
tised by the artists of old two of which we will speak of
here.
Firstly gilding with leaf-gold. This mode, in which
was employed gold beaten out into the form of sheets or
leaves of remarkable thinness, was resorted to, generally
speaking, when surfaces of any considerable size were to
be covered.
Secondly, gilding with powder-gold. This mode was
followed, in most instances, when the surfaces or ornaments
to be gilded were small, and in lining, hatching, and
diapering upon coloured grounds. The powder here used
was gold (reduced by being milled under water) mixed
with pure fish glue, and laid on with a brush. Both the
processes alluded to required burnishing to bring up the
brilliancy of the metal.
A style of gilding was much practised during the
Middle Ages, called raised-gilding, this was nothing more
than the above modes applied to a raised bed, composed
either of minium and white of egg, or a preparation of
plaster called raising gesso laid on the surface of the
vellum and gradually rising from it, sometimes to a con-
siderable height.
23 MATERIALS.
3Kfltmub fo in tjj? 3Snte ^rnrtto uf tjp lit
Colours.
As we before remarked, 110 one can examine the illu-
minated works of the Middle Ages, without being aston-
ished at the vividness of the colours employed in their
ornamentation ; and the student too soon becomes aware
that it is out of his power to rival them.
What it is we have lost in the preparation of our colours
we know not ; but certain it is, we cannot approach in
brilliancy of tone those used by the old illuminators.
Within the last few years, however, great advance has been
made in the manufacture and preparation of pigments;
and chemistry has added numerous valuable colours to the
list, which now assumes a rather formidable appearance.
The student has, at the present day, to trouble himself
but little with regard to his colours, for he can procure
them ready for use, most carefully prepared ; but the case
was different in former times, for all colours used by the
Illuminator had to be ground and incorporated within the
limits of the Scriptorium.
Without troubling our readers with a complete list of
the water colours in present use, we will content ourselves
by giving the names and detailed peculiarities of those
which are suitable and requisite for the practice of the Art
of Illuminating on paper and vellum.
1. Ultramarine. *1 Emerald Green
*2. French Ultramarine. *2. Oxide of Chromium.
*3 Cobalt. 3. Sap Green.
4. Cerulium. 4. Moss Green.
5. Smalt.
MATERIALS. 27
anfc
*1. Vermillion (scarlet). *1. Cadmium Yellow.
2. Red Lead. *2. Indian Yellow.
*3. Carmine. *3. Lemon Yellow.
4. Crimson Lake. 4. Mars Yellow.
*5. Rose Madder. 5. Chrome Yellow, No. 2.
6. Indian Red.
ranges. Brofcrn.
*1. Mars Orange. *1. Vandyke Brown.
*2. Burnt Sienna.
* L Chinese White
*1. Indian Purple.
*2. Violet Carmine.
3. Purple Madder. *1. Indian Ink.
*4. Neutral Tint. *2 Lamp Black.
It is desirable the Illuminator should possess all the
colours above enumerated ; those marked with asterisks
should, however, be procured first, being indispensable.
"We now offer a few remarks on the nature and pro-
perties of the colours contained in the list we have recom-
mended.
1. Ultramarine. This valuable pigment, the richest and
purest blue in existence, is pre-eminently suited for illu-
minating, its only drawback being its present high price.
It forms a beautiful series of tints and body colours when
combined with Chinese White, and Chinese White and
Carmine. It is perfectly permanent.
*. French Ultramarine. Known also under the
name of French Blue. A very useful colour, which ably
takes the place of real Ultramarine; and combined with
White White and Carmine and White and Cobalt, it
forms a valuable set of beautiful body colours in Blues and
Lilacs. It is permanent; and if good, strong and brilliant.
*3. Cobalt Blue. A useful blue for illuminating,
forming a class of pure light body azures in combination
with Chinese White ; a slight proportion of Carmine or
28 MATERIALS.
Crimson Lake improves these tints. It is quite perman-
ent, and used alone it washes well.
4. Cerulium. A beautiful cobalt of peculiar tone. This
colour is of recent introduction, and is a valuable addition
to the Illuminator's palette. It is only prepared by Messrs.
G. Bowney & Co., and is permanent, working well either
in washes or body colour.
5. Smalt. Is a gorgeous full-toned blue; in its tint
partaking of violet. It is permanent, and in illuminating
it should be used alone.
anfc Crimsons.
*1. Vermillion. Scarlet Yermillion is one of the most
useful colours on the Illuminator's palette, being in its pure
state a rich brilliant body colour, flowing well, and drying
dead and uniform. With Lamp Black it forms deep body
Browns, and with White, a series of beautiful and useful
tints, which may be shaded with the pure Yermillion.
. Red Lead. A very bright, opaque, scarlet-red, of
great body and freedom in working. It is a useful colour
when it can be carefully protected. It is not quite perma-
ment, being liable to turn dark if kept in contact with
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
great transparency and force, but does not make agree-
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
would appear to be a Claret. With Chrome Yellow it
produces many beautiful tints; and with Cobalt and
Erench Blue it yields good Yiolet and Purple tones. It is
tolerably permanent.
4. Crimson Lake. May be used as a substitute for
Carmine, being somewhat similar in character ; it is,
however, less brilliant and rich in tone. Mixes well with
Yermillion and White, and is moderately permanent.
*5. Rose Madder. A delicate, transparent, and pure
MATERIALS. 29
toned Carnation. Very useful for illuminating purposes ;
mixed with Carmine and Cobalt, Vermillion and White, it
produces a series of beautiful tints. It is more permanent
than either Carmine,, or Crimson Lake.
6. Indian Red. A permanent, deep-toned,, dull Red,
useful in combination with Yandyke Brown, and Lamp
Black, producing fine body Chocolates.
(imns.
*]. Emerald Green. An indispensable colour, very
brilliant and vivid; having great power of lighting up
other colours, when in juxta-position with them. It is
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 bright as the
pure colour.
*2. Oxide of Chromium. A useful, rich, deep -toned,
opaque Green. Mixed with Emerald Green and Yellow it
gives a valuable series of effective tints ; and is permanent.
3. Sap Green. Occasionally useful, though by no
means an indispensable colour. Used* in foliage, or in
toning other body Greens. Moderately permanent.
*4. Moss Green. This indispensable and beautiful pig-
ment is prepared expressly for illuminating by Messrs.
Eowney & Co. It may be considered one of the most
valuable colours adapted for the Illuminator's use being
quite permament, of intense body and opacity. It likewise
works perfectly, drying a brilliant mat green. It is useful
in shading Emerald Green, and may be lightened with
body Yellows or darkened with body Blues, making an
endless series of valuable and beautiful tints.
*1. Cadmium Yellow. A most beautiful and useful
colour; particularly rich and glowing when of good
quality. It may be mixed with Carmine, Vermillion,
Lemon Yellow, and White, producing numerous brilliant
tints. It works well, and is quite permanent.
30 MATERIALS.
*2. Indian Yellow. An almost indispensable colour,
very rich in its lighter washes ; inclining to ochre when
used thick. It works well, and is permanent. Mixed
with Carmine and Lemon Yellow it yields useful tints.
Used with Vermillion it greatly improves its tone, changing
it towards Scarlet.
*3. Lemon Yellow. A vivid pale Yellow of great use to
the Illuminator ; mixing well with Cobalt, Carmine, Yer-
million, Rose Madder, Emerald Green, Oxide of Chromium,
Cadmium, and Indian Yellow. It is permanent.
4. Mars Yellow. A useful, rich, permanent colour, but
not very much required for illuminating.
5. Chrome Yellow. A powerful body colour; very
useful in combination with French Blue, producing intense
body Greens, of great depth and freedom in working. It
is not permanent, and must not be used alone.
*1 . Mars Orange. A very beautiful, permanent colour,
of great use, being pure and intense in tone.
*2. Burnt Sienna. A useful brown Orange, of perfect
permanency. Works and washes well. Useful for colour-
ing stalks of foliage, and toning other colours.
|ht*pU*.
*1. Indian Purple. A valuable colour, working well
alone, showing a Violet hue. Mixes well with French
Blue, Cobalt, and Carmine, yielding useful tints.
*2. Violet Carmine. This deep, rich colour is of
great use to the Illuminator. Mixing and working well,
and is tolerably permanent.
3. Purple Madder. A warm, intense Purple. Mixing
and working well. More permanent than the above.
*4<. Neutral Tint. An indispensable cold Purple
colour, much used in shading. Mixed with White it
yields a beautiful Grey of great service.
Sfttoton.
*1. Vandyke Brown. The most useful Brown for
MATERIALS. 31
illuminating purposes. Mixes, works well, and is per-
manent.
HEP*.
*1. Chinese PFhite.The material of the greatest use to
the Illuminator, combining with, and giving body to all the
previous colours. Used alone in the shape of lines, dots,
or ornamental figures upon gold or coloured grounds, it
possesses great beauty and power of effect, it is permanent
and works well, drying hard and clear.
Bladts.
*1 . Indian Ink. The only material suitable for outlin-
ing and lettering. Works perfectly, and dries glossy.
*2. Lamp Black. A very useful, dull body Black,
used when grounds or masses of black are to be intro-
duced amidst colours, drying mat without any tendency
in tone towards grey or russet.
The above list of colours will, we are of opinion, be
found to include all those necessary for the practice of
the Art of Illuminating. They may all (with the exception
of Chinese White and Indian Ink) be procured in three
different forms, namely in powder, paste, or cakes ; either,
or all of these may be used by the Illuminator, although
colours prepared in the shape of powder are unquestion-
ably the best for the general purposes of his art.
What is most required for illuminating, is a series of
pure, intense body-colours, capable of being kept clean
and uncontaminated, while in constant use.
In moist, or paste colours, this is next to impossible, al-
together so, for any length of time.
Cake Colours are least suited of any for illuminating,
from the great difficulty to procure by their use a body-
tint, or a large volume of colour. At times, however,
they are useful when delicate washes are required.
Powder colours, as manufactured expressly for Illum-
inating, are at once the best and handiest of all.
32 MATERIALS.
Firstly from the ease with which an intense body may
be obtained, in any quantity, at a moment's notice. And
secondly from the perfect cleanliness in which they can
be kept while in continual use. A number of small china
saucers are requisite to mix the colours in, which being
prepared with a strong glutinous substance, only require
the addition of pure water, (slightly warm, after having
been boiled).
It must at once be seen that Powder colours lay claim
to a vast superiority over both moist and cake : indeed, we
can speak from experience, now using them almost
entirely in illuminating, and other decorative designs.
Messrs. George Rowney and Company have lately pro-
duced a complete set of illuminating body colours, in
powder, of great strength and brilliancy ; and having used
them for some time, we can, with assurance, recommend
them to all who may be desirous of procuring a perfect
selection of materials.
Chinese White is prepared moist, placed in a bottle,
similar to those in which the powder colours are preserved.
Indian Ink can only be had in cakes (as imported)
and if good, it should be perfectly smooth and free from
any grit whatever have a slight aromatic odour when
mixed and dry with an intense gloss.
We feel it our duty, ere closing our remarks on colours,
to warn all against the use of Pure Scarlet, and the Chrome
Yellows, (brilliant as they are) being liable to fade and
become discoloured.
It would be but poor encouragement to the artist, to
find in the course of a few months works over which he
perhaps spent weeks, fade, or become unsightly, through
the materials he employed. Yet such would be the case
were he not very careful in his selection.
If expense is no consideration, we would recommend
the student to procure duplicates of his powder colours, in
the form of cakes or half cakes, as they are useful at times
in very small and delicate works.
