v

3Ut 0f

illuminati

JEissal

fainting.

BY

W.

"

G.

AUDSLEY,

ARCHITECTS.

WITH

EIGHT

PAGES

OF

LITHOGRAPHIC

ILLUSTRATIONS.

SECOND

EDITION.

ICnnfoan :
GEOEGE
MANUFACTURING

EOWNEY
ARTISTS'

AND
COLOURMEN, PLACE.

CO.

51

AND

52,

RATHBONE

1861.
The

right of

Translation

is reserved.

Owing
Art of

to

the

rapidly
and

increasing
the devotion

love

for

the

beautiful

Illumination,

with

which

it is

being

studied

throughout
is

the

length
for

and

breadth

of

our

land
"

no

apology

required

the

appearance

of

this

little

volume.

We

have

endeavoured

to

write

it

throughout
to

in

simple

and

connected

manner,

in

order

save,

as

much

as

possible,
and

confusion

and

doubt

in

the

ininds

of

our

readers
;

we

trust

it

will

be

found

of

practicable

value

to

the

Student

and

Amateur.

Having
the

had

considerable

experience
and

in

all

branches

of

Illuminator's

Art,

being

at

the

present

time

engaged

upon

the

most

extensive

modern

original
to

nated illumi-

work*

that

has

ever

been

offered

the

public,

we

"

The

Sermon

on

the

Mount,"

large

folio,

Day

and

Son,

London.

4)

PREFACE.

can,

with

assurance,

lay
the

before

our

readers

our

few

remarks

on

materials

and

manipulative
assistance of

processes.

With

the

able

the

publishers,
illustrations

we

have

introduced

more

complete
offered,

series

of

than

has

ever

before

been

even

in

works

of

five

times

the

price

of

the

present.
W.
"

G.

A.

Liverpool,

January,

1861.

"wire
TO

flf JUttmhrating
AJTD

fainting.

We
Great

are

in living be is

the

nineteenth

century, an
the
we

age

tined des-

to

rendered
our

indeed

in glorious for birthright,

ever

of history. page children of the are the

brightest day that tools forged by our

may
carve

has

dawned
our

upon

world,with
we

forefathers at
an are

hand, wherewith
name.

for ourselves and

vast

immortal the
.resources

Wonderful

of

our

time, and
which

are truly astounding

the
are

discoveries and

inventions

day ; but it is alone we "will owe not to these our golden throne in from those it is not in these alone we are singular history, centuries which have rolled along the pathway of time into the limitless past; Art, the expression of man's lofty
made, and

have

been

being made

every

soul, the poetry

illuminate Art from that
a our

of

mind,

will be

the

gloryon
be

that immortal
on

pen scroll.

which

shall

may

said to be

its

revival, being awakened

of nearly three centuries, and who dare say sleep its renewed light that which will .not outshine in glory

has gone

before.
may say, have the fine arts stood on has they do at the present time, never and universally
so

Never, we
basis
been
as so so

firm

painting
and has

music encouraged, liberally

never

poetry

enthusiastically sought after; and

INTRODUCTION.

and such a subject architecture proved of general interest, been so liberally studied. ments In the art-world, amongst the most brilliantachieveof the present century, is the revival of Gothic
with its attendant Architecture, It would be difficult, indeed,to train of decorative arts. say where the usefulness

of that revival will end ; already has it worked wonders in nearly all departments of ornamental art, and yet it is evident that its career One has but

begun.
burst already

great handmaid

of architecture has

before the world, and we may look forward with almost works more certain hope to behold its revival producing I brilliantthan those which marked its brightest eras. allude to the Art of Illumination. Numerous the treasures scattered amongst our many are nators national and public from which modern illumilibraries,
may in their derive inspiration
art. glorious to to

Yet to
to

such sumptuous monuments beginners, the Early checks act but as Fathers, the master them in it appears vain to endeavour and beautyof design that mortal hands however, forget, and of

of the labours of for zeal,

even

rival or approach execution. We must not

and heads
can

and that mortal hands birth, theycould not do in former To the uninitiated, works based
on

heads

gave them do now what

times.
a

more

the schools of the

ter, characelementary Middle- Ages, must be

and in directions,with in style supplied, educationary to the manipulatory regard processes in connection with the until of the art, and encouraging in their tendency, practice the beginner becomes the student, and the student in turn
the master and teacher. That public taste is improving, we for every articlesof
can

have

no

doubt,

day we may observe a marked advancement in is the and luxury, but in no department utility of more manifest than in works of we improvement speak Ecclesiastical Art. or Gothic, The sesthetical principles which be and feelings may observed to pervadeall the remains of the labours of the

INTRODUCTION.

or sympathy, master-spirit, which seems link between to form the great connecting the several departments of their works, is becomingevery hour better understood, felt amongst and more inwardly

Gothic Masters, and early

that

the students of the mediaeval schools of art.

to be

This is much

the genius, it is of mind be breathed into material things, freemasonry but little to to express in sympathy theycan be expected for unless desired, the

poetryof

inventive

the educated eye and taste. Of allthe arts which nourished during the Middle Ages, that of Illumination may be said to be the most glorious ; this cannot consider to what be wondered at when we

mainly applied, namely,the decoration of purpose it was the Scriptures, ture. the revered word of the Deity to the Creanecessary for of the utility of the question

It is not

us

to enter at all upon

the

as we studyof illuminations, find them during the ages of their birth and growth, for the purpose of art-education, of into the question or the vast light of the such a study throws upon the subject of the ornamental and pictorial arts of design, knowledge of their execution. No as practised duringthe periods one to say, be bold enough to deny will,we venture

either. We have remains in

Italyof

ancient wall

and mosaics, but frescoes,

in Western

paintings, Europe we have

only perfect guidesin the form of Illuminated MSS., with the partial in favour of sculptured works, exception which are, however, fast disappearing, crumbling away before the rough winds of time. Ere we which forms to treat of the subject proceed the firstportion of our Manual, viz., the History of the Art of Illuminating duringthe Middle Ages, let us say
read these pages, and to all who may be filledwith the laudable ambition to aid by their individual
a

word

to those who

labours the revival of fabric to be

to reared,

be

national arts that the be must worthyand permanent,

our
"

built upon the foundation stones of eld.

fart "$trat

art
However

IttiMtb toting tjpe

to a interesting general reader, and in an archeological point of view it might be to trace the rise and of the caligraphic its first struggles art from progress for existance, and comment the various rude materials on used in connexion with it, anterior duction to the important introof parchment and vellum, it would be out of place in such work the present. circumscribed a as necessarily Nor is it required for the progress of this Treatise, to allude to the art of writing in save a sketchy manner. any way

It

is almost is
one

needless in

to

tell you

that

an

illuminated
duced is intro-

manuscript
as an

which
to

decorative

material
This of

adjunct

the

writing.
in the
form

ornamental

matter

is sometimes

found

paintings,or

in the form miniatures,illustrative of the text, sometimes of partial, to or complete borders, forming a frame-work the writing, in which the fancy of the illuminator has been of animals, birds, insects, indulged by the introduction and "c., amongst the scroll-work foliage; however, it
was

in

the

initial letters

that

the

illuminators

of

old

Of all these shall have to delightedand excelled. we hereafter. speak more fully That the Art of Illuminating, or decorating manuscripts known at very early was times, we have conclusive evidence. The Romans said to have had the practiceof decorating are their books with portraits but and imaginary subjects ; the only proof we have, is from the writings of the classical authors

themselves.

We

can

have

but

little doubt

that

THE

ABT

DURING

THE

MIDDLE

AGES.

and the nations .of the Greece,Egypt, in to its introduction into Home prior However, with these remote times we

East nursed the art the second century. have but little to

do ; it is to the centuries between the fifthand sixteenth that the true Art of Illumination belongs. Of the Saxon
era

we

have
us,

some

valuable and beautiful

we

to manuscripts preserved

all of which

may

safely

say, are their time-worn It is an

calculated to astonish those who pages.

may

gaze upon

and Christianity factthat civilization acknowledged before either was troduce inreignedlong in Ireland, fully that we into England; it is natural, therefore, should firstlook to Ireland for the art of illuminating, nor do we look in vain,we find it nourishing there longbefore it was known
"

with

us.

of the state of Art in Ireland, Professor "WestSpeaking wood in his Palseographia that at a Sacra Pictoria," says, when the fine arts may be said to have been almost period extinct in Italy and other partsof the continent namely, from the fifthto the end of the eighth of century a style
"
" "

art

had

been established
from

and

cultivated in

distinct absolutely civilizedworld.

that

of all other

Ireland, parts of the

evidence to prove that in the sixth and seventh centuries, the art of ornamenting and especially of the of the Sacred Scriptures, manuscripts in Ireland almost had attained a perfection Gospels, which in after ages was and marvellous, adoptedand initiated by the Continental Schools visited by the Irish missionaries."" The
most

There is abundant

beautiful and

wonderful

of

the

of is the " Book illuminations, Dublin. This in the Library of Trinity College, valuable manuscript executed during the sixth century. was

Hibernian

Irish, or Kells," preserved

gaze upon its wonderous intricate detail without astonishment, and

persons
can

Few

richness and
we can

fully

which prompted Westwood to feelings be proud of the Book of exclaim, Ireland may justly and complete Kells/ of For an interesting description
enter

into those
" "

'

10

THE

ART

DURING

this

of early Celtic art, must refer our we great specimen readers to his able article, Sacra in his " Palseographia Pictoria."

illuminations which sprang from the Irish English school,, by the Durham Book," may be best represented the finest specimen of Anglo-Hibernian illumination in existence. This splendid illuminated on the MS. was
The
"

about the year A.D. 700. In it we Lindisfarne, and in figure drawing, may observe a decided improvement in the decorative portions advance in the direction of an and in harmony, and design.
we schools,

Island of

connectedness

and

of style completeness

In the illuminations of both the Irish and may

observe the

Anglo-Irish or features, following ities. peculiarcacy, of laboured intri-

The

tone throughout is that general

with

decided want

The initial letters are

of repose and artisticsimplicity. in with often large and rich,filled

on

intricate ribbon-work, mostlyin white

black
are

grounds,

(See Plate 1, Fig. 1) though colours

introduced.

sometimes

Complexmasses of which is peculiar to

the open is chiefly formed from a starting formed by other colour. Panels

rather confused

Celtic spaces of the letters. This

of decoration, style ornament^ generally occupies

decorative material

lines by two or more openingspiral and sweepinginto minor volutes point, the interstices being filledin with lines,

and often the initials selves, themwithin the letters, of formed or filled up with a great variety are lacertine animals, reptiles and birds, attenuated in a hideous manner, with their tailsand tongues extended into

long ribbons,and twined among their legsand bodies. Intricate and beautifully executed spiral and animals' lines, heads terminate projecting parts. Borders of this periodare mostly executed in the 1. shewn in Fig. interlacing ribbon-work, animals formed of intertwining are found, Diaper patterns

THE

MIDDLE

AGES.

II

or

several birds,
manner

times

repeated.The

human

is figure after

sometimes the Around

introduced into the of those monsters. the

treated illuminations,

and initials, borders, of small red

countless number

the texts,are placed a dots ; and the text itself,

tive is often rendered decorato the great capitals, contiguous by being groundedwith colour and ornamented with and ribbons. It is worthyof remark that animals, birds, natural flowers and foliage omitted in almost entirely are works A of Celtic art. of illumination which style
arose

about the fourth

was century,

the in full vigour during

Its principal eighth.

consists in the vellum on which the illuminations peculiarity executed ; it being stained (orin later times painted) were with differentshades of violet, minations rose or purple, ; the illuexecuted in gold and text were usually entirely and silver, thoughcolours were sometimes introduced. We have some valuable earlyexamples of this regal school of illumination preserved to us ; fine specimens may be seen in a manuscript the in of Gospels, the copy Cottonian Library, British Museum, (Tit. C. 15.) while there
are

others in the Libraries of

Vienna, Munich, and

Stockholm.
the most interesting and ancient of the stained Perhaps vellum manuscripts, Silver is the Codex Argenteus/" or it book of Ulphilas, in the Royal Library at Upsala, now is nearly written in silver a complete copy of the Gospels, Its date is and goldletters on violet coloured vellum.
"

about the fourth of Speaking

a

century.
MS. purple of the
"

school, Anglo-Saxon Professor Westwood remarks : The EoyalManuscript in the British Museum, (marked 1 E 6,)must be preserved of early esteemed one of the most monuments precious and illumination which have come Anglo-Saxon caligraphy
down
to
our

times. size

Its noble

(18

inches

by 14),the

clearness of the

united writing,

leaves are

the circumstance that several of its stained with a very dark purple colour, might with

THE

ART

DURING

lead almost to the

presumptionthat this was the identical St. Wilfred presented to the copy of the Gospelswhich which his biographer, Church of -York, and Eddius, From described as a thingalmost miraculous. an tion inscripthe fly-leaf in a hand about 500 on years old, the volume to have belonged to the Monastery of appears Saint Augustin, at Canterbury."
that in the valuable MS. alluded to, may remark introduced on the purple colour is largely grounds,with a wonderful effect. truly Plate 1, Fig.2, contains three letters from this manuscript, in which which are curious,showing the manner letters were entwined duringthe reignof the Anglo-Saxon school of caligraphy. The letters in question are QUI, the first half of the Latin word A
QUIDEM.