METALLIC PREPARATIONS. 33
fHetalltc preparations.
Metallic substances are largely used in all the branches
of the Illuminator's Art, and when properly applied, add
greatly to the beauty and brilliancy of the colours, among
which they are introduced.
The forms, in which the various metals used are pre-
pared, are as follows i Gold Leaf, Gold Paper, Silver
Leaf, Gold and Silver in shells and saucers, Green Gold
in shells, Platina in shells, and Aluminium in shells.
We warn our readers against the use of any inferior, or
imitation preparation of the above metals, such as
Bronzes, Inks, and Paints, none of which will bear ex-
posure untarnished.
In preference to Silver Leaf, and Shell and Saucer
Silver, we recommend the preparations of Platina and
Aluminium to be used, for unless protected with a varnish,
silver will quickly turn black. Platina and Aluminium
are not so brilliant as pure silver, but from their per-
manency, they should claim preference at the hands of
the illuminator.
Gold Leaf is pure gold beaten out into leaves of great
thinness, preserved between the leaves of small books, each
book containing twenty-five squares of gold. This is the
best form of gilding material, but is somewhat difficult
to work.
Silver Leaf is of the same nature as Gold leaf.
Gold Paper is thin paper covered on one side with
leaves of gold ; it is a useful material when large plain
surfaces of gold are required. It must be attached to the
illumination with gum-water, or a weak mixture of glue
and sugar.
Shell Gold is gold powder prepared and placed in small
mussel-shells. When required for use, several shells
should be mixed into one with pure water and a very little
D
84 METALLIC PREPARATIONS.
gum- water, but of this we will treat more fully in another
portion of our " Guide."
Saucer Gold is similar in every way to the above, the
article in which it is placed excepted.
Shell and Saucer Silver may be treated, when required
for use, in the same manner as Gold shells and saucers.
Shell Green Gold is a late addition to the list of Me-
tallic preparations, it is of a peculiar hue and may be used
with great effect.
Shell Platina and Aluminium are preparations of those
metals placed in mussel-shells ; they do not readily tarnish
*or discolour. They are mixed for use in the same manner
as Gold shells.
Uellum, Cartifroartr, anfc
Of all the materials adapted to receive Illumination,
vellum stands pre-eminent. Precedent in itself might
dictate its use, for all the finest MSS. in existence are
executed upon it ; thus it is that we ever intuitively connect
this material with the Art of Illuminating, itself. Vellum,
however, was not exclusively used by the artists of old.
At an early period, paper was largely employed for MSS.
in the countries of the East, long, indeed, before it was
introduced into Western lands.
Yellum can be procured prepared for the use of the
Illuminator of any size, up to whole skins ; though, unfor-
tunately not of the quality we sometimes find in the old
manuscripts. It is, from the beauty of its texture and the
high finish of its surface, the best material for the purpose
of illuminating; though, from its expense and the great care
required in working upon it, it is somewhat inferior to
cardboard or paper in the hands of the tyro.
Yellum is manufactured from the skin of the calf or
kid, which is treated with lime to get rid of all fat and
fleshy matter, and afterwards stretched on a frame and
carefully scraped with a knife ; the skin is then finished by
VELLUM, CARDBOARD, AND PAPERS. 35
being washed with weak acid, and surfaced by grinding
with pumice-stone.
For illuminating, the finest and whitest skin must be
selected; and ere it is worked upon it had better be
stretched upon a drawing-board. This may be done by
slightly damping the reverse surface of the vellum with a
clean wet sponge, and afterwards gluing the edges all
round to the board. Care must be taken to glue the skin
securely, and to have the board perfectly flat and smooth.
When the vellum is quite dry, it must be well pounced
with dry powdered chalk, applied with a flannel roll. This
removes all tendency to grease which might remain on the
skin. The chalk must be entirely dusted from the vellum
with a clean cloth.
All pencil work on vellum, which is to be ultimately
removed, must be as light as possible, and cleaned off with
dry stale bread only.
The next best material for the Illuminator's use is
" London Board/' This superior article is manufactured
from the best drawing paper of almost any size and thick-
ness ; and is brought to a beautifully hard and smooth sur-
face by being rolled and pressed by powerful machinery.
" London Board" is indeed a valuable material for the
illuminator, being of all substances the easiest to work
upon, and moderate in price. The most suitable thickness
to use is three or four sheet ; the size is only limited by
the largest drawing-paper made, (hand made) which is
Antiquarian, 52 by 30 inches. "London Board," how-
ever, is very seldom made of so large a size.*
We would warn our readers against the use of " Bristol
Board," which is very much inferior to the material we
have above recommended. It is considerably less in price,
but it may truly be said of all those who choose it for the
purposes of illumination because it is so, that they are
"penny wise and pound foolish."
There are various kinds of papers which are suitable for
* "We recommend Goodall's, or Turnbull's "London Boards,"
they being unquestionably the best manufactured.
D 2
36 INSTRUMENTS.
illuminating on, and combine all the necessary qualifica-
tions. Yet, perhaps, of all those with which we are
acquainted the illuminating vellum papers manufactured
by George Eowney & Co., and Whatman's hot-pressed
drawing-papers are the best.
The paper selected should be thick and firm, having a
smooth fine grained surface, free from nap or hairs, and
should be stretched in a similar manner to vellum ere
being worked upon, unless the illumination be small, when
the paper may be attached to the drawing-board by wax or
drawing pins.
jfnstrunwnte, &c.
It is of the greatest service to the Illuminator to possess
a complete set of good drawing instruments, of which we
give a list.
Small compass.
Compass with shifting legs.
Bow Pen.
Bow Pencil.
Drawing Pens.
Tracer.
Straight edge.
Curves.
T Square and Set Square.
Drawing Board.
With these (after a little practice in their use) the
student will have no difficulty in laying out and planning
his design. The drawing-board, and T square are most
important articles in the hands of the Illuminator, arid we
are somewhat surprised to find little or no mention made of
them in the numerous manuals on the Art of Illuminating,
lately published.
"We advise the beginner (if possible) to get a few lessons
in the use and mode of working the instruments before
mentioned ; we can assure him he will find it time well
spent.
BRUSHES. 37
A set of small membered curves are of great use for
guiding the drawing pens while inking in the lines of
scrolls and other ornaments.
The several compasses may be at times used for the
same end : but it being more difficult for the student to
strike the line of beauty (which is never developed on the
line of the circle) with them than with the curves, it is
desirable for the student to make himself possessor of a
set, selecting those which display the most complicated
forms, and are smallest in their details.
Ere closing our remarks on the instruments, let us
advise the tyro in Illumination, as indeed we would the
advanced student, never to trust to the unaided hand, that
which can be done by the use of the instruments, for no
human nerve can attain their precision.
The brushes best suited for illuminating, are red sable,
being stronger in their hair than either black sable or
camel's hair : and they retain a finer and firmer point when
charged with body colour than any other description of
brush.
All sizes are required for different classes of work, from
a crow quill up to the swan quill.
A few camel's hair brushes of small goose quill size may
be procured, for mixing up the various colours, thereby
saving the more expensive sables from undue wear.
The brushes required of each size are as noted in the
following list.
Small Swan Quill
Large Goose Quill
Goose Quill
Duck Quill .""'
Crow Quill
A flat camel's hair brush is of use for damping, although
38 PENS AND PENCILS.
for general purposes a small sponge is superior ; both had
better be procured however.
anfc
It is very important for the Illuminator to possess a
good selection of pens, for without such he will find great
difficulty in executing in a satisfactory manner, many of the
most important branches of his art.
The pen is in constant use scrolling, outlining, shading,
hatching, or lettering ; in close attendance upon the pencil
and brush, throughout the execution of the work.
Both quill and steel pens are required for illuminating,
and of each class of pen, several different kinds must be
procured.
Steel pens are mostly used for scrolling and outlining, and
for executing all the delicate linework ornaments intro-
duced into illuminations.
Plate b* contains a collection of figures, which in their
execution depend solely upon the steel pen.
Pens of various breadths of point are required, from the
"mapping pen," up to the middle text pen. Those
manufactured by Joseph Gillott are the best.
For the general purposes of outlining and delicate scroll-
ing, there can be no better pen than Gillott's No. 303 ; it
combines strength and size with a beautifully tapered and
minute point. For bolder work in ink, and general work
in colour, a broader pointed pen may be used with
advantage, such as No. 404.
Quills are principally used for hatching, (that is working
gold or colour in lines upon any coloured ornament) and
lettering.
For hatching, a soft flexible goose quill is the best, and
for writing or lettering (where hardness and durability are
essential qualifications) a well baked turkey quill should be
procured.
The pen should have a point proportionate to the size of
BUENISHEES. 39
the text to be written, a little less in breadth than the
thick strokes of the letters. Hair lines are made by moving
the pen sideways.
In cutting the quill, care must be taken to have equal
material on each side of the split, and to give to the pen a
clean, smooth, bevelled point. A little practice will over-
come any difficulty the beginner may experience in pre-
paring the turkey quills for lettering. The hatching pens
may be cut as for common writing, but had better be
scraped on the upper side to secure great flexibility ; a hard
pen is apt to disturb the colour it is employed to hatch.
Crow quills are useful for hatching, but are too small to be
comfortable pens to work with.
Few pencils are required for illuminating purposes ; one
strong hard pencil, and a H.H. superfine drawing one are
all that are necessary ; the former for cartoon drawing,
tracing, &c., the latter for the guide lines of the text,
borders, and ornaments upon the illumination itself.
A piece of vulcanized india rubber, arid an ink eraser,
(J. H. Green's) should be procured.
Burnfefjera.
There are three forms of burnishers used for illuminating
purposes, viz., the flat, the pointed, and the curved. From
these, the two first should be selected.
The flat, or broad burnisher is unquestionably the best
for bringing up large flat masses of gold, and should alone
be used if the gilding be executed with shell-gold, without
raising preparation.
The pointed burnisher is useful with raised gold, or very
small ornaments.
Flint and agate are the materials from which the best bur*
rushers are made; and should be highly polished when
brought to the required form, and firmly fastened into a
handle.
Sfonfcrieg.
Tracing Paper. The tracing paper used should be
40 SUNDRIES. -
moderately thin, white, and very transparent. It can be
had of almost any size.
Transfer Paper. There are two sorts of transfer paper,
one prepared with black-lead, and the other with red
chalk. The lead transfer is the best for both vellum and
paper, and its lines should be removed with bread in pre-
ference to india rubber.
Palettes. A china palette must be procured for rubbing
ink and cake colours upon, and a number of small saucers
are indispensable to mix the powder colours in. Nests of
saucers are very useful, as the colours may be kept covered
and free from dust for any length of time.
Tracing Point. A pointed piece of ivory or bone,
somewhat of the form of a sharpened lead pencil, is
required for working figures on gold grounds. The steel
tracer usually supplied in cases of mathematical instruments
(mentioned in the list of instruments) may be used for
indenting on gold, but is not so handy as the ivory tracing
point we have recommended.
41
art
We now come to the most important branch of our
subject; and we trust that our readers, who have read
the previous parts of our manual, feel sufficiently interested
in the study of the most fascinating of all arts, to attend us
yet farther.
To the student, eager to attain proficiency in the practice
of illumination, we have a treat in store, and we crave his
attention while we lay before him the result of years of
constant study and laborious practice.
Yes, gentle reader, years he who would become in
truth an Illuminator, must not for one moment think that
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 as it ever does day by day con-
tinually.
Our readers must remember that he is no illuminator,
who, for a time takes up the implements of the art, to
execute a book-mark for a friend, or to adorn some fair
lady's album with gold and colour ; and then consigns them
to their case, until some like occasion prompts their use.