We

in golden written throughout Psalter, very magnificent letters upon purple vellum, (ifit may not be considered the finest in the specimenin England) is now preserved Bodleian Library. Writing in goldwas not confined to purplemanuscripts of it on white vellum, however, as we have several examples No. There is a fine specimen in the Harleian Collection, 3788. On the

continent,during the reign of the greatest

the Illuminator's

patron of
his works

art, Charlemagne, and

under In the

advanced. fostering rapidly care, illuminating of his school it may art,which led to its
we

observe traces of classic treatment; may therefore be inferred .that the love for could not have died out, must altogether

Roman have

Hence it comes partial study as a model. find the acanthus, (or rather a conventional treatment that we of the introduced in the manuscripts of it) liberally while the period. All traces of Hibernian art disappear, and capital letters assume ornaments a simplerand more massive About

character.
the time of the

Alfred,considerable
as

intercourse

took

with place

this continent,

the effect of

into introducing

the

had might be expected, Anglo-Saxon Scriptoria,

THE

MIDDLE

AGES.

13

features of the above mentioned however,to the exclusion of the

school; not, of the early peculiarities Hibernian manuscripts. Anglowhich we the term In the works of this style, may of the Charlemagne Franco- Saxon, the massive simplicity feature with the intricate interlacing combined is cleverly
of the Celtic School. This interlaced

Prankish

work, however, underwent

change,

The initial becoming bolder and more open in treatment. formed of plainbroad gold bands, letters were generally divided into panels, which were filled in with occasionally Celtic ornament,
of this
or

other decorative matter.

An

tion illustra-

is given in Plate 1, Fig.4, style peculiar it is taken from a manuscript rather late in the although school. Animals One and detached heads
were

at times

introduced in

the illuminations of this of the

"

extant,is the

style. of the Charlemagneera finest specimens Golden Book/' (Codex Aureus)preserved

numbered in the Harleian Collection, 3788. were During the ninth century, many manuscripts

executed, worthymonuments

of the Limner's in the

art.

Great of this

beauty is period;we

to

be

observed

border-work

givenan example in Plate 1, Pig. 3, but poorly) to give idea as to which may serve an (though the prevailing character. We arrive at the latest Anglo-Saxonstyle, and now artistic merit of all perhapsthe finest as far as regards the schools prior to the twelfth century. We have good reason to believe that the style in question, which dates about the tenth century,is purely no national, beingfound in continental work. parallel The finest specimenof this school remaining to us, is the far famed Benedictional of Ethelwold, to the belonging There are others of greatbeauty Duke of Devonshire. at Rouen, from one of which we have a reduced fac-simile, Plate I, Fig.6, and a copy of the Gospelsexecuted in the same from which is shown in Fig. 5, a fragment style,

have

14

THE

ART

DURING

is preserved in the British

Museum, commonlycalled the

"Gospelsof -King Canute." The leading of this period fined are peculiarities mainlyconform complete frames to the to the borders,which text. constructed of massive parallel They are usually with corner and centre gold bars,outlined with yellow, of geometrical ornaments form, in and about these bars and ornaments, foliage of a severe, though graceful ventional connature is twined.

It is

fact of

some

interest,

alluded to bears a stronglikeness to that foliage in the sculptured decoration of the EarlyEnglish adopted of Gothic Architecture two centuries afterwards. period Miniatures of pieces the
are

that the

sometimes

introduced

into the

centre

as in our borders, examplefrom the Gospels of Canute, Fig. 5. Keference to Fig.6, (a corner ment ornafrom one of the Gospelspreserved at Eouen) will illustrate the peculiar of the foliage. treatment

The

initial letters which

are

are

contained

within

these

still and rich, and the interlaced large feature is retained about their extremities. The latter of the tenth and the whole of the eleventh portion tional centuries, may be looked upon as disconnected and transibecomes a difficult matter to periods.It, therefore, of a satisfactory notice giveanything those eras. art during The Normans first years
was

elaborate borders

of the state of the

did very little to encourage the arts in the of their sovereignty minating we ; in fact, may say, illufor
a

if not abandoned. forsaken, entirely works of However, the eleventh centuryhas produced some considerable merit,and the colouring of some examplesis rich and harmonious. particularly

time

Modifications of earlierilluminations
of this

are

used

in MSS.

the interlaced feature period, 1, Fig.7, and border work, Fig.8.

for

Plate see instance,

"We may observe the detail of the illuminations of the eleventh century being formed, which developed itself to such a remarkable manner in the following period. Of all the of illumination, that styles which

occupied

16

THE

ART

DURING

chromatic

twelfth

century scroll-work

upon

different

in Plate 1, Figs. 9, 10, 11, 12. grounds, may be seen These scrolls, formingthe characteristicfeature although still only adjunctsto the initial letters, of the period, are to which the decorative illumination was applied. generally It is much be that the and inventive to regretted fancy genius of the Limners of the twelfth century, did not extend to borders,such both introduced in as were and after eras. previous letters of the twelfth century The forms of the capital in our collection, are being free, perhapsthe most perfect and correct. The minor initials are studies graceful, themselves in conventional designand treatment. See Plate 1, Fig. 13. this period A very peculiar arose applied style during to slip to initials, borders, though occasionally principally (wheregreatarchitectural merit is to be observed). These and borders were formed of scroll-work, and initials foliage, in red alone, with animal forms, outlined and shaded groundsof blue and green introduced within the features of this work of the designor letter ; specimens be may in Plate 1, Fig.9, and Plate 2, Figs. seen 1, 2. Pen-work used duringthe appears to have been much twelfth century, greatlyto the exclusion of the brush. The last mentioned styleis altogether pen-work in its ornamental portions, resort onlyhaving been made to the brush in the groundings of blue and green. Splendid specimens of this treatment may be found in the HarMS. No. 2,800, extensive selections from leian collection, which have been figured by Mr. H. Shaw, in his valuable

work

on

Illumination.

of the latter years of the thirteenth century, a is artistic decline in bold display be and traced. feeling to In works

During
became
became The

this

the period,

scroll-work and
in

detail
the

crowded

and reduced

while scale,

generally colouring

heavy, and

initialsthemselves

comparatively speaking indistinct. reduced in size, were but, in compensation,

were

their extremities

extended and worked

into

THE

MIDDLE

AGES.

17

to the bottom,or sometimes reaching floriated terminations, in This peculiarity to the top of the text. extending the forerunner of the with the capitals, connexion was

celebrated bracket of the

Miniatures became

century. following common more duringthis period treated upon a solid background than heretofore, generally for the most of gold. The colours employedwere part with their and green, shaded tones, and blue, deeper pink, worked with white lines. Red and or hatched, delicately sometimes used in the miniatures. were purple introduced Conventionalized animal forms were liberally

amongst

the scroll-work of this the

century;and

were

ofttimes
to

into elongated

tail-like extension alluded

with

reference to the initialletters. used Several leaves, were conventionalized, beautifully in the illuminations of the thirteenth, though to be more of the fourteenth century. in the works so extensively
The forms of
some

of the leaves in Towards the

are question

shown

in

the period, became very rich and beautiful, though they manuscripts and and boldness of the preceding, lacked the simplicity of the following the intricate completeness style.
Plate

2, Fig. 3.

close of the

It is indeed

in difficult,

the
a

presentlittlemanual, to

of the very description beautiful works executed by the Illuminators of numerous the fourteenth century; to give a complete description the whole devoted to would be impossible, contents were

attempt

to

like give anything

that purpose. outline of the leading features to be or idea, general of the period is all we can observed in the manuscripts how our inadequate give ; yet we are all well aware
A

remarks
known

must

be to convey
eager student

what of the

we

would

wish to have of illuminating.

by the

art glorious

that all who wish to become important of the should have a good, illuminators, general knowledge of the art, and the prevailing of the peculiarities history various schools and periods such works this, ; to acquire It is very
c

18

THE

ART

DURING

by Count Bastard, produced Sylvestre, Humphreys, Owen Jones, and M. Digby Wyatt should be studied. The style of the fourteenth century is peculiarly worthy of the modern illuminator's study of allthe periods ; being In of the art,perhaps the most and adaptable. complete real feeling and artisticmerit it is inferiorto earlier styles ; in yet owing to the generous distribution of its ornament
as

those

it borders of all classes, and the like, miniatures, initials, take its position brilliant periods the most may among which and flourished

beauty

of

the Middle Ages. In brilliancy during of the fourteenth the manuscripts colouring

century stand almost unrivalled ; and the initial

which are generally and of intricate design, letters, large in many wonderful in a instances, display, perfection harmony. of capital A peculiar introduced in the was letter, style illuminations of this period, formed of two colours worked divided
were

into

one

another

in

some

ornamental

manner,

by a

white thread line.

The colours

and goldand blue,laid blue, Plate 2, Figs. tints, 7, 9. the illuminations of outline work pervades A beautiful species of this century, principally grouped around the in graceful tendrils from their or extending capitals, Plate 2, Figs. 4, 5, 7, and In 8. see extremities, grounds, backworks,miniatures on goldand rich diaper important and elaborate masses of ornamental work, partly in outline and partly in delicate colours,were employed and panriels around them. to fill up initials Several fourteenth of
3 Tigs.
new

red and

used generally in flatbody on

features characterize the

may Plate 2.

schools

of the

as century,

be observed

by

an

inspection

to 9

on

such leaves as are shown in Fig 3, bearing of the were used, forming an elegantpeculiarity largely of which is as also another class of leaf, a specimen style, at givenin Fig.6, where its mode of curling, displaying intervals its reverse to side,illustratesits adaptability receive the greatest colour. of contrasting display Line scolls

THE

MIDDLE

AGES.

19

In the illuminated works of the fourteenth century, raised gold, highly introduced as was burnished, largely

grounds for and diapered

manner.

miniatures and initials. This was at times ornamented in the most careful and beautiful continental when a period, itselfto Englishilluminations,

Towards influence

the close of the

beganto extend the raised gold groundsgave way to architectural and This change was ones. mainly due to the landscape school of Italian illuminators, and those founded by the Yan Eycks. In France, under the fostering patronageof Jean,Due de Berri, made rapidstrides, the art of illuminating passing surevery other nation Flemish,Netherlandish thoughthe Italian,
works
were

that of almost

at the

time;

Animals borders. the

As

English in comparison. by no means poor, even of peculiar ionalized, shape,sometimes oddly conventintroduced within and around letters and
flowers of

and

were

were greatbeauty valent prein the illuminations of this and the early of portion succeeding period;examplesare shown in Fig. 1,

Conventional

Plate 3.
we

enter upon to

the find

of the subject
our

illumination of the

fifteenthcenturywe
one

task not

only arduous, but

to do justice to ; not that it matters imposible of the period but a conwas tinuation much, for the early portion of the prevailing schools of the fourteenth century, rather towards natural a more perhapsinclining next

mode of treatment in the detail. Towards the close of the century, however,a be observed in illuminated works. and treatment debasement We have revived until now. of Gothic The

decaymay

ing feelpure artistic of conventional ornament sank with the

never Architecture,

to

be

again

from MSS., only given one or two examples as we datingin the early years of the fifteenthcentury, consider the works of the later years unworthy of the modern illuminator's attention.
c

20

THE

ART

DURING

11, show the modes generally resorted to in shadingrods, much used in the borders of the period, as also during the fourteenth century. Figs.
2, Pigs. 10
12 and 13 illustratethe treatment
A

Plate

and

of conventional leaves.

traced here, when we plainly look at the fourteenth centuryexample, Fig.6. Plate 3, Fig.1, gives of the conventional flowers a few from fourteenth and earlyfifteenth century manuscripts. These will be of value to the modern student, being selected so as to be worthyof his imitation. received its During the fifteenth century,illuminating death blow by the invention of printing. For many years, effect was no visible, important though the art of the Illuminator was beinggradually undermined. carried it The firstsign of the disease which ultimately off and consigned it to a tomb of centuries, the cessation was

less severe

feeling may

be

of the labours of the scribe.

in the form of initials and Illuminations, principally small capitals, introduced into the printed then became books, spaces being left in the form to receive them. Wooden blocks printed in coloured inks were at last and the Illuminator ceased to be. introduced, As we enter the sixteenth century, the decay in art is still visible; large, more crude,and gaudy imitations of natural forms came from the would-be illuminator, entirely devoid of the truthful feeling works. We early pervading read many Manuals lately that must published, say, having astonished to note the extravagant words of we are literally praisebestowed upon the illuminations of the sixteenth be executed, which, beautifully as theymay layno century, claim to rank amongst works of pure decorative legitimate

maiden-aunts have our perchance handed down in the shape of fire-screens, cardto us and other nic-nacs, of this style(if it baskets, specimens may be termed one) and many of their flowers and fruits, other and scions of the insect butterflies, caterpillars, with the best attemptsof the world, vie, and that ably,

conventional art. Our grandmothers, or

THE

MIDDLE

AGES.

21

worst

of

all

schools

of

illumination,
beautiful
were

that

of

the

sixteenth in the and Some

century.