How different is he, the true Illuminator, who toils, yet
knows it not, day after day, in every spare hour, and
42 LETTERING-
through the night far into the hours of morning for love
of the glorious art itself ; who wanders abroad among the
works of nature that he may derive new inspiration ; who
bears home to his quiet studio, the wild gems of the forest,
and converts their wonderous forms to the beautiful con-
ventionalisms, which are to adorn the labours of his hands,
careless whether other eyes see them or not. Other eyes
will see them, however ; and many tongues shall convey to
him the measure of his praise.
^ettermg.
It is very important that the Illuminator should be a
good caligraphist ; therefore, the student should spare no
pains to acquire a proficiency in this department of his
art.
It is true that during the Middle Ages, the scribe and
the Illuminator were different persons, although both
prosecuted their various avocations within the precincts of
the Scriptorium. Yet it would be very inconvenient for
the Illuminator of the present day, to have to depend upon
the labours of a second party for the text of his illumina-
tions.
In Plate 5 we have given^two alphabets, one of initial,
and the other of small letters.
They are both, we think, well suited to modern taste
and requirements ; being compiled from the most worthy
models, with strict regard to correctness of form.
As a few hints may prove of service to the beginner, we
give them ; assuring him, however, that without the most
severe practice, rules or directions are of no avail.
Perhaps there is nothing more calculated to astonish
those who examine the manuscripts of the Middle Ages,
than the beautifully executed text. Faultlessly regular in
every line, on every page, perfect in form of every letter,
it is indeed a mystery to us how mortal hands could have
executed it. We need never hope to successfully imitate
LETTERING. 4
those labours of our early scribes. We may say the art,
with the necessity for its practice, has gone for ever.
Be not discouraged reader, you may (and doubtless
will if you persevere) attain great expertness in writing,
although your work may never equal the work of our
forefathers.
We have examined hundreds of pages of minute text,
the letters of which stood not one-sixteenth of an inch
high, without detecting one false line, misshapen letter, or
a single trace of an erasure.
In proceeding to letter, first rule double lines (with the
T square) across the space to be filled with text, in distance
from one another equal to the height of intended letters.
The space between these double lines may vary accord-
ing to circumstances; the best proportion, however, being
about one and a half that of the text lines. Red lines are
often drawn between the rows of letters ; when these are
to be done, it is advisable to rule them previous to com-
mencing to fill in the writing, as they act as guides to the
long strokes of the letters fo i f g jj j ft I p q t g the remain-
ing letters B C im n**t * t fetaX) being confined by the
text lines.
Placing your copy or alphabet before you, carefully put
in letter by letter with a broad pointed quill pen ; the hair
strokes may either be done by drawing the quill edgewise,
or afterwards with a 303 steel pen.
In lettering, spaces must be left for the great initials
and the small capitals which must be put in (after 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-
graphy; and upon that he must depend, not being
daunted by early, failures.
We now come to illuminating in the proper sense of the
44 OUTLINING.
word, writing, or lettering, not -being a legitimate branch
of the art, though so intimately connected with it, that it
might with propriety be considered one.
Under the head of outlining, four different processes may
be included, namely, cartoon drawing, tracing, transfer-
ring, and inking in. Each of these we now proceed to
describe.
Previous to proceeding to draw the cartoon, of course it
is necessary that the idea for the design of the subject be
formed in the mind of the Illuminator ; to which, perhaps,
he may as well give some tangible form, with a few rough
dashes of his pencil on a piece of waste paper. As the
design, which is purely a mental work, an exercise of the
inventive faculties aided by careful study, cannot be pro-
nounced a manipulative process, we do not touch upon it
in this part of our manual, but must refer our readers to
Part Fourth, which is entirely devoted to that subject.
We may here take the opportunity to inform our
readers, that we give all the processes of manipulation in
their proper order ; that is to say, in the order in which
the Student must practise them in executing his il-
luminations.
&fje Cartoon.
The cartoon is a correct pencil sketch of the design to
be illuminated, the first embodiment of the artist's thought :
on it all must be perfected. This flower must be improved
that scroll corrected a leaf put in here a half opened
flower there, the space will not admit of a full flower, yet
something in rich colour will be required there to balance
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, proceed as follows. Stretch a
piece of drawing paper (a little larger in size than the
limits of the intended design) upon a drawing-board, and
draw or trace on it the boundary lines of your text, with
TRACING. TRANSFERRING. 45
the initial spaces, terminal slips, &c* It is advisable to
render these outlines permanent by inking them with the
drawing pen. We recommend this because however much
the india rubber may be used at the design, it will fail to
remove the boundary lines.
The rest is straight-forward work ; you must lay down
your design, step by step, line by line, until with its
hundred alterations, caused by a hundred afterthoughts,
you find it perfect to your mind. A careful study of Part
Fourth will aid you much in embodying and compiling
your design. Practice alone will give you correctness and
precision of execution ; and this must not be overlooked
even in the cartoon, for much depends upon its merit.
tracing.
The finished cartoon must now be covered with a piece
of tracing paper, and a copy taken, by going over every
line on the cartoon below, with a HHH. common drawing
pencil. Care must be taken to make a clear distinct
outline, or the great value of the tracing will be to an
extent Ibst.
In tracing, an opportunity is given, which should in no
case be lost, to alter or improve any crude or incorrect
form which may exist in the cartoon.
In copying coloured examples, or old MSS., the artist
must proceed in' precisely the same manner as directed for
cartoon tracing ; with one difference, that in copying old
manuscripts he must rigidly adhere to the original outlines,
be they good, bad, or indifferent ; that is to say if a fac-
simile be aimed at.
A thin, transparent, white tracing paper is best suited
for illuminating purposes.
^Transferring.
The tracing, after being removed, must be placed over
the sheet of vellum or cardboard to be illuminated, and
TRANSFERRING.
fastened by wax or drawing-pins, in its proper place with
regard to the text. A piece of black-lead transfer paper
must then be slipped between the tracing and the sheet,
with the leaded surface downwards upon the text, and all
the pencil lines carefully gone over with the tracer, using
moderate pressure.
If too great pressure is used, a coarse, broad mark will
be the result, which it is desirable to avoid, for the finer
and lighter the lead line is, the easier it is to ink in.
Two corners of the tracing (either at bottom or sides)
may then be detached, to admit of it being raised to ex-
amine the result.
Any omission, which is observed, must be filled in, by
letting the tracing fall again into its place, and the over-
looked portion gone over with the blunt point.
Any parts which may be imperfectly or carelessly ex-
ecuted, had better be removed with bread or the rubber,
and re-transferred.
Our readers may think the processes which we have
been describing, useless or superfluous not so however
the point to be gained, is a clear, perfect ink outline, with-
out imperfection of any sort. The only means by which
the beginner may secure this, is by carefully following
the various processes here laid down.
Years of study and practice may give to the eye and
hand such precision, that cartoon drawing, tracing and
transferring may at times be dispensed with, although in
intricate compositions, large initials, &c., they never can
be laid aside with certainty of success.
in.
Tew directions are required for this final process in con-
nexion with the outline. The transfer lines have only to
be gone over very carefully and firmly with a fine steel
pen. The Indian ink must not be dark in the portions
which are to be coloured, but in the scrolls and ornaments
INKING IN. 47
which are to remain in outline only a very black ink must
be used.
The student will doubtless experience considerable
difficulty in this branch of his art ; but above all things he
muvst not be daunted, even though his failures be many,
for by constant application and practice the most difficult
problems may be solved, the most laborious undertaking
completed.
It is most desirable that a perfect outline be secured
before proceeding to lay on the gold and colours, for
although we may cover, or correct any slight imperfections
with those materials, we must not depend upon them to
perfect a bad outline. If errors exist in the outline, colour
only tends to make those errors more visible.
We would recommend all students in illumination, (at
least those who are not clever draughtsmen) to procure
access to original manuscripts, or good copies from original
works, and to carefully trace them line for line and after-
wards transfer and ink them in, either on vellum or card-
board. This most useful and valuable practice not only
gives the hand precision in work, but it has a decided
educational tendency with reference to design, and supplies
the student with a collection of examples from the works
of the different periods, which will ever prove of the
greatest use to him.
After the process of inking the transfer is completed,
the whole should be cleaned with bread, and the work is
ready for gilding which is the next department the student
has to turn his attention to.
ffifltu'njj anto Silfcerrog.
All the processes of gilding and silvering are somewhat
difficult, and require considerable practice to attain skill
in their execution.
Two distinct styles of gilding were practised during the
Middle Ages flat and raised gilding, the latter is to be most
commonly found in the rich MSS. of the fourteenth and
48 GILDING AND SILVERING.
fifteenth centuries, while the former pervades the works
of earlier times. In MSS., raised silver is seldom to be
seen, and it is rarely used in any form in late works.
In fourteenth and fifteenth century MSS., the raised gild-
ing is generally used as grounds for initial letters, minia-
tures, and slip borders ; and when in smaller masses, as dots,
spraywork leaves, and nimbi around the heads of figures.
In the illuminations of these periods, flat gilding is used
in the curling leaf work, and in lining and hatching upon
colours, particularly in the drapery of figures and diaper
back-grounds.
There are some objections to the use of raised gilding
in modern work, apart from the difficulty attending its
successful execution, in the first place it is so very liable
to crack and scale off if the illumination is bent, or in' any
way roughly used. If it has to be rolled up, raised work
is scarcely admissible at all. In the second place, its ap-
pearance is at times against it if it be used to any great
extent, it has the effect of throwing the-surrounding colours
into the shade, and destroying the general repose and
harmony of the whole composition.
There will always hang a charm around it, however,
from the fact of it being such a favourite style of work
with the artists of old, and it will doubtless be eagerly
practised by the modern student of the Art of Illumination.
We therefore feel called upon to give some directions with
regard to it, as well as flat gilding, which at the present
day is by far the most useful of the two, from the fact of
it being able to be copied by the processes of printing.
Flat Gilding. This style of gilding may be executed
with three materials gold leaf, shell gold, and gold paper.
Shell gold is, however, the most suitable for the purpose,
being more easily managed than leaf gold ; gold paper can
only be resorted to when very large flat surfaces are to be
covered.
Shell gold is, as we have before stated, gold reduced to
a very fine powder mixed with a gum and placed in clean
mussel-shells for use.
GILDING AND SILVERING. 49
When shell-gold is required for gilding, it must be treated
as follows if any quantity of surface has to be covered,
several shells must be taken, and the gold washed from
the whole into one with a plentiful supply of pure water.
When this is done, the shell containing the gold in solution
must be set aside for about an hour, the gold will then be
found to have settled, and the dirty water had better be en-
tirely poured off. A little clean water must now be added to
the gold powder, with the addition of a little gum-water,
and the whole mixed with a brush to a easy flowing
creamy consistency in this state it is fit for use.
While laying the gold on the vellum or cardboard, the
student must be very careful to keep his brush well sup-
plied, and the gold flowing freely on his work, for unless
he observes these important points, a streaky mass will be
the result.
The next process is that of burnishing, which must be
performed with a flat burnisher.* A sheet of highly
glazed' writing paper should be laid over the gilded por-
tions when quite dry, and the burnisher passed over
quickly many times, using considerable pressure. If the
gold does not come up sufficiently at first, it should be
breathed upon and again well burnished. If the illumin-
ation is free, and not stretched to a board, it should be
laid on plate glass while being burnished.
Gold paper should be had ready gummed on the back,
or covered with a preparation of clear glue and sugar or
honey. When required for use, the outline of the space
to be covered must be ^traced and transferred to the gold
paper by an indenting steel point; the paper must then be
cut to the traced form, and the back damped and pressed
firmly down in its place.
Flat-gilding with leaf gold may be performed in the
manner about to be recommended for raised gilding,
leaving out the raising process of course.
Raised Gilding. Then are two materials required for
* Burnishers are made expressly for this purpose by G. R. & Co.
50 GILDING AND SILVERING.
raised gilding besides gold leaf, namely Raising Composition
and Gold Size.
Messrs. George Rowney and Co. have prepared a raising
medium to our receipt, which we think will be found per-
fectly satisfactory, and to possess all the qualifications of
the Mediaeval ground. It is very necessary to secure a good
raising preparation for without it perfect gilding is im-
possible; and all labour and time bestowed upon it
may be justly pronounced as thrown away. The raising
medium we have alluded to bears our name/* and may be
had in tubes ready for use, only requiring the addition
of a little water at times.
The first part of the process of raised gilding, is to
roughen the surface of the vellum or cardboard at those
parts which are to be gilded. This may be done by drawing
a scraping-knife point across them in different directions.
Care must be taken, however, not to tear the vellum or
cardboard too much. The roughening process is to enable
the raising preparation to adhere firmly, which must next
be laid on as follows
Having squeezed a sufficient portion of the raising from
the tube, mix it up with a firm red-sable brush. If it be
too thick, add a little water until it becomes of a flowing
consistency, in that state it is fit for being laid on the
work. i
Lay on a coat of the above evenly and let it dry ; and
afterwards repeat the application until the required thick-
ness is obtained, allowing each coat to dry before another
is added.
When all is complete, take a scraping knife and remove
any ridges or irregularities that may exist, and then
burnish with the fiat burnisher.
The ground is now ready for the size, which must be
reduced with water and laid on with a soft brush in two
coats ; when nearly dry it is in a fit state to receive the
gold-leaf.
* Audsley's Mediaeval Raising Preparation.
GILDING AND SILVERING. 51
Bemove a leaf of gold from the book, by gently flapping
the edge with a " gilder's knife" until the leaf rolls back.
The knife must then be placed flat near the leaf, which on
being gen(ly blown upon, will fall evenly over the knife
blade. The leaf may thus be safely and easily removed
from the book, and deposited with a side motion on a
pad, called the " gilder's cushion." It may then be cut
up into small pieces with the edge of the knife, for con-
venience in working.
A piece of the leaf (a little larger than is required to
cover the part to be gilded) should be removed from the
cushion with a pad of clean cotton-wool, or with a brush
termed a " gilder's tip," and carefully deposited on the
sized ground, being gently pressed flat with a soft tuft of
cotton quite dry and clean. The size had better be
breathed upon previous to being gilded. The pad of
cotton, or the "tip" must be slightly greased to lift the
gold easily, this may be done by touching the hair of the
head (provided it is oiled) with them before lilting the
leaf from the cushion.
"When all the above processes have been successfully
manipulated, and all imperfections in the goLl tilled
up or made good, nothing remains but to burnish it, this
may be done when the size is perfectly dry, as is directed
in the next division.
Burnishing.
"We have already given, on page 49, directions for bur-
nishing flat gilding, and have now only to describe the
best mode of treating raised gold, and of etching or orna-
menting it.
Care must be taken, that (as before noted) the gold
size be perfectly dry, and all portions of the work covered
with the leaf ere proceeding to burnish.
Too much haste should not be indulged in, in this de-
partment of the art, as a false step is far easier made than
rectified when made.
52 BURNISHING.
In burnishing raised gold, two burnishers may be used
with advantage, the flat and pointed. Tor large masses,
the broad burnisher is most handy, while in small works
the pointed or pencil burnisher is of great service.
In a Manual on Illumination lately published, it is stated
that there is some little art in burnishing ; we only differ
with its author sufficiently to remark, that there is a very
great art in burnishing, to do it properly. The wondrous
brilliancy of the gold in old illuminations, is almost alto-
gether due to the perfect manner in which it is bur-
nished.
While writing this, we have before us two MSS. nearly
five hundred years old, in which the original gilding is
more rich and brilliant than in any modern work we have
ever seen, and the burnish still appears as if done yester-
day.
We do not wish our readers to fancy that we lay more
stress upon the burnishing process than on any other in
connexion with gilding.
Perhaps, of all the departments of the Illuminators art,
gilding with gold-leaf is the most delicate and difficult ;
and again, in none are failures and disappointments so
common and numerous.
The student must not be daunted, however ; the more
difficult a thing may be, the more glory attends its success-
ful execution. We recommend him to seek a little per-
sonal instruction from some expert gilder, for he will,
by so doing, save himself from many disappointments
and vexations.
But to return more immediately to our subject.
To burnish raised gold, the burnisher should be moved
in one direction with a gentle uniform pressure, which
may be slightly increased as the gold becomes bright. A
skilful, delicate touch is required for this process, which
can only be secured by practice. We recommend
the student to execute a number of trial pieces of
raised gilding ere proceeding to operate upon a formal
study.
BURNISHING. 53
The burnisher must be carefully cleaned before it is
used, for if any grains of dust come between the agate or
flint and the gold, the latter will become torn up or
covered with innumerable scratches, which must injure its
brilliancy.
To clean the burnislier, it had better be rubbed before
commencing, and at times during its use, upon a piece of
chamois leather, stretched for the purpose over a stick.
The gold likewise should be dusted with a soft camel hair
brush.
A. few words to the student as to the selection of his
agate or flint may not be impertinent here. A really good
stone is a difficult thing to get at times, and yet without
it little can be done in a perfect manner. A smooth stone
must be selected, entirely free from irregularities or facits.
It should also be strong at the shoulder, and firmly secured
to a wood handle, by a metal-casing ferrule.
When the process of burnishing is completed, the gold
may be ornamented by being etched or dotted. This must
be done with the pointed burnisher, using pressure suffi-
cient to secure the amount of effect desired. Dots punc-
tured in rows along the edges of gold letters or panels,
have a peculiarly sparkling and brilliant effect this mode
of decoration was much used in late manuscripts. Both
flat and raised gilding admit of being etched and dotted.
Diaper patterns of great beauty may be worked with
the etching burnisher on masses of flat gold, such as
panels around initials, or fields within them.
We have confined our remarks principally to the treat-
ment of gold leaf, so as to save confusion as much as pos-
sible. Nevertheless, they hold good, for the most part, with
regard to all the other leaf metals lately introduced for
illuminating purposes.
Colouring.
We now arrive at the last manipulative process, and at
54 COLOURING.
the same time the most important of all. We dare not
profess to treat the subject of colouring fully, space neces-
sarily puts it entirely out of our power to do so.
In the second part of our "Guide/' we have to some
length noted the prevailing peculiarities of the various
colours useful for illuminating; and therefore now only
require to give practical hints and directions for working
them, or laying them on, in body or wash, as the case may
be.
In the fourth part, we intend to speak of the Theory of
Colour, with a few remarks on its laws of harmony and
contrast. This again has the desired effect of confining
our remarks here to manipulation alone.
Body colouring is most generally used for all branches
of illumination; although at times wash colouring is neces-
sary.
A complete piece of illumination generally contains both
species of colouring combined.
There is considerable art in laying on body colour per-
fectly flat and uniform, practice will, however, overcome
every difficulty.
The Powder Colours prepared by Messrs. George Rowney
and Co. are beautifully adapted for flat or body colouring.
We use them entirely ourselves, and that is the best assu-
rance we can give of their quality. We before mentioned
that the student should provide himself with a set of cake
colours for washing or executing any very delicate work,
this we again recommend.
Body Colouring. Take a little of the powder colour
from the bottle into a small saucer, and add to it a little
clean (boiled) water, mixing it with a brush. The colour
should stand for a few minutes before being used, and
should be reduced with water to an easy Mowing consis-
tency, about the thickness of good cream, if thicker, it
will not do for large work.
The brush employed to lay this colour on should be a
red sable of moderate size. It must be well charged with
the colour and worked downwards, keeping the tint flow-
COLOURING. 55
ing full and uniformly over the complete space operated
upon.
When the whole is covered, the colour should be still
wet throughout, and raised with excess of water. As the
water drys, the colour becomes deposited with a velvet-
like surface, a feature in body colouring which is ever
charming.
No gum must be added to the powder colours.
If more colour is mixed than is requisite for the work
on hand, it can be mixed up again, care being taken to
keep the saucer free of dust.
Some colours are more difficult to lay on than others ;
but the student will, by a little practice and observation,
soon become acquainted with their several peculiarities.
Wash Colouring. Washes may be laid on in somewhat
the same manner as body colours, but no excess of tint
must, on any account, be left on the surface to dry off, as in
the case of body colouring. The brush should be moder-
ately full of colour ; and during the process of washing the
liquid must be kept evenly flowing at the edge of the wash
only. As the surface operated upon becomes covered, the
excess of tint must be gradually removed by the brush,
leaving all uniform.
As colours at times show a tendency to flow in irregular
masses, when laid on vellum especially, a little prepared
ox-gall should be used.
As we before hinted, cake colours are most useful for
washing, although the body colours may be used. Cake
colours are nearly useless for body colouring, however.
Care must be taken in all the departments of colouring,
to have everything perfectly clean. The brushes employed,
if used for different colours, must be washed entirely free
from any trace of tint, before being worked in another.
Brilliancy alone can be retained by the utmost caution.
Scarlets and Yellows are the most sensitive to foreign
matter; and the purity of their tones are only too easily
impaired.
A few hints on combinations of colours will conclude
56 COLOURING.
the present part of our " Guide." We sincerely trust our
patient readers have found what we have already written,
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 over it. Whatever
want or imperfections our simple manual is subject to, we
can only urge one excuse, we have, in truth, done our best.
Many colours are used in the practice of Illuminating,
which require to be composed by the union of two or more
pure colours. Pure or positive colours likewise are
ofttimes used of two or more shades, formed by the mixture
of another colour in different proportions.
We will first treat of the proper colours to be used with
others, to obtain graduating shades or tones.
Blues. Ultramarine and Cobalt, may be lightened with
White only, and darkened with Black or Indigo.
Reds. Vermilllion, may be lightened with Cadmium,
or Indian Yellow, and darkened with Carmine.
Indian Red, to be lightened with Vermillion. or darkened
with Black.
Crimsons. Carmine, may be rendered more rich and
brilliant by the addition of Vermillion, and darkened with
Blue, Black, or Yandyke Brown.
Eose Madder, should be treated much in. the same
manner as Carmine.
Greens. Emerald Green, may be lightened with Yellow,
or deepened with Blue.
Moss Green, must be lightened with Lemon or Indian
Yellow, and darkened with Ultramarine.
Yellows. Cadmium Yellow, to be lightened with Lemon,
and deepened with Yermilliou.
Indian and Lemon Yellows, may be mixed with White,
and deepened by Cadmium and Vermillion.
Purple. Purple, may be altered to any shade by the
mixture with Blues or Carmine.
Mixed tints, or compound colours most in use may be
formed as follows.
COLOURING. 57
Greys, may be made of any tone, by the mixture of
Chinese White, Black, Blue, and a very little Carmine, in
various proportions.
Chocolates, may be composed of Indian Bed, Vandyke
Brown, Black, and a little Vermillion.
Oranges, are formed by the mixture of Cadmium and
Vermillion Vermillion and Indian Yellow.
Browns, of Indian Red and Black Vermillion and
Black, Vandyke Brown, Carmine, Vermillion, and Black,
Burnt Sienna, Vermillion, and Black.