Several of miniature
for

very

works,
executed

however,

shape
other

paintings
the
purpose

by

Italian

artists works

of

illustrating
to

books.

of

their

remain
a

unequalled
short notice of

the

present
rise and the
to

day.
progress

Having
the
we

given
Art

the

cf

glorious
will
now

of

Illuminating
our

during
attention in the

Middle the
era

Ages,
materials of its

direct and
to

readers' be used

used revival.

then,

present

22

fart
art. nf tjjB SSfobrwbumb in tjp (forty ^rnrfo
But littlecan be said
on

those

materials which

were

of the Limner's art, at early times, employedin the practice it is,that theydid in save now every way excel those we in favour with one exception perhaps press into our service,

of paper. Yet in

the perfection to being forced to acknowledge which our Middle Age artists brought their illuminating the debt of gratitude must not forget we we are materials, under to our manufacturers, for the time they have spent, and the great trouble they have put themselves to, to enable us to approach, rival the works of bygone times. or And we are glad to be able to say that Messrs. E-owney " their assistance Company,have not been backward in lending towards the revival of the beautiful and useful Art of Illumination,
assortment after careful study, an having produced, of colours unequalled for purity and brilliancy of tone. In the earliesteras of the calligraphic inating art, before illum-

been introduced,cumbrous and rude were the materials resorted to, for the purpose of be the written matter. In the catalogue receiving may
may

be said to have

enumerated human the

use

Assa"

metals,bones of animals, We have proof of "c. and skins of reptiles, skins, of papyrus at a very remote period Papyrusof ; the in the Imperial beingsupLibraryof Paris, preserved posed
stones, woods, and
"

to date from

about two
years

thousand B.C.
a

About made in

five hundred

years before Christ. great advance was of

a

materials, by writing

the introduction

paper

MATERIALS.

23

made

which This material, Egyptian papyrus. for many of Egypt,remained in use was years the staple until the eleventh century, when it was superseded entirely by parchmentand vellum ; which are now the onlyancient from the
use

materials in There is introduction

and demand. little doubt

as

some

to

the date of the first

parchment,many authors attribute its invention to Attalus, but we of are King of Pergaraus, in use long before his time (200 B.C.) that it was opinion, The credit of its invention is by others claimed for Cumenes (who reignedat Pergamus B.C. 187 159). It seems it bore, Charta however,from the name probable, that itunderwent some Pergamena/' improvement important either in quality mode of manufacture at Pergamus or and we learn that for some article of time it was a staple trade to that kingdom. As to vellum, we decisive knowledge of the have no date of its introduction, but we may suppose it to be with that of parchment. coetaneous in The onlygreat difference between the two consisting the skin from which theyare manufactured vellum being while parchmentis from preparedfrom that of the calf, that of the sheep. The difference alluded to, however, alters the quality vellum of the articleproduced, materially beingthe onlyone of the two suitable for the purpose of illuminating. We of course of the cannot speakwith any certainty but of vellum in the ages of its first introduction, quality
of
"

"

"

"

that for the last ten centuries been made in its manufacture rather the
we
"

know

no

advance

has

reverse.

which remain to us, date anterior to specimens the eighth some as early as the fifthand sixth. century, and roseAnd the art of staining vellum purple, violet, at the above colour,which had reached such perfection and in fact was at a comparatively dates,is now so lost, altogether for recourse made to painting to was early period,
finest

The

imitate the beautiful stains of Vellum

was

more

remote
over

times. with

sometimes

gildedall

gold-leaf

24

MATERIALS.

attached smoothed JSTo monks the

one

with and
can

white

of egg,

the skin

being previously
by the artist beingstruck with
brilliant after
a

polished.
examine Middle the works executed

of the

tain produced. Cerit is,that the colours they employed, of the were finest and purestdescription, no by beingspared expense the employers of those artists in procuring whatever was of considered necessary, or conducive to the perfecting
can now

of their brilliancy than what of centuries, lapse

Ages, without colouring more

"

be

their works.
A

strangemode
resorted to

their colours, was times somepreserving by the Illuminators of old, namely that

of

them into linen cloth. For this purpose, introducing various pieceswere steeped in solutions of different and afterwards carefully dried. The clothlet colours, colours (as they were then protected from termed)were influence of light dust, damp, and the injurious by being between the leaves of books made of paper. placed When these colours were for use, fragmentsof required the differently taken and steeped in chargedcloths were the tints pure water for several hours ; by which means and (after the superabundant water was were extracted, rendered readyfor working, by incorporation poured off)
of with their proper vehicles.

The
were,

colours

we

observe to have been used at Vermiculum.

Minium.

times, early

Yermillion Red Lead Blood Dragon's Orpiment Yellow Ochre Green Blue

SanguisDraconis. Auripigmentum.
Crocus.
Carum. Viride

Grcecum. Indicum.
Album.

Azorium.
Gravetum Minium

Indigo
"White Black

Nigrum.

MATERIALS.

25

During
Lakes, and

the

fifteenth

and
came

sixteenth into use,

centuries, Carmines,
and
were

Ultramarine

into

illuminations.

these
may

colours,

and
two

troduced largelyinThe Italian artists liberally ployed emthat with pre-eminent success, as valuable bv

be observed Soane
years

by
and

the

specimens preserved
Giulio

in

the the

Museum,
1525
were

executed
1580.

Clovio,

between

There

several artists

modes
of old
"

of
two

gilding
of which

illuminations
we

tised prac-

by
here.

the

will

speak
in

of

was

Firstly gilding with leaf-gold. employed gold beaten out into

of remarkable when

This the

mode,
form of

which
or

sheets

leaves

thinness,
of any

was

resorted

to,
size

generally
were

speaking,
be covered.

surfaces

considerable

to

Secondly, gilding
followed,
to

with

powder-gold.
the

This
or

mode
ornaments

was

in

most

instances, when

surfaces

small, and in lining, hatching, and gilded were coloured The diapering upon grounds. powder here used under water) mixed gold (reduced by being milled was brush. with fish glue, and laid on with Both the a pure alluded to required burnishing to bring up the processes brilliancyof the metal. much A style of gilding was practised during the Middle this was Ages, called raised-gilding, nothing more modes above the raised than bed, composed applied to a
of minium and white
gesso of

be

either

plaster
vellum

called and

raising

egg, laid on

or

preparation
surface
to

of the

the

of
a

gradually rising from

it, sometimes

siderable con-

height.

23

MATERIALS.

3Kfltmub"fo in tjj? 3Snte

Colours. As
we

lit uf tjp ^rnrtto

before remarked, works of the Middle

110

one

can

examine

minated the illu-

Ages,

without

the vividness of the colours ornamentation ; and the student too soon
at

ished being astonemployedin their

becomes

aware

that it is out of his power to rival them. What it is we have lost in the preparation of our colours know in not ; but certain it is, we cannot approach we of tone those used by the old illuminators. brilliancy Within the lastfew years, however, greatadvance has been made and in the manufacture has chemistry
now

and
numerous a

of pigments; preparation

added

valuable colours to the

which list,

rather formidable appearance. The student has,at the presentday, to trouble himself but little with regardto his colours, for he can procure them ready for use, most carefully prepared ; but the case
assumes was

differentin former times,for all colours used by the Illuminator had to be groundand incorporated within the limits of the Scriptorium. Without readers with our troubling
a

listof complete ourselves

the water which of

colours in
names

present use,
and

we

will content

by givingthe
are

suitable and

of those peculiarities of the Art for the practice requisite detailed and vellum.

on Illuminating paper

1. Ultramarine. *2. French Ultramarine. *3 Cobalt. 4. Cerulium. 5. Smalt.

*1 3.

Emerald

Green

*2. Oxide 4. Moss

of Chromium.

Sap Green.
Green.

28

MATERIALS.

Crimson
4.

Lake

these improves
A

tints. well.

It is

quitepermanent,
This

and used alone it washes

Cerulium.
"

beautiful cobalt of

tone. peculiar

and is a valuable addition introduction, It is only to the Illuminator's palette. prepared by Messrs. G. Bowney " Co., and is permanent,working well either in washes or body colour. Is a gorgeous full-toned blue; in its tint 5. Smalt. of violet. It is permanent, and in illuminating partaking colour is of recent
"

it should be used alone.

anfc Crimsons.

*1.

Vermillion.
on

"

Scarlet Yermillion

is

one

of the most

useful colours

beingin itspure palette, and drying state a rich brilliantbody colour, flowingwell, dead and uniform. With Lamp Black it forms deepbody Browns, and with White, a series of beautiful and useful
the Illuminator's
". Red

which tints,

be shaded with the pure Yermillion. of Lead. A very bright, scarlet-red, opaque,
may
"

working. It is a useful colour when it can be carefully It is not quite protected. permaliable with dark to if in contact turn ment, being kept foul air for any length of time. *3. Carmine. This splendid colour is the richest of the Crimsons,and is indispensable. It washes well, with and force, but does not make agreegreat transparency able tones with White, unless a considerable proportion of Yermillion be used. Used as a body Crimson,it must have excess of pure Yermillion, otherwise its colour
in
"

greatbody and freedom

would Erench
4.

appear Blue Crimson

to be

Claret.

With

Chrome

Yellow

it

produces many

tints; and with Cobalt it yields good Yiolet and Purpletones.

Lake.
"

beautiful

and It is

tolerably permanent. May

be used
as a

substitute for

Carmine, being somewhat however, less brilliant and Yermillion and White, and
*5. Rose Madder.
"

similar in rich in tone.

character ; it is, Mixes well with

is moderately permanent. and delicate, transparent, pure

MATERIALS.

29

toned Carnation.
mixed
with Carmine

Very

useful for

illuminating purposes

and Cobalt, Vermillion and White, it It is more a series of beautiful tints. produces permanent Lake. than either Carmine,, or Crimson A permanent, deep-toned,, dull 6. Indian Red.
"

useful in combination

with

Yandyke Brown,

and

Red, Lamp

fine body Chocolates. Black,producing (imns.

colour, indispensable very brilliant and vivid; having great power of lighting up with them. other colours,when in juxta-position It is
*].

Emerald

Green.

"

An

opaque and permanent,but does not work well. It may be mixed with White, which assists it by giving it greater

body ;

but

the tints

produced are
"

not

so

as bright

the

pure colour. *2. Oxide

opaque

of

Chromium.

useful, rich,deep -toned,

Green and Yellow it

Green.

Mixed

with Emerald

a valuable seriesof effectivetints ; and is permanent. gives 3. Sap Green. useful,though by no Occasionally colour. Used* in foliage, in or means an indispensable other body Greens. Moderately toning permanent. Green. This indispensable *4. Moss and beautiful pigment for illuminating is preparedexpressly by Messrs. Eowney " Co. It may be considered one of the most for the Illuminator's use valuable colours adapted being It likewise quite permament, of intense body and opacity. mat green. It is useful works perfectly, a brilliant drying be lightened in shadingEmerald Green, and may with body Yellows or darkened with body Blues,making an
" " "

endless seriesof valuable and beautiful tints.

*1.

Cadmium

Yellow.

"

most

beautiful and

useful

rich and glowing when of good colour; particularly be mixed with Carmine, Vermillion, It may quality. Lemon brilliant Yellow, and White, producing numerous and is quite tints. It works well, permanent.

30 *2. Indian Yellow.

MATERIALS.

"

An

almost

washes ; very rich in its lighter Mixed used thick. It works well,and is permanent. Yellow it yields with Carmine and Lemon useful tints. Used with Vermillion it greatly itstone,changing improves it towards Scarlet. Yellow. Yellow of great A vivid pale *3. Lemon to use
"

colour, indispensable to ochre when inclining

the Illuminator ; mixingwell with Cobalt, Carmine,YerRose Madder, Emerald Green,Oxide of Chromium, million, It is permanent. Cadmium, and Indian Yellow. but Yellow. A useful, 4. Mars rich, permanent colour,
"

for illuminating. required A powerfulbody colour; very Yellow. 5. Chrome useful in combination with French Blue,producing intense of great depthand freedom in working. It body Greens, and must not be used alone. is not permanent,
not very

much

"

*1
.

Mars

of greatuse, *2. Burnt permanency. stalks of

Orange. beingpure
"

A very beautiful, permanent colour, and intense in tone.

A

Sienna.

"

useful brown well.

of perfect Orange,

Useful for ing colourand toning other colours. foliage,

Works

and washes

|ht*pU*.
Purple. A valuable colour, working well alone, showing a Violet hue. Mixes well with French and Carmine,yielding useful tints. Blue,Cobalt,
*1. Indian
"

This Violet Carmine. greatuse to the Illuminator. *2.

"

deep, rich colour is of Mixing and working well,

and is tolerably permanent. intense Purple. Mixing A warm, Purple Madder. well. More permanent than the above. and working An cold Purple Tint. *4". Neutral indispensable with White used in shading. Mixed much it colour, service. a beautiful Grey of great yields
3.
" "

Sfttoton. *1.

Vandyke

Brown.

"

The

most

useful Brown

for

MATERIALS.

31

illuminating purposes.

Mixes, works

well,and

is permanent.

HEP*.
to use greatest the Illuminator, with,and giving combining body to allthe colours. Used alone in the shapeof lines, dots, previous ornamental figures or gold or coloured grounds,it upon and power of effect, it is permanent possesses greatbeauty and works well, hard and clear. drying

*1.

Chinese PFhite."The

material of the

Bladts. *1
.

Indian

Ink.

"

The

Works lettering. *2. Lamp Black. A used when of grounds or masses amidst colours,drying mat
"

and

ing onlymaterial suitable for outlinand dries glossy. perfectly, very useful,dull body Black, black
are

to

be introduced

without

any

tendency

in tone

towards grey above

or

russet.

be opinion, found for the practice of the exception the Art of Illuminating. They may all (with in three of Chinese White and Indian Ink) be procured differentforms,namelyin powder, cakes ; either, or paste, all of these may be used by the Illuminator, or although colours prepared in the shape of powder are ably unquestionthe best for the general purposes of his art. What is most for illuminating, is a series of required capableof beingkept clean pure, intense body-colours, The listof colours will,we to include all those necessary
are

of

while in constant and uncontaminated, use. this is next to In moist, or pastecolours,

togethe alimpossible,

Cake

for any Colours are

so,

of time. length least suited of any for

from the great difficulty to procure tint,or a large volume of colour.

illuminating, by their use a bodyAt

times, however,

they

are

useful when

delicate washes manufactured

are

Powder
are

colours, as
at
once

required. for Illuminating, expressly

the best and handiest of all.

32

MATERIALS.

Firstly from
" "

the

ease

with which

an

intense

body

in any quantity, be obtained, notice. at a moment's cleanliness in which they secondly from the perfect be

may And
can

of small china A number kept while in continual use. to mix the colours in,which saucers are requisite being preparedwith a strong glutinoussubstance,only require after having the addition of pure water, (slightly warm, been boiled). be seen colours lay claim It must at once that Powder both moist and cake : indeed, to a vast superiority we over now can speak from experience, using them almost in illuminating, and other decorative designs. entirely Messrs. George Rowney and Company have lately produced of set a illuminating complete body colours,in and brilliancy powder,of great strength ; and havingused

them them

for
to

some

time,
may is

we

can,

with

assurance,

recommend

all who White

be

desirous of

a perfect procuring

selection of materials.

moist,placedin a bottle, prepared similar to those in which the powder colours are preserved. Indian Ink can only be had in cakes (as imported) smooth and free from and if good, it should be perfectly have a slight aromatic odour when any grit whatever and dry with an intense gloss. mixed We feel it our duty, remarks on colours, our ere closing
" "

Chinese

and the Chrome Scarlet, Yellows, (brilliant as they are) being liable to fade and
to
warn use

all against the discoloured. be but

course

of Pure

become

It would find in the

to poor encouragement to the artist, which works over he of a few months

"

perhapsspentweeks, fade,or become unsightly, through be the case the materials he employed. Yet such would
were

he not very careful in his selection.

would recommend If expense is no we consideration, the student to procure duplicates of his powder colours, in the form of cakes or half cakes,as theyare useful at times in very small and delicate works.

METALLIC

PREPARATIONS.

33

fHetalltc preparations.

used in all the branches Metallic substances are largely add of the Illuminator's Art, and when properly applied, and brilliancy of the colours, to the beauty greatly among which theyare introduced. The forms, in which follows i are as the various metals used
"

are

pared, pre-

Gold

Leaf, Gold

Paper,Silver

Leaf, Gold and Silver in shells and saucers, Green Gold and Aluminium Platina in shells, in shells. in shells, readers against the use of any inferior, We warn or our
imitation of the preparation none Bronzes,Inks, and Paints, untarnished. Shell and Saucer to Silver Leaf, and preference recommend the preparations of Platina and we Silver, with a varnish, to be used,for unless protected Aluminium black. Platina and Aluminium turn silver will quickly but from their perbrilliant not so as are pure silver, manency, claim should the hands of at they preference In the illuminator. is pure Gold Leaf
"

above

metals,

such

as posure ex-

of which

will bear

goldbeaten

out into leaves of great

between the leaves thinness, preserved book best

of small

each books,

twenty-five containing squares of gold. This is the but is somewhat difficult form of gilding material,
"

to work.

Silver Leaf Gold

is of the
"

same

nature

as

Gold

leaf.

Paper is thin paper covered on one side with leaves of gold large plain ; it is a useful material when It of be attached surfaces to the goldare required. must illumination with gum-water,or a weak mixture of glue
and sugar. Shell Gold
"

is goldpowder and prepared When into

one

in small placed

mussel-shells. should be mixed

requiredfor

use, several shells with pure water and a very little

D

84

METALLIC

PREPARATIONS.

gum- water,but of this we of our " Guide." portion Saucer Gold

"

will treat

more

in fully

another

is similar in every way to the articlein which it is placed excepted. Shell and Saucer Silver
"

above,the

may
as

be Gold

when required treated, shells and

saucers.

for use, in the same Shell Green Gold

manner
"

is

tallic late addition to the list of Mea

it is of preparations,

hue peculiar
are

and may

be used

of those preparations tarnish metals placed in mussel-shells ; theydo not readily discolour. They are mixed for use in the same manner *or
"

with greateffect. Shell Platina and Aluminium

as

Gold

shells.

anfc Uellum, Cartifroartr,

Of vellum

all the materials stands

adaptedto receive Illumination, Precedent in itself might pre-eminent.

in existence
are

connect intuitively itself. Vellum, this material with the Art of Illuminating, used by the artists of old. however, was not exclusively At an early period, employed for MSS. largely paper was in the countries of the East, long, indeed,before it was

dictate its use, for all the finest MSS. executed upon it ; thus itis that we ever

introduced into Western Yellum

can

lands.

for the use of the procuredprepared Illuminator of any size, tunately unforup to whole skins ; though, sometimes find in the old not of the quality we It is, from the beauty of its texture and the manuscripts. the best material for the purpose high finish of its surface, from its expense and the greatcare of illuminating; though, inferior to in working upon it,it is somewhat required cardboard Yellum
or

be

in the hands of the tyro. from the skin of the calf is manufactured
paper

or

kid, which is treated with lime to get rid of all fat and matter, and afterwards stretched on a frame and fleshy with a knife ; the skin is then finished by carefully scraped

36

INSTRUMENTS.

illuminating tions. on, and combine all the necessary qualificawith which all those o f are we Yet, perhaps, the illuminating vellum papers manufactured acquainted hot-pressed by George Eowney " Co., and Whatman's the best. are drawing-papers The paper selected should be thick and firm, having a and free from nap or hairs, smooth fine grained surface,
should be stretched in
upon,
a

similar

manner

to

vellum

ere

beingworked
the paper may

unless the illumination be

be attached to the

when small, by wax or drawing-board

pins. drawing
"c. jfnstrunwnte, service to the Illuminator to possess greatest set of gooddrawing of which we a complete instruments, givea list.
Small compass. Compass with shifting legs. Bow Pen. Bow Pencil. Drawing Pens. Tracer.

It is of the

Straight edge.
Curves.
T

Squareand Set Square. Drawing Board.

littlepractice in their use) the a (after student will have no difficulty in laying out and planning his design. The drawing-board, and T square are most articlesin the hands of the Illuminator, arid we important somewhat surprised to find little mention made of are or no them in the
numerous

With

these

manuals

on

the Art of

Illuminating
lessons before well

lately published. "We advise the beginner to get a few (if possible) in the use and mode of workingthe instruments
mentioned
;
we

can

assure

him

he will find it time

spent.

BRUSHES.

37
of for

A set of small membered

curves

are

great use

guidingthe drawing pens

scrollsand other ornaments. The
same

while

inkingin

the lines of

several compasses may be at times used for the end : but it being more difficult for the student to
on of beauty(whichis never developed with them than with the curves, circle)

strike the line line of the

the

it is

desirablefor the

student to make

those which set, selecting

himself possessor of a the most display complicated

forms,and are smallest in their details. Ere closing remarks on let us the instruments, our advise the tyroin Illumination, would the indeed we as advanced student, to trust to the unaided hand, that never which can be done by the use for no of the instruments, human attain their precision. nerve can

The brushes best suited for

are illuminating,

red

sable,

in their hair than either black sable or being stronger camel's hair : and theyretain a finerand firmer pointwhen of chargedwith body colour than any other description brush. All sizes are
a crow

for required
to the
swan

different classes of work, from

quill up

quill.

size may A few camel's hair brushes of small goose quill be procured, for mixing up the various colours, thereby the saving The
more

brushes

sables from expensive of each size required

undue
are as

wear.

noted

in the

list. following
Small Swan Goose
Duck Crow

Quill Large Goose Quill

Quill

Quill
Quill

.""'

flatcamel's hair brush is of use for damping, although

38

PENS

AND

PENCILS.

for

general purposes a small however. better be procured

sponge

is superior ; both

had

anfc

It is very importantfor the Illuminator to possess a good selection of pens, for without such he will find great
of the in executing in a satisfactory difficulty manner, many branches of his art. most important The pen is in constant use outlining, shading, scrolling, the pencil or hatching, lettering ; in close attendance upon and brush, throughout the execution of the work. Both quill and steel pens are required for illuminating,
"

and

of each class of pen, several different kinds

must

be

procured.
and Steel pens are mostly used for scrolling and outlining, for executingall the delicate linework ornaments duced introinto illuminations. Plate b* contains execution Pens
a

collection of

which figures,

in their the

dependsolely upon

the steel pen. from are point required,

of various breadths of

Those "mapping pen," up to the middle text pen. manufactured by JosephGillott are the best. ing, For the general and delicatescrollpurposes of outlining there combines
minute

better pen than Gillott's No. 303 ; it and and size with a beautifully tapered strength
can

be

no

work point. For bolder work in ink, and general in colour,a broader pointed pen may be used with such as No. 404. advantage, used for hatching, is working Quillsare principally (that goldor colour in lines upon any coloured ornament) and lettering. For hatching, is the best,and a soft flexible goose quill for writing hardness and durability are or lettering (where should be essential qualifications) a well baked turkey quill procured. The
pen

should have

point proportionateto the sizeof

BUENISHEES.

39

littleless in breadth than the the text to be written, a thick strokes of the letters. Hair lines are made by moving the pen sideways. the quill, In cutting care material
on

must

be

taken to have

equal

and to give to the pen a split, will overcome smooth, bevelled point. A littlepractice clean, in prethe beginner paring may experience any difficulty the turkeyquills for lettering. The hatching pens but had better be be cut as for common writing, may the upper side to secure on greatflexibility scraped ; a hard to hatch. pen is apt to disturb the colour it is employed but are too small to be Crow quills useful for hatching, are each side of the comfortable pens to work with. Few pencils for illuminating are required purposes ; and a H.H. drawingone superfine stronghard pencil, all that
are

one
are

for cartoon drawing, "c., the latter for the guide lines of the text, tracing, and ornaments borders, upon the illumination itself. A piece of vulcanized india rubber,arid an ink eraser,
necessary ; the

former

should (J.H. Green's)

be

procured.

Burnfefjera.
There
are

three forms of burnishers used for illuminating From

the flat, the pointed, and the curved. purposes, viz., the two firstshould be selected. these, The for

is unquestionably the best or broad burnisher flat,

flatmasses of gold, and should alone bringing up large be used if the gilding be executed with shell-gold, without raising preparation. burnisher is useful with raised gold, The pointed or very small ornaments. Flint and agateare the materials from which the best bur* rushers are made; and should be highlypolished when

brought to
handle.

the

fastened into form,and firmly required

Sfonfcrieg.

TracingPaper.
"

The

tracing paper

used

should

be

40

SUNDRIES.
-

moderately
had of almost

thin,
any

white,
size.

and

very

transparent.

It

can

be

Transfer
one

Paper.
with lead its india A
"

There
"

are

two

sorts

of

transfer other with vellum bread

paper, red and in ference pre-

prepared
The and
to

black-lead,
transfer should is the be

and best removed

the for

chalk.
paper,

both with

lines

rubber. china

Palettes. ink
are

palette
upon, mix
as

must

be number

procured
of

for small

rubbing
saucers

and

cake

colours
to

and the the

indispensable
are

powder
colours of

colours
may

in. be

Nests covered

of

saucers

very

useful,
dust for A
"

kept

and

free

from

any

length

time. of

Tracing
somewhat

Point. of for the

pointed
of
a

piece sharpened gold

of

ivory
lead

or

bone,
is

form

pencil,
The instruments

required
tracer

working

figures
in
cases

on

grounds.

steel

usually
in
on

supplied
the list but

mathematical may
as

(mentioned indenting

of is
not

instruments)
so

be

used

for

gold,

handy

the

ivory

tracing

point

we

have

recommended.

41

art

We

now

come

to

the most

branch important

of

our

and we trust that our readers,who have read subject; interested the previous of our manual, feel sufficiently parts in the studyof the most fascinating of all arts,to attend us

yet farther. To the student, in the practice eager to attain proficiency of illumination, his have a treat in store,and we crave we attention while we laybefore him the result of years of and laborious practice. constant study in he who would become Yes, gentlereader, years truth an Illuminator, think that not for one moment must weeks or months will terminate his study, If it did, the charm which dwells with the art would be of short duration, instead of increasing it ever does day by day continually. as
"

Our

readers must
a a

remember

that he is no

illuminator,

who,

for

execute

takes up the implements of the art, to for a friend, book-mark fair to adorn some or time with

album lady's How knows

goldand
some

to their case, until

them colour ; and then consigns like occasion prompts their use.

different is
it

who toils, he, the true Illuminator, yet not, day after day, in every spare hour, and

42

LETTERING-

throughthe night far into the hours of the glorious art itself ; who wanders
works
of nature

of

morningfor love
among

abroad

the

that he may derive new inspiration ; who bears home to his quiet the wild gems of the forest, studio, and converts their wonderous forms to the beautiful conventionalisms, which careless whether
are

to adorn the labours of his

hands,

other eyes see them or not. Other eyes will see them, however ; and many tonguesshall convey to him the measure of his praise.