Slate Blue, is formed of Ultramarine and Black, with a
trace of Vermillion and White.
Neutral Tints, of Indian Eed and Blue.
In conclusion, let us urge our readers if they intend
entering the lists as Illuminators, to remember that theory
may be learned from book study, but practice requires
hard and untiring application.
53
art
Having completed our few remarks on the manipulatory
processes ; we purpose in this, the concluding part of our
Manual, to give directions and hints with reference to
design and composition : and to say a few words on those
subjects which have a bearing upon the art of design in
illumination.
Designing may be said to be the most fascinating part
of the study of illuminating, as well as the most difficult,
if the student has not the faculty of invention and power
of imagination naturally. By attention, observation, and
study, however, almost anyone may acquire the power of
design; while those who are gifted by nature, likewise
require education and practice ere they become perfect.
We hope to be able in our following remarks, to lend
the student assistance in the art of design, by giving him
advice and a few rules, which, if followed, will keep him
from failure, and any great disappointments.
Let us impress upon him, however, that too great care
cannot be taken with his designs, as no after-work can
reform a bad composition.
Con&mtionalism.
The great principle in all decorative ornamental art
is conventionalism; and it must be followed in illumination,
or failure is certain. The most brilliant period of art in
CONVENTIONALISM. 59
any nation's history, was when conventionalism was most
strictly adhered to, both in design and colouring the most
certain sign of decay, when natural forms were copied, and
nature's pervading hue most liberally used. It is a fact
worthy of remark, that the frequent use of green in
decorative works, has ever heralded a prostration or decay
in art.
Our readers must not think that we countenance a
decided departure from the laws and forms of nature:
conventionalism can only be worthy in proportion as it
adheres to those laws which govern the vast empire of the
visible world.
In illumination, it is imperative on us to have resort to
conventional ornament in all designs, great or small ; for
wherever we observe natural forms depicted, we likewise
observe poverty oi design an attempt ending in a failure.
It may appear strange and contradictory on our part,
after what we have said, that, should we be asked by the
eager student where and from what source may convention-
alism be studied, we should tell him, that nature must be
his school, from it he must ever derive inspiration yet so
it is.
Conventional art is founded upon natural laws and natural
forms ; the former cannot in any way be departed from with
impunity.
It must be obvious to everyone, that two leaves growing
from one stalk, yet starting from that stalk in opposite
directions, would be quite absurd and hideous, be they
natural leaves or conventional ones. But suppose the
leaves to be conventionalized, and placed true to nature
as regards their connexion with the stein, the result would
be a pleasing conventional composition, true to nature's
laws.
It is somewhat difficult to describe what is meant by
conventionalism. It may be said to be a departure from
the detail and treatment of the natural form it expresses
or embodies a formal and severe treatment of nature's
free and ever-changing forms. Conventional art aims not
60 SYMBOLISM.
at copyism ; while its greatest strength exists in expression
and symbolism.
In conventional ornament, the greatest display of colour
may be indulged in. Having no copy to chain us down,
we need only be governed by the laws of harmony and
contrast.
The inventive powers are also brought into play in con-
ventional art, while they become cramped and torpid, if
naturalism be alone resorted to.
In all the illuminated works of the best periods, and
indeed in all prior to the fifteenth century, conventional
forms were almost entirely employed, while from that date,
decay is to be observed proportionate to the amount of realism
infused into the designs which decorate the manuscripts.
Let us impress our readers with the fact that no
success can ever attend an illumination, if it pro-
fesses to imitate natural forms ; it is not possible for it
ever to be considered other than an attempt, and as such,
it must be a failure.
Intimately connected as symbolism has ever been with
works of Christian art ; and forming as it has ever done, so
marked a feature in illuminated MSS., we feel called upon
to say a few words on the subject, especially as far as it
has reference to design in illumination.
Symbolism, in its widest sense, may be said to embrace
the whole range of art, for all art is symbolical that is,
it aims at expressing something beyond itself.
Conventional art is purely symbolical, and from that
fact derives one of its greatest charms.
We, however, do not intend to speak of it here in the
broadest signification of the term, but in the way it is
most commonly understood.
Symbols are most appropriate decorations, and if
properly used, add greatly to the beauty and interest of
the illuminations into which they are introduced.
SYMBOLISM. 61
In all countries and in all ages, from the early Egyptian
era up to the present day, has symbolism been largely re-
sorted to. With the ancient Egyptians we have not much
to do, yet it is interesting to note to what a great extent
they carried the art of symbolism. In their architectural
ornaments, their writing, and in their sculptured works it
was fully carried out.
Leaving those remote times, we must come to the
Christian era, ere we find symbolism to have attained the
nature which is of service to us in the prosecution of the
study of mediaeval illumination, and its modern practice.
The subject of symbolism being one of great extent, we
must content ourselves by giving a few of those symbols
or emblems in most common use, and of the greatest value
to the student.
The symbols of oui BlessetJ ILotfc are the Agnes Dei,
or Holy Lamb, the Pelican, the Fish, and the monogram
!.*.. or I*.
The first symbol, the Agnes Dei, is generally repre-
sented as a spotless lamb, with a crossed nimbus, some-
times bearing a cross, emblematical of our Saviour's
passion, and sometimes a small banner, emblematical of
His triumph over sin and death.
The second, the Pelican, is represented as feeding its
young with its own blood, shed by its beak, which is shown
as employed tearing its breast. This symbol is likewise
used to represent a martyr, whose blood was shed for the
truth. The third emblem of our Lord, the Fish, originated
in the fact that the letters in the Greek word for a fish,
form the initials of the ^cb $ame Degus (JTfjrist, tjje j$0it
of oti, tfje Sabiaur. This symbol gave rise to a form
very largely used throughout all the branches of mediaeval
art called the Vesica Piscis, see Plate VIII, Fig 12.
The fourth, the monogram E.^.S. or Jf.<tt., needs no
explanation, being sufficiently common and well known.
It is displayed within a cu>ped figure in Plate VIII, Fig ] 0.
The symbols of the ^olg &tinitg come before us next,
they are the triangle, the trefoil, and the pentacle, or
62 SYMBOLISM.
doable triangle. The triangle should be drawn equilateral.
The trefoil is supposed to have been first introduced by
Saint Patrick, when he illustrated his doctrine by the
shamrock leaf. This beautiful form is very largely used in
illumination?. It is shown in combination with the
triangle in Fig 10.
The pentacle is formed by two triangles placed together
in different directions, making a six pointed figure, Plate
VIII, Fig. 6.
The most common and appropriate symbol for the l^olg
Spirit is the representation of a dove, generally white,
shaded with delicate grey. The origin of this beautiful
symbol is obvious, a dove having appeared, descending
upon our Saviour during His Baptism. In illuminations
a nimbus is at times introduced around the head of the
dove.
Perhaps of all symbols, that of Cfjristfam'tg is the most
commonly used. There is something, however, singularly
beautiful about the simple cross, apart from its symbolical
interest, which may have favoured its adoption in many
instances. There are two forms of crosses in general use,
the Latin and the Greek cross, the former has the lower
member longer than the remaining tliree, the latter has all
its arms equal as in Plate VIII, Fig 14.
The four (JEftangetistg have symbols peculiar to them-
selves. St. JBattjjefoj is represented by a winged man,
St. JHarfc by a winged lion St. 3Lufee by a winged ox
and St. Joijn by an eagle. The Apostles likewise have,
their own symbols, but as we cannot go at any length into
this very interesting subject, we must refer our readers to
larger works.
The circle is generally acknowledged as the symbol of
SEterm'tg, having neither beginning nor ending.
In illumination, symbols may be used with great effect,
introduced into the interior of initials, or prominent portions
of the borders around the text. Tasteful combinations
may be made in any variety, by grouping two or more
symbols together as in Fig 10, where the monogram of
HARMONY AND CONTRAST Ofr COLOURS. 63
the SacntJ $anu is enclosed within the symbol of the
The student will find pleasant exercise for his designing
powers, in the study of symbolism, and we recommend him
to give it a fair amount of his attention.
f^armong anti Contrast of Colours.
The student in the Art of Illuminating must be well
aware that much of the beauty of his works depends upon
the knowledge and taste displayed in the arrangement
of his colours, and should accordingly give a considerable
amount of his attention to the subject of the harmony and
contrast of colour* We have used the words knowledge
and taste, because, although somewhat similar in their
influence and effect, they are dissimilar in their natures.
Knowledge may be said to be the learning of the
principles, power and effect of colour, and its combina-
tions, acquired by research and study.
Taste is again, the innate delicate feeling, or perception
of the value of colour, and its harmonious grouping in
design. It is a natural gift, and cannot easily be acquired.
One who possesses knowledge without taste, or taste
without knowledge, rarely arrives at any eminence as a
colourist. The acquiring of knowledge to the possessor
of natural taste, is nothing more than the cultivating of
that gift.
We do not profess to supply here material enough for
the cultivation of taste, such would be entirely out of our
power in such a circumscribed work as the present; but
only intend offering a few hints calculated, to some extent,
to direct the young artist in the grouping of his glowing
colours.
Beginning with the three primary colours, let us point
out those which are their most perfect contrasts and
harmonies.
Blue. The primary of the first importance, should ever
be most largely used in all works of decorative art. Its
64 HARMONY AND CONTRAST OF COLOURS.
perfect contrasting colour is Orange : and its most perfect
harmonies are those tones of itself, produced by its admix-
ture with White, or Black.
Red. The second primary, has Green for its contrasting
colour ; and all the scales of Oranges and Crimsons for its
harmonies.
Yellow. The primary of most light and power, has
Purple for its contrast, arid the compounds of itself with
White, and the scale of Oranges for its perfect harmonies.
These colours, therefore, cannot be used together in
juxtaposition, with injurious effect.
Green. The contrasting colour of Bed, should be spa-
ringly used in illuminating, being a lighting-up colour. It
must never be employed for its own value, but only from
its power on other tints, which it lights up, or gives vigour
to, in an extraordinary degree.
The following diagram, perhaps, will assist the student
in the arrangement of his colours, either in contrast or
harmony, better than words could possibly do.
HARMONY AND CONTRAST OF COLOUR. 65
The outer circle is divided into three points, at each of
which is placed an orb, representing a primary colour.
Directly opposite these orbs, on the inner circle, are placed
their perfect contrasting colours. On the inner circle,
situated midway between the primary and secondary colours,
are the middle tones, or half-way colours, with their con-
trasts directly opposite.
We will illustrate the use of the colour circle as a
determiner of contrast. In the first place, we take the
upper orb of Yellow, in opposition to it we find Purple
its contrast, and the same with the other primary orbs.
If we take the half-way colour, between the primary Yel-
low, and the secondary Orange, which is Yellow-Orange,
we find, on looking to the opposite side of the circle, Blue-
Purple to be its perfect contrast.
All the shades possible between Yellow and Yellow-
Orange, have their contrasts ranging between Purple and
Blue-Purple this is only one instance, the whole range
of the circle works in the same manner, and with equal
truth.
Using the diagram as a determiner of harmony, take
Purple as an example ; the scale marked off towards the
centre orb of light (White) denotes the various tones of
Purple produced with its admixture with light. Any of
these tones form a harmony with pure Purple. Moving
along the inner circle, on either side of the Purple orb,
we find its harmonies decreasing as we leave it, until we
reach its most imperfect ones, Blue-Green and Red-Orange.
Still moving along both sides of the circle, we approach
its contrasting colours, gradually getting more and more
pleasing, until we meet in its perfect contrast, the primary
orb of Yellow.