^ettermg.
that the Illuminator should be a important the student should spare no good caligraphist ; therefore, in this department of his a proficiency painsto acquire
art.

It is very

Ages, the scribe and the Illuminator were different persons, althoughboth their various avocations within the precincts of prosecuted the Scriptorium. Yet it would be very inconvenient for the Illuminator of the present day,to have to dependupon
the labours of In Plate 5
a

It is true that

the during

Middle

second have

party for the

tions. text of his illuminaof

we

one given^two alphabets,

initial,

and the other of small letters.

They are both, we think, well suited to modern taste and requirements from the most worthy ; beingcompiled to correctness of form. models,with strictregard As a few hints may we prove of service to the beginner, him, however,that without the most givethem ; assuring rules or directions are of no avail. severe practice, calculated to astonish Perhaps there is nothing more those who examine the manuscripts of the Middle Ages, than the beautifully in executed text. Faultlessly regular in form of every letter, on every line, every page, perfect
it is indeed executed
a

mystery to
We need

us never

how

mortal hands

could have

it.

imitate hope to successfully

LETTERING.

4"

scribes. We may early say the art, has gone for ever. for its practice, with the necessity Be not discouraged reader, you may (and doubtless attain greatexpertness in writing, will if you persevere) equal the work of our althoughyour work may never those labours of
our

forefathers. We have examined hundreds stood the letters of which of pages of minute not one-sixteenth of an

text,
inch

false line, without detecting one letter, or misshapen high, trace of an erasure. a single first rule double lines (with the In proceeding to letter, with text, the space to be filled in distance T square) across of intended letters. from one another equal to the height The
to

space between
one

these double

lines may

ing vary accordRed lines are these

are

however,being circumstances;the best proportion,

and
a

about
to be

half that of the text lines. the

rows

often drawn

between

of letters; when rule them

to commencing previous in the writing, to fill to the as they act as guides ing j ftI p q t g the remainlongstrokes of the lettersfoi f g jj lettersB " C im n**t * t fetaX) being confined by the
to

done, it is advisable

text lines.

before you, carefully Placing put your copy or alphabet in letterby letterwith a broad pointed quill pen ; the hair strokes may either be done by drawing the quill edgewise,
or

afterwards with In

303

steel pen.

be left for the great initials lettering, spaces must which must be put in (after and the small capitals the text is executed) with the brush to traced outlines; Practice alone can, after the student has gone thus far, make him expert and exact in the beautiful art of cali-

graphy; and upon that he failures. daunted by early,

must

depend, not

being

We

now

come

to

in illuminating

the proper

sense

of the

44

OUTLINING.

branch not -being or lettering, word, writing, a legitimate of the art, that it connected with it, thoughso intimately be considered one. might with propriety Under the head of outlining, four different processes may be included, ring, transfernamely, cartoon drawing, tracing, to and inking in. Each of these we now proceed describe.
it draw the cartoon,of course be is necessary that the idea for the design of the subject formed in the mind of the Illuminator ; to which, perhaps, Previous to
to proceeding

he may as well give some dashes of his pencil on which design, inventive faculties aided

form,with a few rough tangible pieceof waste paper. As the

work,
an

is purely mental a

exercise of the

be procannot by careful study, nounced touch do not a manipulative upon it process, we in this partof our manual, but must refer our readers to Part Fourth, which is entirely devoted to that subject. We here take the opportunity to inform our may in that we give all the processes of manipulation readers,

their proper order ; that is to say, in the order in which luminat the Student his ilthem must in executing practise

"fje Cartoon.
The cartoon is a correct pencil sketch of the design to be illuminated, the first embodiment of the artist's : thought all it be must be T his flower must on improved perfected.

opened flower there, the space will not admit of a fullflower, yet in rich colour will be required there to balance something and harmonize such will doubtless be the thoughts flitting through the Illuminator's mind, as he bends over his cartoon,and such should be his thoughts. To prepare the cartoon, proceedas follows. Stretch a of drawingpaper in size than the piece (a littlelarger limits of the intended design) and upon a drawing-board, draw or trace on lines of your text,with it the boundary
" "

that scroll corrected

leaf put in here

"

half

"

TRACING.

TRANSFERRING.

45

It is advisable to "c* the initial spaces, terminal slips, render these outlines permanent by inkingthem with the this because however much drawing pen. We recommend it will fail to be used at the design, the india rubber may the boundarylines. remove work ; you must laydown The rest is straight-forward

until with its step by step, line by line, your design, caused by a hundred afterthoughts, hundred alterations, A careful studyof Part find it perfect to your mind. will aid you much in embodying and compiling Fourth you correctness and your design. Practice alone will give
you

of precision
even

execution

and

this must

not be overlooked

in the cartoon, for much

dependsupon

its merit.

tracing.
The finished cartoon must of
now

be covered

with

piece
every

tracing paper, and a copy taken,by line on the cartoon below,with a HHH. pencil.Care
or outline,

going over
common a

drawing
clear distinct
to
an

must

be

taken

to

make

the

great value

of the

will be tracing

extent

Ibst. should in
or

In
case

is given, which an tracing, opportunity be lost, to alter or improve any crude

no

incorrect

which may exist in the cartoon. coloured examples, In copying old MSS., the artist or in'precisely the same must directed for manner as proceed form that in copying old difference, tracing ; with one he must rigidly adhere to the original manuscripts outlines, be theygood, bad, or indifferent that is if to simile a fac; say
cartoon

be aimed
A

at.

white tracing thin, transparent, paper is best suited

for

illuminating purposes. ^Transferring.

The

after being removed, must tracing,

or

the sheet of vellum

cardboard

to

be

placedover and illuminated,

be

TRANSFERRING.

fastened
to regard must

by wax
the

then be

in its proper place with drawing-pins, A pieceof black-lead transfer paper text. between the tracing and the sheet, slipped
or over

with the leaded surface downwards the lines carefully pencil gone
pressure.

upon with

the text, and all the tracer,using

moderate

If too greatpressure is used,a coarse, broad mark will be the result, which it is desirable to avoid, for the finer and the lighter
corners

Two
may

lead line is, the easier it is to ink in. of the tracing at bottom or (either admit of it

sides)
amine ex-

then be

to detached,

being raised

to

the result.

which is observed, must be filled in, by Any omission, the tracing fall again into its place, and the overlooked letting with the blunt point. portion gone over or ecuted, excarelessly Any partswhich may be imperfectly had better be removed with bread or the rubber, and re-transferred. think readers may useless or been describing, Our the the the processes
"

which

we

have
"

not so however superfluous ink outline, is a clear, without to be gained, perfect point of any sort. The only means by which imperfection secure this, is by carefully beginner following may

giveto the eye and that cartoon and hand such precision, drawing, tracing in with, although transferring may at times be dispensed intricate compositions, can "c., they never largeinitials, of success. be laid aside with certainty
in.

the various processes here laid down. Years of studyand practice may

Tew

directions are

for required The

with the outline.

this final process in connexion transfer lines have only to

with a fine steel and firmly be gone over very carefully not be dark in the portions The Indian ink must pen. but in the scrollsand ornaments which are to be coloured,

INKING

IN.

47 very black ink

which The

are

to remain

in outline

onlya

must

be used. student will

considerable experience in this branch of his art ; but above allthings he difficulty muvst not be daunted,even though his failures be many, and practice for by constant application the most difficult the most laborious undertaking problemsmay be solved, completed. outline be secured It is most desirable that a perfect the gold and colours,for before proceeding to lay on we imperfections although may cover, or correct any slight must not depend upon them to with those materials, we exist in the outline, If errors colour a bad outline. perfect visible. only tends to make those errors more all students in illumination, We would recommend (at to procure least those who are not clever draughtsmen) from original to original or manuscripts, access goodcopies line for line and aftertrace them wards works, and to carefully transfer and ink them This most

doubtless

in,either on
valuable

vellum

or

board. card-

useful and

not only practice

in work, but it has a decided precision with reference to design, and supplies educational tendency from the works the student with a collection of examples which will ever of the different periods, prove of the to him. use greatest After the process of inkingthe transfer is completed, the whole should be cleaned with bread,and the work is which is the next department the student readyfor gilding

givesthe

hand

has to turn

his attention to.

anto Silfcerrog. ffifltu'njj

and All the processes of gilding considerable and require difficult,

in their execution.

somewhat are silvering to attain skill practice

Two

of distinct styles
"

Middle

Ages flatand commonly found in the

the were gilding practised during raised gilding, the latteris to be most rich MSS. of the fourteenth and

48

GILDING

AND

SILVERING.

while the former fifteenth centuries, of earlier times.

seen, and

the works pervades

MSS., used in it is rarely

as

In

raised silver is seldom to be any form in late works. initialletters, tures, minia-

In fourteenth and fifteenthcentury MSS., the raised gilding used is generally and

groundsfor

borders ; and when in smaller masses, as dots, slip and nimbi around the heads of figures. leaves, spraywork In the illuminations of these periods, flat gilding is used leaf work, and in lining and hatching in the curling upon of figures in the drapery and diaper colours, particularly back-grounds. to the use of raised gilding There are some objections in modern its work, apart from the difficulty attending in the firstplace successful execution, it is so very liable
to crack and

scale off if the illumination is

or bent,

in' any

used. If it has to be rolled up, raised work roughly admissible at all. In the second place, its apis scarcely pearance it if it be used to any great is at times against colours extent,it has the effectof throwing the-surrounding the general into the shade, and destroying repose and harmony of the whole composition. around it, There will alwayshang a charm however, from the fact of it beingsuch a favourite style of work with the artists of old,and it will doubtless be eagerly by the modern student of the Art of Illumination. practised directionswith We therefore feel called upon to givesome well as flat gilding, which at the present to it, as regard day is by far the most useful of the two, from the fact of it beingable to be copied by the processes of printing. of gilding be executed Flat Gilding. This style may and goldpaper. shell gold, with three materials goldleaf, suitable for the purpose, the most Shell goldis, however, managed than leaf gold beingmore easily ; gold paper can flat surfaces are to be onlybe resorted to when very large
way
" " "

covered.
Shell
a

very

have before stated, we as gold reduced to goldis, and placed in clean fine powdermixed with a gum
use.

mussel-shellsfor

50

GILDING

AND

SILVERING.

raised

besides gold leaf, Composition namelyRaising gilding

and Gold Size. Messrs.

a raising GeorgeRowney and Co. have prepared which we think will be found permedium to our receipt, fectly of and all the to satisfactory, qualifications possess the Mediaeval ground. It is very necessary to secure a good is impossible gilding raising preparationfor without it perfect
"

and
may

all labour

and

time

bestowed
away.

upon
may

it be

be

pronouncedas justly
we

thrown
our

The

raising
addition
to

medium had of
a

have alluded to bears

name/* and

in tubes

ready for
at times.

use,

the only requiring

of raised
or

littlewater
first

The

part of the
are

process

is gilding,
at

roughenthe
parts which
a

surface of the vellum

to

cardboard

those

This gilded. scraping-knife pointacross them

must

be

may be done by drawing in different directions.

to tear

Care the

be

taken, however,
The

not

the vellum

or

cardboard be laid

roughening process which adhere to firmly, preparation raising

on as

too much.

is to enable
must
next

follows

"

a Having squeezed

of the sufficientportion

from raising If it be
a

the tube, mix it up with a firm red-sable brush. of add a littlewater until it becomes too thick, in that consistency, work.
i

flowing
on

state

it is fit for

being laid

the

evenlyand let it dry; and until the required ness thickafterwards repeatthe application each coat to dry before another is obtained, allowing Lay
on a

coat

of the above

is added. When take all is complete,

ridges or any burnish with the fiatburnisher.

The reduced
coats
;

knife and remove scraping that may exist, and then irregularities
a

ground
when

is now

readyfor
and laid
on

with water

the size,which must be with a soft brush in two

a

nearlydry it

is in

fitstate to

receive the

gold-leaf.
*

Mediaeval RaisingPreparation. Audsley's

GILDING

AND

SILVERING.

51

goldfrom the book, by gently flapping the edge with a knife" until the leaf rolls back. gilder's flat near The knife must then be placed the leaf, which on blown upon, will fall evenlyover the knife beinggen(ly blade. The leaf may thus be safely and easily removed with a side motion from the book, and deposited on a cushion." It may then be cut pad, called the gilder's with the edge of the knife, for convenience up into small pieces in working. than is required A piece of the leaf (alittle larger to should be removed the the part to be gilded) from cover cushion with a pad of clean cotton-wool, with a brush or and carefully the termed a on tip," gilder's deposited sized ground, flat with a soft tuft of beinggently pressed cotton quite dry and clean. The size had better be to being gilded. The breathed upon previous pad of be slightly to lift the cotton, or the "tip"must greased the hair of the this may be done by touching goldeasily, head (provided it is oiled) with them before lilting the
a
" "
"

Bemove

leaf of

leaf from "When

the cushion. all the above

processes

have

been

in the and all imperfections manipulated, remains but to burnish it, this up or made good,nothing is directed as dry, may be done when the size is perfectly in the next

successfully goLl tilled

division.

Burnishing.
"We have best nishing on given, already page 49, directions for burand have now flat gilding, only to describe the raised gold,and of etching mode of treating or menting ornait. be taken, that (as before noted)the gold of the work covered size be perfectly dry,and all portions Care
must

with the leaf ere

to proceeding

burnish. be

Too

much

haste should not

a

in, in indulged

this department than

of the art, as

false stepis far easier made

rectifiedwhen

made.

52

BURNISHING.

raised gold, two burnishers may be used burnishing the flat and pointed. Tor largemasses, with advantage, the broad burnisher is most handy, while in small works burnisher is of greatservice. the pointed or pencil Illumination lately it is stated In a Manual on published, little that there is some art in burnishing only differ ; we with its author sufficiently to remark, that there is a very The wondrous to do it properly. greatart in burnishing, of the gold in old illuminations, is almost altogether brilliancy due to the perfect in which it is burnished. manner In have before us two MSS. we this, writing nearly is five hundred gilding years old,in which the original While
more ever

rich and brilliantthan

seen,

and

in any modern work we have the burnish stillappears as if done yesterday.

our

We

do not

wish

readers to

fancythat

we

lay more

stress upon

burnishing process than on any other in connexion with gilding. of all the departments of the Illuminators art, Perhaps, is the most delicate and difficult with gold-leaf gilding ; in none failures and disappointments and again, are so
common

the

and

numerous.

The

student must We

not be

difficult a

thingmay be, the

some

daunted,however ; the more attends itssuccessmore ful glory

him to seek
a

execution.

recommend himself

little personal

instruction from

by

so

doing,save
to return
more

for he will, expert gilder, from many disappointments

and vexations.
to our immediately subject. raised To burnish gold,the burnisher should be moved direction with a gentleuniform in one pressure, which increased as the goldbecomes bright.A may be slightly delicate touch is required for this process, which skilful, recommend can only be secured by practice.We of trial piecesof student to execute number the a to operateupon raised gilding ere formal a proceeding study.

But

BURNISHING.

53

The

burnisher

must

be

cleaned carefully
come

before it is
the
torn

of used,for if any grains flint and the gold, the

dust

between

agate or
up
or

latter will become which scratches,

covered with innumerable

must

its injure

brilliancy.
it had better be rubbed before burnislier, of commencing,and at times duringits use, upon a piece chamois leather, stick. stretched for the purpose over a The goldlikewise should be dusted with a soft camel hair To clean the

brush. A. few words

to the student
not
as

to

the selection of his

here. A really good impertinent is stone a difficult thingto get at times, and yet without it little be done in a perfect A smooth stone can manner. be selected, must facits. free from irregularities or entirely It should also be strong at the shoulder, secured and firmly to a wood handle, ferrule. by a metal-casing When the process of burnishing is completed, the gold by beingetched or dotted. This must may be ornamented be done with the pointed cient burnisher, using pressure suffi-

agate or flintmay

be

to

secure rows

the amount

of effectdesired.

Dots
or

tured punc-

in have
a

alongthe
was

edgesof
used

gold

letters
"

panels,

and peculiarly sparkling

much

brillianteffect in late

this mode

of decoration

Both manuscripts.

flatand raised

admit of beingetched and dotted. gilding be worked with of great beauty Diaper patterns may burnisher on of flat gold,such as the etching masses fieldswithin them. around initials, or panels ment remarks principally to the treatWe have confined our confusion as much of goldleaf, to save as posso as sible. with for Nevertheless, theyhold good, the most part, introduced for regardto all the other leaf metals lately illuminating purposes.

Colouring.
We
now

arrive at the last

manipulative process,

and at

54

COLOURING.

importantof all. We dare not of colouring to treat the subject sarily profess fully, space necesout of our puts it entirely power to do so.
same

the

time

the most

In

the second

part of

our

"Guide/'

we

have

to

some

length noted

of the various prevailing peculiarities colours useful for illuminating; and therefore now only hints and directions for working to give practical require them on, in body or wash, as the case may them, or laying be.

the

Theoryof Colour,with a few remarks on its laws of harmony and This again has the desired effect of confining contrast. remarks here to manipulation alone. our used for all branches is most Body colouring generally of illumination; is necesat times wash colouring sary. although
In the fourth
we part,

intend to

speakof

the

of illumination generally contains both complete piece combined. of colouring species There is considerable art in laying on body colour perfectly flat and uniform,practice overcome however, will, every difficulty. The Powder Colours prepared by Messrs. GeorgeRowney and Co. are for flat or body colouring. adapted beautifully We use them entirely and that is the best assurance ourselves, we can giveof their quality.We before mentioned that the student should provide himself with a set of cake colours for washingor executing any very delicate work, this we again recommend. Body Colouring.Take a little of the powder colour
A
"

from

small saucer, clean (boiled) water, mixingit with

a

the bottle into

and add to it a little

a

brush.

The

colour

should should

stand be about

for

few

minutes
water to

before
an

reduced with
the

being used, and tency, easy Mowing consisif thicker, it

on

thickness of

good

cream,

will not do for

The

brush

work. large employed to laythis size. It must

colour

should be

red sable of moderate the colour and worked

be well

with charged tint flow-

the downwards, keeping

COLOURING.

55

ing full
upon. When

and

over uniformly

the

completespace operated

the whole is covered, the colour should be still wet throughout, As the and raised with excess of water. with a velvetwater drys,the colour becomes deposited like surface,a feature in body colouring which is ever

charming.
No If
on

gum
more

must

be added be mixed

colour is mixed

hand, it can
saucer

powdercolours. for the work than is requisite care being taken to up again,
difficultto

to the

keepthe
Some

free of dust.
are more

lay on than others ; but the student will, and observation, by a little practice become acquainted with their several peculiarities. soon Wash Colouring.Washes may be laid on in somewhat the same of tint but no manner excess as body colours,
colours
"

must,
the

on

case

as in any account, be left on the surface to dry off, of body colouring. The brush should be moderately

duringthe process of washingthe be keptevenly must at the edge of the wash liquid flowing only. As the surface operated upon becomes covered,the of tint must removed be gradually excess by the brush, all uniform. leaving As colours at times show a tendency to flow in irregular little prepared when laid on vellum especially, a masses, should be used. ox-gall useful for As we before hinted, cake colours are most Cake be used. the body colours may washing,although colours are nearly useless for body colouring, however. Care must be taken in all the departments of colouring, to have everything clean. The brushes employed, perfectly free if used for different colours, be washed entirely must from any trace of tint, in another. before being worked caution. alone can be retained by the utmost Brilliancy Scarlets and Yellows are the most sensitive to foreign of their tones are matter; and the purity only too easily impaired.
A few hints
on

full of colour ; and

combinations

of colours will conclude

56

COLOURING.

We Guide." trust our sincerely present partof our readers have found what we have already written, patient useful and intelligible. We have done our best to divest the Art of Illuminating of that absurd veil of mystery which others are too fond of throwing it. Whatever over want or our to, we imperfections simplemanual is subject done our best. can onlyurge one excuse, we have,in truth, the
"

composedby the union of two or more colours. Pure colours likewise are or positive pure ofttimes used of two or more formed by the mixture shades, of another colour in different proportions.
be will firsttreat of the proper colours to be used with to obtain graduating shades or tones. others, with Blues. Ultramarine and Cobalt, may be lightened We
"

Many colours which require to

are

used in the

of Illuminating, practice

White

and darkened with Black or Indigo. only, Reds. be lightened with Cadmium, Vermilllion, may
"

or

Indian Yellow, and darkened with Carmine. Indian Red, to be lightened with Vermillion. Crimsons.

or

darkened

with Black. rich and Carmine, may be rendered more brilliantby the addition of Vermillion, and darkened with Blue, Black,or Yandyke Brown. Eose Madder, should be treated much in. the same
"

manner

as
"

Carmine. Emerald

Greens.
or

Green,may

be

with Yellow, lightened

with Blue. deepened Indian Moss Green, must be lightened with Lemon or Yellow,and darkened with Ultramarine. Yellows. with Lemon, Cadmium to be lightened Yellow, and deepened with Yermilliou. Indian and Lemon Yellows, may be mixed with White, and deepenedby Cadmium and Vermillion. Purple. Purple,may be altered to any shade by the
" "

mixture Mixed

with Blues
or tints, as

or

Carmine.
most in
use

compound colours

may

be

formed

follows.

53

art

our Having completed

few remarks

processes

we

Manual, to to say and composition : and design which have a bearingupon subjects
illumination.

the purpose in this, give directions and hints

a

manipulatory concluding part of our

on

the

with

reference
on

to

few

words
of

those

the art

designin

fascinating part Designing may be said to be the most well as the most of the studyof illuminating, as difficult, if the student has not the faculty of invention and power and of imagination observation, naturally. By attention, the power of however, almost anyone may acquire study, by nature, likewise design;while those who are gifted education and practice ere they become perfect. require We hope to be able in our following remarks,to lend the student assistance in the art of design, by givinghim advice and a few rules, which, if followed,will keep him from failure, and any greatdisappointments. Let us impress upon him, however, that too great care after-work can be taken with his designs, cannot as no reform a bad composition.
Con"mtionalism. in all great principle is conventionalism; and it must
or

The

decorative

ornamental

art

failure is certain.

The

be followed in illumination, of art in brilliantperiod most

CONVENTIONALISM.

59

any nation's

was history,

when

conventionalism
"

was

most

adhered to, both in design and colouring the most strictly certain signof decay, and when natural forms were copied, nature's pervading used. It is a fact hue most liberally in of green use worthy of remark, that the frequent decorative works, has ever heralded a prostration or decay in art. Our readers must decided
not

think

that

we

countenance

from the laws and forms of nature: departure it conventionalism can as only be worthy in proportion adheres to those laws which govern the vast empireof the visible world. In illumination, it is imperative to have resort to on us conventional ornament in all designs, great or small ; for wherever
we

observe

natural forms
"

observe poverty oi design an It may appear strange and after what we have said,that, should
eager student where and from what

we depicted, attempt endingin on contradictory we

likewise
a our

failure.

part,

be asked
may
nature
"

by
must

the

source

alism conventionbe

be studied, we

should

tell him, that

ever

his school,from it he must it is.

derive

inspiration yetso

Conventional
forms
;

is founded upon natural laws and natural the former cannot in any way be departed from with
art

impunity.
It must from
one

be obvious to everyone, that two leaves growing from that stalk in opposite stalk,yet starting be

would directions, natural leaves

or

quiteabsurd
ones.

and

hideous, be they
But

conventional

and leaves to be conventionalized, the result would their connexion with the stein, as regards true to nature's conventional composition, be a pleasing laws. It is somewhat conventionalism. the detail and
or

the suppose placedtrue to nature

difficultto It may formal

describe what
a

is meant

by

be said to be and

from departure it expresses

treatment
a

of the natural form

severe

embodies

"

treatment

of nature's
art

free and

forms. ever-changing

Conventional

aims not

60

SYMBOLISM.

at

copyism ; while and symbolism.

its greatest exists in strength

expression

In conventional ornament, the greatest of colour display in. Having no copy to chain us down, may be indulged need onlybe governed we by the laws of harmony and
contrast.

inventive powers are also brought into playin conventional if art, while they become cramped and torpid, naturalism be alone resorted to. In all the illuminated works of the best and periods, indeed in all priorto the fifteenth century, conventional almost entirely forms were while from that date, employed,
to the amount of realism proportionate infused into the designs which decorate the manuscripts. Let us impress our readers with the fact that no attend an if it procan success ever illumination, fesses to imitate natural forms ; it is not possible for it and as such, to be considered other than an ever attempt,

The

is to decay

be observed

it must

be

failure.

connected Intimately works of Christian art

;

as

symbolism has

ever

been

with

formingas it has ever done, so marked a feature in illuminated MSS., we feel called upon far as it to say a few words on the subject, as especially in illumination. has reference to design in its widest sense, Symbolism, may be said to embrace the whole range of art, for all art is symbolicalthat is, it aims at expressing beyond itself. something and from that Conventional art is purelysymbolical, fact derives one of its greatest charms. of it here in the We, however, do not intend to speak of the term, but in the way it is broadest signification most commonly understood. and if decorations, Symbols are most appropriate to the beauty and interest of used, add greatly properly the illuminations into which theyare introduced.
"

and

SYMBOLISM.

61

era

In all countries and in all ages, from the early Egyptian has been sorted resymbolism day, largely up to the present
to.

With

the ancient

we Egyptians

have not much

to

note to what a great extent to do, yet it is interesting they carried the art of symbolism. In their architectural

and in their sculptured works ornaments, their writing,

was

it the

carried out. fully Leaving those remote

times,

we

must

come

to

to have attained the Christian era, ere we find symbolism nature which is of service to us in the prosecution of the and its modern studyof mediaeval illumination, practice.