All colours on the circle, work in the same way. A
careful study of our diagram will greatly assist the Illumi-
nator in the grouping of colours, and we are of opinion
he will find it a useful reference from time to time.
Gold takes the place of Yellow in the perfect group
of the three primaries with great success ; and perhaps
66 STYLES OF COLOURING.
nothing is more commonly seen in nearly all departments
of decorative art, than the triplet Blue, Red, and Gold.
Grey may be introduced into almost any combination
of colours, and forms a beautiful harmony with brilliant
hues of Blue and Crimson.
The student, while studying this department of art,
should experimentalise with numerous combinations of
colours, taking note of those which prove most pleasing,
for future use.
A collection of combinations of colours, made and pre-
served in a small scrap-book, would prove of value for
sake of reference.
of
Nearly all the periods of Illuminating were characterized
by peculiar styles of colouring, as our readers have doubt-
less observed while perusing Part First of our " Guide."
The remarks there, however, being so sketchy, we urge
all who have the opportunity, to study original manuscripts
of the various eras.
In many works the colours are treated flat, without any
attempt to give a raised effect. The ornaments of this
style are usually executed on the vellum alone, without
any ground colour.
In others, a relieved effect is given to the ornamental
details by shadows. In Illuminations of this school, the
enrichments are generally worked upon a ground of gold
or colour.
In Illuminations of the thirteenth, fourteenth, and fif-
teenth centuries, white linework upon colour was largely
used. In the party-coloured initials and ornaments of
the fourteenth century, a white line generally divided the
colours, which were at times outlined with black. Beauti-
ful surface decoration was executed in white upon the
various rich ornaments of the thirteenth century and early
fourteenth.
DESIGN AND COMPOSITION. 67
In shading leaf- work, the Illuminator must use the har-
monies : such as the deeper tones of the colour employed
to ground the leaf, or those colours nearest to it on the
colour circle.
For instance, if the leaf be light blue, it should be
shaded with dark blue ; if normal blue, with blue running
to purple.
If red, it should be shaded with the tones of crimson
(red-purple) running to purple as before.
The reverse side of the leaves, or turnovers, should be
coloured with the full contrasting colour of the leaf proper.
For instance, if the leaf be blue, shaded with dark blue
or purple, the turnover should be orange, shaded with
scarlet running to crimson.
Leaves may be lighted up with delicate hatchings in
gold, white, or very light colours. The deepest shadows
may be executed with hatching in black.
In conclusion, let us urge our readers to study well all
examples of early art, they will gain more by that than
they possibly can from written matter or personal in-
struction. They derive their insight into the principles
of their art direct from the fountain-head, in their native
purity.
Benign anfc Composition.
Design is, perhaps, the department of the glorious art
of illuminating, with which the young student will be
most bothered. It is, at the same time, the most impor-
tant part of composition. Some may ask how composition
and design may be so far separated as to admit of the
expression, that one is the most important part of the
other ? And we must allow that such a question is some-
what difficult to answer. Design, however, may be said
to allude to the formation or development of individual
parts or details, while composition expresses the grouping
together of those details into one harmonious whole.
Appropriateness of design, and harmonious grouping of
68 DESIGN AND COMPOSITION.
parts, are the two great principles of ornamental or deco-
rative art.
In Modern Illumination, the student must endeavour, as
much as possible, to have one spirit pervading his compo-
sition. His design also must be in keeping with the
subject illuminated.
In illuminating after any particular school or style, the
student will, of necessity, be to an extent tied by ancient
examples ; although, if he truthfully reproduces them in
all their vigour, he cannot go very far astray.
The frontispiece, Plate IY., is a beatitude, illuminated
after one of the styles of the fourteenth century.
We do not profess to be able to give rules for design
and composition, but trust a few hints may prove of some
slight service to our readers.
The text should be executed after the idea of the whole
composition is formed, although the composition should be
decided by the nature of the written matter. The pe-
culiar taste of the illuminator must be his guide in this
respect. No exact dimensions or proportions can be sup-
plied for the relative size of text, border, and margin ; all is a
matter of opinion and taste. We recommend the student,
however, not to overdo his ornamental portions, or one is apt
to think that the text is secondary to the illumination, and
not that the illumination is intended to decorate the text.
A rather large margin adds greatly to the beauty of the
illumination, and never fails to increase its eS'ect and im-
portance.
The initial letter should not be too large in itself or in
its detail, for it will outweigh the border and text ; this is
to be avoided if possible.
The Illuminators of old, loved to expend their greatest
energies in the ornamentation of their initial letters ; and
we advise the student also to bestow great care upon those
he introduces into his illuminations. The letters may be
placed upon solid panels of gold or colours, or surrounded
with rich masses of delicate line work, as may be observed
in some fourteenth century MSS.
DESIGN AND COMPOSITION. 69
The letters themselves may be executed in various ways.
This depends greatly, of course, on the period of illumi-
nation the student has selected to work after. The thir-
teenth, fourteenth, and fifteenth century schools are the
best adapted to modern use and requirements.
Miniature subjects, scroll and leaf-work, or diapering,
may be used to fill up the centre of the initials. If minia-
tures are anywhere introduced, they must have immediate
reference to the subject of the text.
In designing borders, the student will do well to con-
sult original MSS., or fac-simile drawings of complete
pages; he will gain, by such examination, more insight
into the practice and treatment than words could ever give
him. But it is not our duty to leave the subject with this
remark, however much we feel that he would gain by fol-
lowing our advice, over what he will by reading our com-
monplace and poor directions.
There are several ways in which a border may be com-
posed. It may be made to entirely surround the text,
placed upon a background of gold or colour ; it may extend
only round three or two sides, or it may be confined to
one only.
Of all these, the complete border is the richest, and is
the form most generally to be found in the MSS. of the
fourteenth century.
The best style for the beginner to practise is that re-
presented in Plates IV. and VI.
Fig. 1, Plate VI., is a foot-piece for a simple page,
showing the terminal rod bursting into a rich corner orna-
ment and finial, with light spray work. Fig. 2 is the
terminal rod ornamented. Figs. 3, 4, 5 and 6 are finials
for the upper end of rod above the initial letter.
All the spray-work introduced into this design, should
start from, or have connexion with the terminal rod, which
should itself be a continuation of the initial letter, if
practicable.
All the lines employed in design must be flowing and
graceful ; a great deal of the beauty of an illumination de-
70 DESIGN AND COMPOSITION.
pends upon this. Nothing is more offensive to the eye
than a broken outline or scroll.
The Illuminator must not overcrowd his composition,
for he will gain little by crowding ornament at all. He
must seek after repose, simplicity, and elegance.
No ornament or detail must be executed carelessly;
each leaf and bud, however small or insignificant, should
be finished as if it was the only ornament on the page.
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 of scroll-work, which
will prove of great service to the tyro, having some choice
specimens of leaves and flowers conventionally treated.
All the fringed ornaments should be filled in with gold,
either flat or raised. The fringed portions of the centre
flower in Pig. 3 should also be in gold.
Grotesque animals are often introduced into borders
and the interior of initial letters. Their bodies usually
terminate in sprays of foliage, as shown in Fig. 2, Plate VIII.,
or their tails are continued to unnatural lengths, and
twined in various ways around their bodies. A fine ani-
mal in rich colour, perhaps, forms one of the most beautiful
ornaments for an initial letter, when a miniature painting
is inadmissable.
Diaper work may be employed to fill up initials, or
the panels around them, as well as for back-grounds of
miniature subjects. On Plate III. we have given three
examples of diapering, each designed on a different prin-
ciple, see Pigs, 4, 5, 6.
Pigs. 2, 3, on Plate III., and Pig. 1 on Plate VIII.,
are designs for slip borders, used for surrounding panel
borders, or for confining the text which is to be orna-
mented with scroll or light spray work, as shown on Plates
IV., VL, VII.
Ribbons creased in a conventional manner, like that
shown on Plate VIII., Pig. 3, and heraldic enrichments
on shields of the shapes of Pigs. 4, 5, sometimes form
suitable ornaments in illuminations.
Plate.8.
CONCLUDING REMARKS. 7l
Grounds of dotted work and honey-combing may be
introduced within scrolls, &c., when a feeling of solidity
is desired. See Eigs. 7, 8, 9.
Fig. 13 shows a conventional treatment of glory used
in surrounding sacred symbols and monograms. It should
be executed in gold line-work regularly diverging from
a centre point.
We have now said all on the subject of design our
space will permit, but trust we have to some little extent
assisted our readers in the interesting Art of Illuminating.
Conclutung ifamarfcs.
To our readers we have to say a few words before
parting with them ; but, ere we say more, let us ask the
boon we have had on our minds so long. When you
throw our little book aside, forgive us if you think we
have given it a wrong title.
If we have not been successful in guiding you in the
Art of Illuminating, we have had a sincere wish to do
so, and have spared no pains in our task.
We have tried to divest the art of the garment too
many have endeavoured to throw over it, for the purpose
of inducing the despairing student to seek from them
some personal instruction. All is mockery! Well do
these professors know their lessons to be useless, as they
are expensive. The student must depend upon his own
study and practice, and must be a willing miner, extracting
from the accumulation of ages, the pure and sparkling ore
for his own use. Might not another profess to lead him
right, and aid him in laying open a vein of copper, while
he retains for himself the gold he knows to be lying near.
We feel it our duty, however, to assure our readers
that they cannot attain any perfection as Illuminators
unless they embark upon its study as lovers, grudging no
time or trouble. Years are required, years of application,
ere one may hope to deserve the title of Illuminator.
72 CONCLUDING REMARKS.
In all the manipulatory processes, the student must ever
take the greatest care, executing each ornament, however
insignificant, with equal nicety and correctness.
All the colours must be carefully preserved from dust
and admixture.
The brushes in use must be cleaned and pointed before
being put away.
"With regard to such subjects, let us advise oui readers
to observe the golden rule, "Have a place for everything,
and everything in its place/'
Eeader, in bidding you farewell, let us wish you every
success in the practice of the lovely and fascinating Art
of Illuminating.
FINIS.
A LIST OF MATEEIALS
MISSAL PAINTING,
MANUFACTURED BY
GEOKGE KOWNEY & COMP Y /
ists' fiatemen.
KETAIL DEPARTMENT,
51 AND 52, RATH BONE PLACE, W. ;
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10 A*D 11, PEPCT STEEET, W.,
LONDON.
LONDON :
FRANCIS, PRINTER, CATHERINE STREET, STRAKD,
Just Published,
GUIDE TO
Illuminating
AND
MISSAL PAINTING,
WITH
ILLUSTRATIONS IN CHROMOLITHOGRAPH!,
BY W. AND a. ATJDSLET,
PRICE Is.
Fully Illustrated in Cloth and Lettered, 2s. 6d.
Containing a Brief History of the Art, a Description of
the various styles, in chronological order, a detailed List of
Materials used by the Ancients, a descriptive List of the
Materials in use at the present time, and full instructions for
Students in tho Art of Illuminating.
LONDON:
PUBLISHED BY GEORGE EOWNEY & Co.
GEORGE ROWNEY AND CO.'S
LIST OF MATERIALS
FOR
Jltomtirating and Jpssal fainting.
The revival of " Illuminating" Las naturally caused enquiry
after Colours and Materials best suited to the practice of this
very beautiful Art. A careful examination of the best autho-
rities has led Messrs. H. & Co. to conclude that the Ancient
Missals were painted with colours prepared in the simplest
form. They have accordingly produced a complete set of
Colours, which they believe will be found closely to resemble
those in use at the period when the Art had reached its highest
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COLOURS FOR ILLUMINATING.
The Powder Colours for Illuminating, as prepared by GEORGE ROWNEY
and Co., are readily sohible in cold or very slightly warm water ; and will be
found more brilliant and permanent than Colours prepared in any other way.
They are sold in bottles either separately, or in boxes fitted up with every
requisite for the practice of this very beautiful Art.
EEDS.
s. d. s d.
BURNT CARMINE, per Bottle 5 ! INDIAN RED . per Bottle 1
BURNT SIENNA . 10 ORANGE VERMILION 20
CARMINE . . . 50 ROSE MADDER . 30
CRIMSON LAKE . 1 6 | RED LEAD . . ,, 10
DRAGON'S BLOOD . ,, 10 ! SCARLET VERMILION 16
LIST OF MATERIALS FOR ILLUMINATING, ETC. 5
Colours for Illuminating continued
PURPLES.
s. d. s. d.
INDIAN PURPLE, per Bottle 3 | MADDER PURPLE, per Bottle 5
VIOLET CARMINE, per Bottle 2s.
BLUES.
CERULEUM . per Bottle 2
COBALT . . . 20
F. ULTRAMARINE 2
INDIGO . . per Bottle 1
PRUSSIAN BLUE . ,, 10
SMALT . 5
QUEENS.
EMERALD GREEN, per Bottle 1 I OLIVE GREEN . per Bottle 1
MOSS DITTO . . ., 2 I OXIDE OF CHROMIUM 3
SAP GREEN, per Bottle Is.
YELLOWS.
CADMIUM . per Bottle 5 , LEMON YELLOW, per Bottle 2
CHROME YELLOW 1 j MARS DITTO . 16
DITTO ORANGE . 1 | MARS ORANGE . . 50
GAMBOGE . . . 10 HAW SIENNA . . 10
INDIAN YELLOW . 16* YELLOW OKER . 10
LAMP BLACK . per Bottle 1
MADDER BROWN . I 6
NEUTRAL TINT, per Bottle 1
VANDYKE BROWN 1
INDIAN INK, of Finest Quality, from 6d. to 10s. per Stick.
The above List of Colours, prepared in Powder expressly for Illuminating,
contains all those required; any other Colours may be obtained at a day's
notice.
LiaUID COLOURS AND MEDIUMS.
s. d.
Carmine . per Bottle 1 6
Chinese or Enamel White .
Indian Ink . . -
Indelible Brown Ink ....
Prout's Brown .... ,,
Ox Gall . P er ^ ot ^d. and 1
Ditto, Colourless . . . .per Bottle 6d. and 1
Gum Water P er Bottle 6
AUDSLEY'S RAISING PREPARATION . per Tube 1
Water Gold Size . per Pot 1
GEORGE ROWNEY AND CO.'S
GEORGE ROWNEY & C
s. d.
Whole Cakes ... each 1
Moist, in Pan or Tube ,, 10
Dragon's Blood j Hooker's Green, 1
Indian Red Hooker's Green, 2
Light Red Olive Green
Venetian Red Prussian Green
Vermilion Pap Green
Terra Vert
Purple j Verdigris
Antwerp Blue j Brown Oker
Indigo j Brown Pink
Prussian Blue ! Chrome (Lemon)
Blue Vcrditer Chrome (Yellow)
Gamboge
Emerald Green Italian Oker
O.'S WATER COLOURS.
s. d.
Half Cakes or Half Pans, each 6
Quarter Cakes ... 03
Italian Pink i Burnt Sienna
King's Yellow Burnt Umber
Naples Yellow < Raw Umber
Raw Sienna Vandyke
Roman Oker
Yellow Oker Blue Black
Yellow Lake j Ivory Black
Lamp Black
Chrome (Oranere)
Chrome (Deep do.) Neutral Tint
Orange Orpiment Payne's Grey
Red Lead
Bistre Flake White
Cologne Earth
Whole Cakes .. each 1 6 Half Cakes or Half Pans, each 9
Moist, in Pan or Tube ] 6 Quarter Cakes 4
Crimson Lake Ceruleum Madder Brown
Indian Lake Italian Ultra Sepia
Purple Lake Permanent Blue Roman Sepia
Scarlet Lake Indian Yellow "Warm Sepia
Scarlet Vermilion Mars Yellow Black Lead
Chinese White Permanent White
Whole Cakes .. each 2
Moist, in Pan or Tube ,, 20
Azure Blue, Cobalt, French Ultra,
Violet (
Half Cakes or Half Pans, each 1
Quarter Cakes . . ,, 06
Lemon Yellow. Orange Vermilion,
Carmine
Whole Cakes ... each 3
Moist, in Pan or Tube ,, 30
Madder Lake, Pink Madder,
Green Oxide
Half Cakes or Half Pans, each 1 6
Quarter Cakes ... ,, 09
Rose Madder, Intense Blue,
of Chromium.
Whole Cakes ... each 5
Moist, in Pan or Tube ,, 50
Carmine Pure Scarle
Burnt Carmine Purple Mac
Dahlia Carmine Smalt
Extr 1 - Madder Carmine Ultra Ash
Half Cakes or Half Pans, each 2 6
Quarter Cakes ... 13
t Cadmium Yellow
Lder Deep Cadmium
Gallstone
Mars Orange
Whole Cakes ... each 7
Moist, in Pan or Tube 70
Deep
Half Cakes or Half Pans, each 3 6
Quarter Cakes ... ,, 19
Rose.
Whole Cakes ... each 110
Moist, in Pan or Tube 110
Ultra
Half Cakes or Half Pans, eacfc 10 6
Quarter Cakes ... 53
marine.
The Colours named in " The Guide to Illuminating," are prepared expressly
for the Art, and are stamped EUttminattng Colour.
LIST OF MATERIALS FOR ILLUMINATING, ETC. 7
BOXES PITTED WITH COLOUES AND MATEEIALS
ILLUMINATING AND MISSAL PAINTING,
FIFTEEN SHILLING BOX containing ten colours, half size, gold and
silver shells, gum water, set of saucers, steel scraper, flat rule, sponge,
burnisher, HB pencil, and sable brushes.
GUINEA BOX containing ten colours, gold and silver shells, gum water>
gold paper, lead 'pencil, sable brushes, water glass, set of saucers, stel
scraper, agate burnisher, flat rule and sponge.
GUINEA-AND-A-HALF BOX containing twelve colours, bottle Chinese
white, gold, green gold, silver and aluminium shells, raising composition,
gold size, gum water, gold paper, lead pencil, sable brushes, water
glass, saucers, steel scraper, agate burnisher, flat rule and sponge.
TWO GUINEA BOX containing sixteen colours, bottle Chinese white, gold,
green gold, silver and aluminium shells, raising composition, gold size,
gum water, gold paper, lead pencil, sable brushes, water glass, set of
saucers, steel scraper, agate burnisher, flat rule, sponge, Indian Ink, and
half a set of instruments.
THREE GUINEA BOX containing twenty-one colours, bottle Chinese
white, gold, green gold, silver and aluminium shells, raising composition,
gold size, gum water, gold paper, extra thick gold leaf, lead pencil, sable
GEORGE ROWNEY AND CO. '
brushes, magnifying glass, ruling pen, half set of instruments, ivory
tracer, ivory rack, water glass, set of saucers, steel scraper, agate
burnisher, flat rule, sponge, and Indian ink.
FIVE GUINEA BOX containing twenty-seven colours, bottle of Chinese
white, gold and green gold shells, raising composition, gold size, gum
water, gold paper, extra thick gold leaf, lead pencil, a complete set of sable
brushes, half-a-dozen camel hair brushes, one 1-in. flat camel, magnify-
ing glass, ivory handled ruling pen, half set of instruments, ivory tracer,
pencil rack, water glass, set of saucers, steel scraper, agate burnisher, flat
rule, curve, sponge, indian ink, T square, and set square.
METALS PREPARED FOR ILLUMINATING.
s. d.
Gold shell, double quantity . . . . 10
Ditto do. single . . . . 6
Ditto do. green . . . . . 06
Silver ditto .... .03
Aluminium ditto . . . . . 06
Platina ditto .... .06
Gold Saucers . . . . . . 10
Silver ditto . . . . . .06
Liquid Gold in bottle . . . . . 56
,, Aluminium ditto . , . . .36
,, Silver ditto . . . . . 26
Gold Ink in bottle . . . . . .16
Gold Paint and Preparation ditto . . . . 16
Ditto ditto large size . . . .46
Gold Paper, per sheet ..... 3
,, small squares in packets of one doz. . . .10
Bronze, Gold, Silver, or Copper Colour, per oz. . . 26
Gold Leaf, per book of 25 leaves ....
Ditto ditto extra thick
Silver leaf, per book of 50 leaves
LIST OF MATERIALS FOR ILLUMINATING, ETC.
BRUSHES FOR ILLUMINATING.
8. d.
Small Swan Red Sables in quill . . . . 26
Large Goose ,, ,, . . . .13
Goose ,, ,, . . . . 10
Duck . . . .06
Crow i . . . 04
Goose Camels in quill -N
Duck V per doz. . . . .10
Crow J
Flat Camels in tin, per inch. . . . . 06
Gilder's Tips, each . . ." . .03
SUNDRIES.
Gilder's Cushion . . . . 26
Gilder's Knife . . . . . .16
Ivory Tracing Points . . . . 10
Gilder's Rollers ......
Drawing Pencils, each . . . . . 02
Cumberland ditto . . . . . .03
Magnifying Glass in case . . . . 20
Half Set of Instruments, consisting of compass with pen and pencil \ i g
shifting leg ...../
Superior ditto . . . . . . 30
Best Finish ditto . . . . . .60
Ruling Pens, each .... from 9d. to 4
T square, 12 in. . . . . .16
Ditto, 12 in. Boxwood, divided with inches . . 26
Set Squares, Straight edge Rules, and Curves.
Indian Ink, finest quality, 6d., 9cL, Is., and Is. 6d. per stick.
Drawing Pins from 4d. to Is. 6d. per doz.
Drawing Boards to suit all sizes of drawing paper.
Portfolios ditto.
VELLUM PREPARED FOR ILLUMINATING
May be had in prices from Is upwards. Whole Skins from 14s. upwards.
The price of this article varying so much according to size and quality, it
is not possible to fix a definite price to it.
10
GEORGE ROWNEY AND CO.'S
ROWNEY'S LONDON BOARD.
Foolscap 15 in. by 12 each
Demy 18 14
Medium 20J 15|
Royal 224 Yl\
2 shts.
3 shts.
4 shts.
6 shts.
s. d.
s. d.
s. d.
s. d.
ch 34
ok
7
11
, 5
o 74
10
1 3
64
10
1 1
1 8
, 84
1 1
1 5
2 8
TURNBULL'S LONDON BOARDS.
2 shts.
s. d.
3 shts.
s. d.
Foolscap
15 in. by 12 each
4|
7
Demy
18
14
6
9
Medium
20|
154
74
1
Royal
22 1
m
94
1 3
Super Royal 25 ,,
171
1
1 6
Imperial
28
20
1
6
2 3
4 shts.
s. d.
9
1
1 3
1 7
2
3
WHATMAN'S DRAWING PAPERS,
Smooth Surface for Illuminating.
Demy
Medium
Royal
Super Royal
Imperial
Double Elephant .
Antiquarian
Size.
Per quire.
s. d.
20 inch by 15
3
22 , 17
4
6
24
, 19
6
6
27
, 19
8
30
, 21
10
40
, 26
18
52
, 31
75
9
6 shts.
s. d.