The
must
or

of symbolism beingone of great extent, we subject ourselves by givinga few of those symbols content
in most
common

emblems The

use,

and of the greatest value the

to

the student.

or

symbolsof oui BlessetJ ILotfc are Holy Lamb, the Pelican,the Fish,and
or

Agnes Dei,

the monogram

!.*.".
The

I*".

the Agnes Dei, is generally symbol, sented reprewith crossed lamb, as a spotless times nimbus, somea bearing a cross, emblematical of our Saviour's and sometimes small banner, emblematical of a passion, sin and death. His triumphover is represented The second, the Pelican, its as feeding shed by its beak,which is shown blood, young with its own as employed tearingits breast. This symbolis likewise
first

shed for the a represent martyr, whose blood was The third emblem of our Lord, the Fish,originated truth. for a fish, in the fact that the letters in the Greek word of the ^cb $ame Degus (JTfjrist, j$0it form the initials tjje Sabiaur. This symbol gave rise to a form of "oti, tfje used throughout all the branches of mediaeval very largely Plate VIII, Fig 12. art called the Vesica Piscis, see the monogram The fourth, needs no E.^.S. or "Jf."tt., and well known. common explanation, being sufficiently in Plate VIII, Fig ] 0. within a cu"ped It is displayed figure before us next, of the ^olg "tinitg The symbols come and the pentacle, the trefoil, or they are the triangle, used to
"

62

SYMBOLISM.

The triangle should be drawn equilateral triangle. The trefoilis supposed first introduced by to have been Saint Patrick, he illustrated his doctrine by the when used in shamrock leaf. This beautiful form is very largely illumination?. It is shown
in

doable

combination

with

the

in Fig 10. triangle The pentacle is formed by two triangles placed together in different directions, six Plate making a figure, pointed VIII, Fig.6. The most common and appropriate symbolfor the l^olg is the representation of a dove, generally Spirit white, of this beautiful shaded with delicate grey. The origin descending symbolis obvious,a dove having appeared, Saviour illuminations His In during Baptism. upon our
a

nimbus

is at times

introduced around

the head

of the

dove. that of Cfjristfam'tg is the most Perhaps of all symbols, however, singularly commonly used. There is something, beautiful about the simple cross, apart from its symbolical which may have favoured its adoption in many interest, in general instances. There are two forms of crosses use, the Latin and the Greek
cross,

the former

has the lower

member

than the remaining the latterhas all tliree, longer in Plate VIII, Fig 14. its arms as equal have symbolspeculiar The four (JEftangetistg to themselves. St. JBattjjefoj is represented by a winged man, St. 3Lufee by a winged ox St. JHarfcby a wingedlion likewise have, and St. Joijn by an eagle. The Apostles but as we cannot go at any length into their own symbols, this very interesting readers to must refer our we subject, works. larger the symbol of The circle is generally as acknowledged nor SEterm'tg, havingneither beginning ending. In illumination, symbolsmay be used with great effect, introduced into the interiorof initials, or prominent portions
" "

of the
may

borders

around in any

the

text.

Tasteful combinations
more

variety, by groupingtwo or in Fig 10, where the monogram as symbolstogether

be made

of

HARMONY

AND

CONTRAST

Ofr

COLOURS.

63

the

SacntJ $anu

is enclosed

within the

symbol of

the

The
powers,
to

student will find

in the

studyof

exercise for his designing pleasant and we recommend him symbolism, of his attention.

giveit a

fair amount

f^armong anti Contrast

The student
in

of Colours.

be well must Illuminating of his works depends that much of the beauty aware upon in the arrangement the knowledge and taste displayed of his colours, and should accordingly givea considerable of his attention to the subject of the harmony and amount contrast of colour* We have used the words knowledge and similar in their taste, because, althoughsomewhat influence and effect, they are dissimilar in their natures. of the Knowledge may be said to be the learning and effect of colour, and its combinations, principles, power by research and study. acquired is again, Taste the innate delicate feeling, or perception and its harmonious of the value of colour, groupingin be acquired. and cannot easily design. It is a natural gift, One who possesses knowledge without taste, or taste without knowledge,rarely arrives at any eminence as a of knowledgeto the possessor colourist. The acquiring of natural taste, is nothingmore than the cultivating of that gift. here material enough for We do not profess to supply the cultivation of taste,such would be entirely out of our
Art

the

of

"

"

power
to

in such

circumscribed
hints

work

as

the present; but

some

a few onlyintend offering

to calculated,

extent,

direct the young

artist in the the three

are

of grouping

his

glowing

colours.

Beginningwith
out

those

which The

their

let us point colours, primary and contrasts most perfect

ever

harmonies. Blue.
"

be

most

should of the firstimportance, primary used in all works of decorative art. largely

Its

64

HARMONY

AND

CONTRAST

OF

COLOURS.

colour perfect contrasting harmonies Red.

are

is

those tones with White, or Black.

"

Orange : and its most perfect ture of itself, producedby its admix-

The second

colour ; and all the harmonies. Yellow.

"

has Green for its contrasting primary, scales of Orangesand Crimsons for its
most

lightand power, has Purplefor its contrast, arid the compounds of itself with harmonies. White, and the scale of Oranges for its perfect in These colours, be used together cannot therefore, with injurious effect. juxtaposition, Green. The contrasting colour of Bed, should be sparingly used in illuminating, colour. It beinga lighting-up be employedfor its own must never value,but onlyfrom its power on other tints, which it lights vigour up, or gives to, in an extraordinary degree. The following will assistthe student diagram, perhaps, in the arrangement of his colours, either in contrast or do. harmony,better than words could possibly
"

The

primary of

66

STYLES

OF

COLOURING.

is nothing

more

of decorative
"

all departments commonly seen in nearly art,than the tripletBlue, Red, and Gold.
"

of

Grey may be introduced into almost any combination and forms a beautiful harmony with brilliant colours,
The

hues of Blue and Crimson.

student, while studyingthis departmentof art,

numerous

should

with experimentalise colours, takingnote of those for future in

use.

combinations
prove
most

of

which

pleasing,

A collection of combinations
a

small

made and preof colours, served would prove of value for scrap-book,

sake of reference.

of of Illuminating characterized were Nearlyall the periods less of colouring, readers have doubtas our by peculiar styles observed while perusingPart First of our Guide." The remarks there,however, being so sketchy, we urge allwho have the opportunity, to studyoriginal manuscripts
"

of the various

eras.

In many

works

the colours

attempt to give a executed on the vellum styleare usually any ground colour. relieved effect is given to In others, a details by shadows. In Illuminations of enrichments are generally worked upon a
or

treated flat, without any raised effect. The ornaments of this

are

without alone, the ornamental this the school, ground of gold

colour. In Illuminations of the

and fifteenth fourteenth, thirteenth, white linework upon colour was centuries, largely In the party-coloured used. of initials and ornaments the fourteenth century, divided the white line generally a which were ful Beautiat times outlined with black. colours, surface decoration various rich ornaments in white upon of the thirteenth centuryand
was

executed

the

early

fourteenth.

DESIGN

AND

COMPOSITION.

67

In
to

leafmonies shading work, the Illuminator must use the harthe deeper tones of the colour employed : such as ground the leaf,or those colours nearest to it on the

colour circle. For instance, if the leaf be shaded with dark blue ; if normal
to

lightblue, it

should

be

blue, with blue running

of crimson

purple. If red, it should be shaded with the tones as before. (red-purple) runningto purple
The
reverse

side of the leaves, or turnovers, should be coloured with the full contrasting colour of the leaf proper. For

if the leaf be blue,shaded with dark blue instance, the turnover should be orange, shaded with or purple, scarlet running to crimson. Leaves may in be lighted up with delicate hatchings shadows colours. The deepest gold,white,or very light in black. may be executed with hatching In conclusion, let us urge our readers to studywell all of early art, they will gain more examples by that than structi infrom written matter can or they possibly personal into the principles They derive their insight of their art direct from the fountain-head, in their native purity.

Benign

anfc

Composition.
the
art glorious

the department of Designis,perhaps, of illuminating, with which the young

most

student

will be

It is,at the same time, the most important Some may ask how composition partof composition. bothered. be
so

to admit of the as separated is the most one important part of the allow that such a question is someother ? And we must what difficultto answer. Design,however, may be said of individual to allude to the formation or development while composition partsor details, expresses the grouping of those details into one harmonious whole. together of design, and harmonious grouping of Appropriateness

designmay that expression,

and

far

68

DESIGN

AND

COMPOSITION.

parts,are
art.

the two

of ornamental greatprinciples student must

or

rative deco-

In Modern much
as

the Illumination,

endeavour,as

his compoto have one spirit pervading possible, sition. also must His design be in keepingwith the illuminated. subject In illuminating school or style, the after any particular student will, of necessity, be to an extent tied by ancient if he truthfully them in reproduces examples ; although, all their vigour, he cannot go very far astray. The frontispiece, illuminated Plate IY., is a beatitude, after one of the styles of the fourteenth century. We do not profess to be able to giverules for design and composition, but trust a few hints may prove of some service to our readers. slight

The

text should be executed after the idea of the whole

the composition should be is formed, composition although decided by the nature of the written matter. The peculiar be his guidein this taste of the illuminator must be supcan respect. No exact dimensions or proportions plied and margin; allis a for the relativesize of text,border, recommend the student, and taste. We matter of opinion is apt not to overdo his ornamental portions, or one however, and to the illumination, to think that the text is secondary
not that the illumination is intended
to

decorate the text. the

A rather

to margin adds greatly large

never

beauty of

the

and illumination, The

failsto increase its eS'ectand importance in large itselfor in

initialletter should not be too

the border and its detail, for it will outweigh

to be avoided if possible.

text ; this is

The

Illuminators of

old,loved

to

expendtheir greatest

of their initialletters; and those advise the student also to bestow great care we upon he introduces into his illuminations. The letters may be surrounded of gold or colours, or placed upon solid panels in energies the ornamentation with rich in
some masses

of delicate line

work, as

may

be observed

fourteenth centuryMSS.

DESIGN

AND

COMPOSITION.

69

lettersthemselves may be executed in various ways. This dependsgreatly, of illumination of course, the period on
the student has

The

selected to work

after.

The
are

teenth, thirthe

and fifteenth century schools fourteenth, best

and requirements. to modern use adapted Miniature subjects, scroll and leaf-work, or diapering, be used to fill tures up the centre of the initials. If miniaare introduced, anywhere they must have immediate
sult con-

may

reference to the subject of the text. In designing the student will do well to borders,

MSS., or fac-simile drawingsof complete original insight pages; he will gain,by such examination,more into the practice and treatment than words could ever give him. But it is not our duty to leave the subject with this lowing remark, however much we feel that he would gainby folwhat he will by reading our over our monplace comadvice,
border may be composed. It may be made surround the text, to entirely of gold or colour ; it may extend placed upon a background
a

There

and poor directions. several ways in which are

only round one only.

Of the form

three

or

two

sides,or it may

be confined to

all these,the
most

and is border is the richest, complete of the to be found in the MSS. generally is that beginnerto practise
presented re-

fourteenth century. The best style for the

in Plates IV. and VI. for a simplepage, Fig.1, Plate VI., is a foot-piece into a rich corner ment ornashowingthe terminal rod bursting with lightspray work. and finial, Fig.2 is the terminal rod ornamented. 3, 4, 5 and 6 are finials Figs. for the upper end of rod above the initialletter. should All the spray-work introduced into this design,

from, or have connexion with the terminal rod,which if should itself be a continuation of the initial letter,
start

practicable.
in designmust employed deal of the beauty of an graceful ; a great

All the lines

be

and flowing

illumination de-

70

DESIGN

AND

COMPOSITION.

pends upon
than
a

this.

Nothing is
or

more

offensive to the eye his

broken

outline

scroll.
not

The

Illuminator must

overcrowd

composition,

gain little by crowdingornament at all. He must seek after repose, simplicity, and elegance. No detail must be executed carelessly; ornament or each leaf and bud, however small or insignificant, should be finished as if it was the page. the only ornament on The student need never hope to attain eminence in his art, unless each thing he does, is done with his.whole might. Plate VII. contains several examples which of scroll-work, will prove of greatservice to the tyro, havingsome choice of leaves and flowers conventionally treated. specimens All the fringed should be filled in with gold, ornaments either flat or raised. The fringed of the centre portions flower in Pig. 3 should also be in gold. animals are often introduced into borders Grotesque and the interior of initial letters. Their bodies usually terminate in sprays of foliage, in Fig. as shown 2, Plate VIII., their tails are continued to unnatural lengths, and or
twined mal in various ways around their bodies. A fine aniin rich colour, forms one of the most beautiful perhaps, for
an

for he will

ornaments

initialletter, when

miniature

painting

is inadmissable.
or Diaperwork may be employedto fill up initials, the panelsaround them, as well as for back-grounds of miniature subjects. On Plate III. we have giventhree different prinof diapering, each designed on a examples ciple, see Pigs, 4, 5, 6. Pigs.2, 3, on Plate III.,and Pig. 1 on Plate VIII., used for surrounding for slip are borders, panel designs for confining the text which is to be ornamented borders, or with scroll or light spray work, as shown on Plates

IV.,VL,
Ribbons shown
on on

VII. creased in
a

conventional

manner,

like that

Plate VIII., Pig.3, and heraldic enrichments shields of the shapesof Pigs.4, 5, sometimes form in illuminations.

suitable ornaments

Plate.8.

CONCLUDING

REMARKS.

7l

Grounds of dotted work and honey-combing be may introduced within scrolls, of solidity "c., when a feeling is desired. See Eigs. 7, 8, 9.

used Fig. 13 shows a conventional treatment of glory in surrounding sacred symbols It should and monograms. be executed in gold line-work regularly from diverging a centre point. We said all on the subject have now of designour but trust we have to some little extent space will permit, assistedour readers in the interesting Art of Illuminating.