2
2 6
3
4 6
Per sheet.
s. d.
2
3
4
4
5
9
3 6
WHATMAN'S EXTRA STOUT DRAWING PAPERS.
Royal . 701bs. . per sheet 7d. |
Imperial . 1401bs.
Imperial . 901bs . per sheet 9d.
per sheet Is.
VELLUM DRAWING PAPERS.
Imperial 30 in. by 21 in. of a delicate tint, stout, and very smooth
surface, manufactured expressly for Illuminating . per sheet
Transfer and Tracing Papers 6d. per sheet.
Is.
LIST OF MATERIALS FOR ILLUMINATING, ETC. 11
BURNISHERS.
Agate Burnishers of either of the above forms, 2s. 6d. each.
ERASERS.
s. d.
Erasers Nos. 1 and 2 shapes, with Cocoa Handles with Sheaths, each 1 6
Ditto No. 3 shape, all Steel . . ... 8
Ditto No. 4 shape, Ivory Handle with Sheath
2
12
GEORGE ROWNEY AND CO.'S
THE FOLLOWING OUTLINES FOE ILLUMINATING.
IN PARTS OF SIX SUBJECTS.
PLAIN 6s. EACH PART, PARTIALLY COLOURED 12s. EACH PART.
Size 114 by 9.
PART 5.
" Portio mea Domine."
" Principes persecuti sunt."
" Legem Pone."
"Appropinqua deprecatio.""
Bonitatem fecisti."
E- F. (Initials.)
PART 6.
" Beati Immaculati.
"In quo corriget."
" Adhesit Parimento."
" Et veniat super me."
" Memor esto servi tui.'
G. H. (Initials.)
PART 7.
" Retribus servo tuo."
" Manus tuoe fecerunt me."
" Deficit anima mea."
" In oeliornum Domiue."
" Quomodo delexi."
" Lucerna pedibus meis."
PART 8.
" Iniquos odio habui."
" Feci Judicium."
" Mirabilia."
" Justus es Domine."
" Clamaviintotocordemeo."
" Vide humilitatem."
The cxix Psalm (23 subjects) ele-
gantly bound in cloth, antique gilt.
Plain 25s. ; Partially Coloured, 45s.
PART 1.
No. 1 Credo.
No. 24
2 Ditto
25
3 Sonnet.
26
4 Lord's Prayer.
27
5 David.
28
6 LXVII Psalm.
29
PART 2.
No. 7 LXXXII Psalm.
No. 30
8 Thompson's Seasons.
31
" Now the Bright Morning Star.''
32
9 Thompson's Seasons.
33
" These as they change."
34
10 Poesy.
35
11 Psalm I.
12 Ditto IV.
No. 36
PART 3.
37
No. 13 Psalm XCIII.
38
14 " Nunc dimittis."
39
15 A. B. Initials.
40
16 St. John the Evangelist and
41
Adoration of the Magi.
(2 subjects.)
17 Psalm CXL VI.
No. 42
43
PART 4.
44
No. 18 Psalm XXIII.
45
19 Ditto XV.
46
20 Ditto CL.
47
21 Ditto CXXV.
The
22 C. D. (Initials.)
gantly
23 Psalm CXXIX.
Plain '
LIST OF OUTLINES FOR ILLUMINATING, ETC.
13
PART 9.
Nos. 48 to 53 inclusive.
" Proverbs,"
Initial Letters A to F.
PART 10.
Nos. 54 to 59 inclusive.
4t The Sermon on the Mount."
PART 11.
Nos. 60 to 67 inclusive.
" The Beatitudes."
Dight subjects ; Plain, 8s. ; partially
Coloured, 16s. the Part.
PART 12.
Nos. 68 to 73 inclusive.
" The Sermon on the Mount."
PART 13.
Nos. 74 to 79 inclusive.
" The Sermon on the Mount."
PART 14.
Nos. 80 to 8$ inclusive.
" The Sermon on the Mount."
PART 15.
Nos. 86 to 91 inclusive.
" Proverbs," &c.
On boards 10| in. by 7 in.
PART 16.
Nos. 92 to 97 inclusive.
" Proverbs," Initial Letters G to L.
Size 144 by 10J.
Plain, Is. Qd. ; partially Coloured, 3s.
each.
PART 17.
The Spirit of Poetry. Longfellow.
The Idylls of the King. Tennyson.
The Beggar Maid. Tennyson.
Size 144 by 10|.
Plain, Is. d. ; partially Coloured, 3s. each Subject.
THE "PRIZE" BEATITUDES.
Size 144 by 104.
Four Subjects. Plain, 2s.; partially Coloured, 3s. 6d. each.
SONNETS.
Elementary Designs, from the most eminent English Authors.
Plain, 4s. 6d. ; partially Coloured, 9s. each part of six subjects .
THE ROYAL PSALTER.
A Series of Designs adapted from " The Hours of Anne of Brittany;"
comprising the entire authorised version of the Psalms. Each Part (complete
in itself), containing six subjects, will be issued monthly. Plain 9s. ; partially
Coloured 18s. each Part.
14 GEORGE ROWNEY AND CO.'S LIST OF TEXTS, ETC.
THE FOLLOWING TEXTS
On Boards, 2U by 6; Plain Is. 6d. ; Partially Coloured 3s. each.
Watch and Pray.
Fear God.
God is Love.
We Praise Thee, O God.
Read, Mark, Learn, and Inwardly Digest.
On Boards 29 by 7, Plain 2s. ; Partially Coloured 3s. 6d. each.
Thou God seest me.
Hope thou in God.
Thy Will be Done
Suffer little Children to Come unto Me.
This Do in Remembrance of Me.
Love one another.
On Board 21 by 14|. Plain 2s. 6d. ; Partially Coloured 4s.
Glory to God in the Highest, on Earth Peace, and Goodwill towards Men.
On Board 14| by 10|. Plain 2s. ; Partially Coloured 4s.
THE " ADORATION OF THE MAGI.
AN ALPHABET OF MEDIAEVAL INITIALS.
On Board 14J by 10^. Plain 2s. ; Partially Coloured 3s. 6d.
ILLUMINATED BOOK MARKERS.
Twenty-eight subjects 16 large and 12 small.
The Large Size Plain 6s. ; Partially Coloured 9s. per dozen.
Small ditto ditto 4s. ; Ditto ditto 6s.
Nineteen Subjects, Plain 3s. ; Partially Coloured 4s. per Dozen.
THE SIX FOLLOWING SUBJECTS,
Illuminated in the style of the 14th Century, on Superfine London Boards,
11 by 9. Plain Is. ; Partially Coloured 2s. each.
No. 1. A soft answer turneth away wrath ; but grievous words stir up anger.
2. Give ear to my words, Lord, consider my meditation.
3. Give thanks to the Lord, for he is good: an.d his mercy endureth
for ever.
4. Preserve me, O God, for in thee do I put my trust.
5. The Earth is the Lord's and the fulness thereof, the world and they
that dwell therein.
6. The Lord giveth, and the Lord taketh away, blessed be the name of
the Lord.
Several New Works in Preparation.
LITHOGRAPHIC DRAWING-BOOKS AND STUDIES,
PUBLISHED BY
GEORGE ROWNEY & Co.,
51 and 52, RATHBONE PLACE, LONDON, W.
BARNARD'S PORTFOLIO STUDIES. Six Plates, 9s. Size 21 by 15.
BARNARD'S ELEMENTARY STUDIES OF TREES. 1st and 2nd
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BRIGHT'S ADVANCED DRAWING BOOK, adapted for the Pencilling
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BRIGHT'S GRADUATED TINT STUDIES. 24 plates, Is. each. Size,
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DOLBY'S ARCHITECTURAL DRAWING BOOK. Six Numbers, Is.
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GAVARNI'S RUSTIC STUDIES OF FIGURES. Six Plates, at 2s.
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GAUCI'S ELEMENTARY DRAWING BOOK OF TREES. Twelve
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GREEN'S ILLUSTRATIONS OF THE FIVE ORDERS OF
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GREEN'S RUSTIC STUDIES. Three Subjects, 2s. plain; 3s. 6d.
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GREEN'S SECOND DRAWING BOOK, adapted for the Pencilling Tints.
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GREEN'S FIRST STUDIES OF LANDSCAPE. In Six Numbers, 6d.
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HICKS'S RUSTIC FIGURES. Parts 1, 2, and 3. Six Plates in eaclu
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JACKSON'S ART INSTRUCTOR. Fourteen Plates, 6s Size, 15 by 1U
PHENEY'S ODDS AND ENDS. Six Numbers, Is. each. Size 10 by 7.
PHENEY'S EARLY LANDSCAPE STUDIES. Six Numbers, 6d. each.
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ST ARK'S DRAWING BOOK OF ANIMALS. Six Numbers, Is. each.
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SYER'S PORTFOLIO STUDIES. Six Plates, 9s. Size 21 by 15.
SYER'S RIVER SCENES AND SHIPPING. Six Numbers, 2s. each.
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SYER'S ELEMENTARY DRAWING BOOK. Six Numbers, Is. each.
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SYER'S EARLY LANDSCAPE DRAWING BOOK. Six Numbers, Is.
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SYER'S RUSTIC SCENES. Six Numbers, Is. each. Size 10 by 7.
Single Proof Sheets, 24 plates, on large tinted paper, 6d. each.
SYER'S PROGRESSIVE DRAWING BOOK. Six Numbers, 6d. each.
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TEMPLETON'S STUDIES IN THREE CRAYONS. Six Plates, 3s.
each, plain ; 5s. coloured. Size, 27 by 20.
TEMPLETON'S ELEMENTARY DRAWING BOOK OF THE
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WALTON'S ADVANCED DRAWING BOOK, adapted for the Pencilling
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WILLIS'S STUDIES OF CATTLE AND RUSTIC FIGURES. Six
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Just Published, Printed in Colours,
PROGRESSIVE LESSONS
IN
WATER-COLOUR PAINTING.
BY R. P. NOBLE.
Parts 1 and 2, SEPIA, with Letter-Press, Price 2s. 6cl. each.
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Price 1 5s.
GRAND CANAL, VENICE," after E. A. GOODALL. Size 23 by 15.
Price 1 5s.
" GLEN TILT," after W. BENNETT. Size 2H by 15. Price 1 Is.
" MILKING TIME," after SYDNEY COOPER, A.R.A. Size 17 by 11J.
Price 1 Is.
" THE GULF OF SPEZZIA," after T. L. ROWBOTHAM. Size 2U by 9.
Price 15s.
THE BAY OF BAI^E," after T. L. ROWBOTHAM. Size 19 by 10*.
Price 15s.
" SUMMER EVENING IN THE HIGHLANDS," by T. L. ROWBOTHAM.
Size 18 by 6. Price 10s. 6d.
" IN THE BAY OF NAPLES," after T. L. ROWBOTHAM. Size 14 by 9J.
Price 10s. 6d.
" LOCH KATRINE, THE TROSACHS," after T. M. RICHARDSON.
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" CASTLE URQUHART, LOCH NESS," after T. M. RICHARDSON.
Size 15* by 9|. Price 10s. 6d.
"VIEW IN SOUTH WALES," after T. L. ROWBOTHAM. Size 12| by
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" LOCH AWE," after R. P LEITCH. Size 9| by 6|. Price 7s. 6d.
VIEW ON THE BRITANNY COAST," after R. P. LEITCH. Size
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" GREEN LANES," after T. L. ROWBOTHAM. Size lOf by 7J. Price 5s.
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ND33/0
ND33IO