Conclutungifamarfcs.
To boon throw have If Art We
many
our

readers

we

have

to

say

few

words

before

partingwith
we our

let us ask the them ; but, ere we say more, minds have had on our so long. When you littlebook aside, if you think we us forgive
wrong
not

givenit a
we

title. been successful in had

our a

have

guidingyou

in the

of

so, and

have we Illuminating, in have spared no pains have tried to

sincere wish to do of the garment too it,for the purpose

task.

divest the art

to throw
over

have endeavoured

of

student to seek from them the despairing inducing do instruction. All is mockery! Well some personal know their lessons to be useless, these professors as they The student must are depend upon his own expensive. and must be a willing miner,extracting studyand practice, from the accumulation of ages, the pure and sparkling ore to lead him for his own use. Might not another profess and aid him in laying right, open a vein of copper, while he retains for himself the gold he knows to be lying near. feel it our readers We our duty, however, to assure Illuminators that they cannot attain any perfection as unless they embark upon its studyas lovers, no grudging time or trouble. Years are required, years of application, ere one may hope to deserve the titleof Illuminator.

72

CONCLUDING

REMARKS.

In take

all the

the

manipulatory
care,

processes,

the each

student

must

ever

greatest
with

executing nicety
be and

ornament,

however

insignificant,
All and
The

equal
must

correctness.

the admixture.

colours

carefully

preserved

from

dust

brushes

in

use

must

be

cleaned

and

pointed

before

being
"With
to

put

away.

regard
the

to

such

subjects,
rule,
"Have

let
a

us

advise for

oui

readers

observe

golden
in

place

everything,

and

everything
Eeader,
in in
the

its

place/'
you

bidding
practice

farewell,
the

let and

us

wish

you

every Art

success

of

lovely

fascinating

of

Illuminating.

FINIS.

LIST

OF

MATEEIALS

MISSAL

PAINTING,
MANUFACTURED BY

GEOKGE

KOWNEY

"

COMPY/

ists'fiatemen.

KETAIL

DEPARTMENT,
BONE

51

AND

52,

RATH

PLACE,

W.

WHOLESALE

AND

EXPORT

DEPARTMENT,

10

A*D

11,

PEPCT

STEEET,

W.,

LONDON.

LONDON :

STRAKD, CATHERINE STREET,

FRANCIS,

PRINTER,

GEORGE

ROWNEY

AND

CO.'S

LIST

OF

MATERIALS

FOR

and Jpssal fainting. Jltomtirating

The

revival

of and

"

after Colours

caused enquiry Las naturally Illuminating" of this Materials best suited to the practice
A

very beautiful Art. has led Messrs. Missals form.

were

careful examination
H. "

rities of the best authothat

Co.

to

conclude

the Ancient the

paintedwith
have

colours

prepared in
a

simplest
set

They

produced accordingly
will be found

complete
its

of

Colours, which
those in
use

they believe

to closely

resemble

at the

periodwhen

the Art

had reached

highest

degree "f perfection.

COLOURS
The Powder Colours for

FOR

ILLUMINATING.
ROWNEY
and will be

and
found

Co., are
more
are

readilysohible
brilliant and in bottles

Illuminating,as prepared by GEORGE in cold or very slightly water warm ;

than

permanent
either

Colours prepared
or

in

any

other with

way. every

They

sold

separately,

in boxes Art.

fitted up

requisitefor the

of this very practice

beautiful

EEDS.
s.

d.

d. 1 0 20

BURNT BURNT CARMINE

CARMINE,
SIENNA
. . .

per Bottle
"

5 0 10 50

! INDIAN ORANGE
ROSE

RED
.

per

Bottle
"

VERMILION MADDER LEAD

. .

30
.

"

"

CRIMSON DRAGON'S

LAKE BLOOD

1
.

"

|
!

RED

10
,,

10
.

SCARLET

VERMILION

16
"

,,

LIST

OF

MATERIALS

FOR

ILLUMINATING,

ETC.

Colours

for Illuminatingcontinued"
PURPLES.
s.

d.

s.

d.

INDIAN

PURPLE,

per

Bottle

3 0

MADDER per

PURPLE,
Bottle 2s.

per Bottle

5 0

VIOLET

CARMINE,
BLUES.

CERULEUM
.

per
.

Bottle
"

2 20

INDIGO
.

per
.

Bottle
,,

1 0 10 5 0

COBALT
. .

PRUSSIAN SMALT
.

BLUE

F.

ULTRAMARINE

2 0

QUEENS. EMERALD MOSS DITTO

GREEN,
. .

per Bottle
.,

1 0 2 0

OLIVE

GREEN OF

per

Bottle
"

1 0 3 0

I OXIDE
per Bottle

CHROMIUM
Is.

SAP

GREEN,

YELLOWS.
CADMIUM
.

per

Bottle
"

5 0 1 0
1

LEMON MARS MARS HAW YELLOW

YELLOW,
DITTO ORANGE SIENNA OKER
.

per
.

Bottle
"

2 0 16 50

CHROME
DITTO GAMBOGE

YELLOW ORANGE
. . .

j |

"

"

10
"

10
.

"

INDIAN

YELLOW

16*
.

10
.

"

LAMP
MADDER

BLACK BROWN INDIAN

per
.

Bottle

1 0
I

NEUTRAL VANDYKE

TINT,
BROWN 6d. to 10s. per

per

Bottle

1 0 Stick.

INK,

of Finest

Quality,from
Powder Colours

The

above

List all

contains

of Colours, prepared in other those required; any

expresslyfor Illuminating, at a day's be obtained may

notice.

LiaUID
Carmine
Chinese
or

COLOURS
.
"

AND

MEDIUMS.
s.

d. 6

"

per

Bottle
"

Enamel

White
.

"

"

Indian

Ink

"

Indelible Brown
Prout's
Ox Gall Brown
.

Ink
....

....

"

,,

Per
.

^ot

^d. and 6d. and Bottle Tube Pot

1 1 "
1 1

0 0 6

Ditto, Colourless
Gum Water

.per

Bottle Per

AUDSLEY'S
Water Gold

RAISING
Size
.

PREPARATION
"

per

"

"

per

GEORGE

ROWNEY

AND

CO.'S

The

Colours

named

in

"

The

Guide
are

to

Illuminating,"are

prepared expressly

for the Art, and

stamped EUttminattngColour.

LIST

OF

MATERIALS

FOR

ILLUMINATING,

ETC.

BOXES

PITTED

WITH

COLOUES

AND

MATEEIALS

ILLUMINATING

AND

MISSAL

PAINTING,

FIFTEEN
silver

SHILLING

BOX"

containing
set

ten

colours, half
steel scraper,

size, gold and

flat rule, sponge,

shells, gum

water,

of saucers, brushes.

burnisher, HB
GUINEA
BOX
"

pencil,and

sable

containing ten
lead

colours, gold and brushes,

and
water

silver

shells,gum
of saucers,

water"
ste"l

gold

paper,

'pencil,sable

glass,set

scraper,

agate burnisher,flat
BOX"

rule

sponge. twelve

GUINEA-AND-A-HALF

containing
paper,

colours, bottle
sable

Chinese

"white,gold,green

gold,silver and
water,

aluminium lead

shells, raising composition, pencil, brushes,

sponge.
water

gold size, gum

saucers, glass,

gold

steel scraper,
"

agate burnisher, flat rule and

TWO

GUINEA
green gum

BOX

containingsixteen
aluminium lead paper,

colours,bottle Chinese

white, gold,

gold,silver and
water,
set of

gold

pencil, sable

shells, raisingcomposition, gold size, brushes, water glass,set of

Indian

saucers,

steel scraper,

agate burnisher, flat rule, sponge,

Ink,

and

half

instruments. BOX
"

THREE

Chinese colours, bottle containing twenty-one raisingcomposition, white, gold,green gold,silver and aluminium shells, gold size,gum water, gold paper, extra thick gold leaf,lead pencil,sable

GUINEA

GEORGE

ROWNEY

AND

CO.

'

brushes,
tracer,

magnifying ivory rack,

glass, ruling
water

pen, of

half

set

of

instruments,
scraper,

ivory
agate

glass,
and

set

saucers,

steel

burnisher, flat rule,

FIVE GUINEA BOX"

sponge,

Indian

ink.

containing twenty-seven
green
extra

colours, bottle

of

Chinese

white,

gold

and

gold shells, raising composition,

thick camel hair
pen,

gold size, gum

set

water, gold paper,

gold leaf, lead pencil, a complete

brushes,
half
set
one

of sable

brushes,

half-a-dozen handled

1-in.

flat camel,

ing magnify-

glass,ivory pencil rack, rule, curve,

ruling
of

of

instruments, ivory tracer,

agate burnisher, flat

water

set glass,

saucers,

steel

scraper,
set

sponge,

indian

ink,

square,

and

square.

METALS

PREPARED

FOR

ILLUMINATING.

s.

d.

Gold

shell, double
do. do. ditto

quantity
"
.

10
. . . .

Ditto Ditto Silver

single
green

0 06
.

....

.03
. . . . .

Aluminium

ditto
ditto
....
. .

06 .06

Platina
Gold Silver

Saucers
.

10 .06

ditto
.

Liquid
,,

Gold

in bottle
. . . .

56 .36

Aluminium Silver
,,

ditto
. , . . . . . . .

ditto
. .

26 .16

Gold Gold

Ink Paint

in bottle
.
.

and

Preparation
sheet
.....

ditto
. . . .

16 .46

Ditto

ditto per small

large

size
. . .

Gold
,,

Paper,

squares

in

packets

of

one

doz.
. .

.10
.

Bronze,
Gold

Gold, Silver, or
per book ditto of

Copper
25 leaves

Colour,

per
....

oz.
.

26

Leaf,

Ditto

extra

thick

Silver

leaf, per

book

of

50

leaves

LIST

OF

MATERIALS

FOR

ILLUMINATING,

ETC.

BRUSHES
Small
Swan Goose
,, ,,
,,

FOR
in

ILLUMINATING.
8.

d.

Red

Sables

quill

26

Large
Goose Duck

.13
0 10
.

,,

"

.06
.

Crow
"

"i
-N

"

04
. .

Goose

Camels
"

in

quill

Duck Crow
"

V
J

per

doz.
. . .

.10

Flat

Camels

in

tin, per
.

inch.
.

06
. . .

Gilder's Tips, each

."
.

.03

SUNDRIES.
Gilder's Gilder's Cushion
.
" . . .

26
.

Knife Points

.16
10
"

Ivory Tracing
Gilder's Rollers

......

Drawing Pencils, each

Cumberland
ditto
.

02
. . . . .

.03
. . .

Magnifying
Half Set of

Glass

in

case

20
. . . .

Instruments, consistingof

compass

with

pen

and

pencil \

shiftingleg ...../ Superior

Best ditto
. . . . . .

30
. . . .

Finish

ditto

.60
from 9d. to 4 0

Ruling
T

Pens, each
12 in. 12 in.

....

square,

.16
26
.

Ditto,
Set Indian

Boxwood,

divided

with

inches Curves. Is. 6d. per

Squares, Straight edge Ink,

finest from Pins Boards

Rules, and

quality, 6d., 9cL, Is.,and

4d. to Is. 6d. per of doz.

stick.

Drawing Drawing
Portfolios

to suit all sizes

drawing

paper.

ditto.

VELLUM May
The is not be had
in

PREPARED
prices from
article
a

FOR
upwards.
so

ILLUMINATING
Whole

Is

Skins

from

14s.

upwards.
it quality,

price of this possibleto

fix

varying

much it.

according to size and

definite

price to

10

GEORGE

ROWNEY

AND

CO.'S

ROWNEY'S

LONDON

BOARD.

Foolscap

15 18

in.
"

by

12 each 14

Demy
Medium

20J
224

"

15|

Royal

"

Yl\

TURNBULL'S

LONDON

BOARDS.
4 shts.
s.

6 shts.
s.

d. 9 0 3

d.

0 1 1
1

2 2 3 4

0 6 0 6

7
0 0

2 3

WHATMAN'S
Smooth

DRAWING
Surface for

PAPERS,
Illuminating.
Per sheet.
s.

d. 2 3 4 4 5 9 6

Demy
Medium

0 0 0 0 0 0
.

Royal Super Royal Imperial

Double

Elephant Antiquarian

WHATMAN'S
Royal
.

EXTRA
.

STOUT
7d.
1401bs.

DRAWING
Imperial
per 901bs
. .

PAPERS.
per sheet

701bs.

per

sheet
.

9d.

Imperial

sheet

Is.

VELLUM
Imperial 30
in.

DRAWING
a

PAPERS.
and very
.

by

21 in. of

delicate

tint,stout,

smooth

surface,manufactured
Transfer

expresslyfor Illuminating
and

per

sheet

Is.

Tracing Papers

6d. per

sheet.

12

GEORGE

ROWNEY

AND

CO.'S

THE

FOLLOWING
IN

OUTLINES
PARTS OF SIX

FOE
SUBJECTS.

ILLUMINATING.

PLAIN

6s.

EACH

PART,

PARTIALLY Size 114

COLOURED

12s.

EACH

PART.

by

9.

PART
"

5.
mea

Portio

Domine."

"

Principes persecutisunt."

"

Legem

Pone."

"Appropinqua
Bonitatem EF.

deprecatio.""

fecisti."

(Initials.)
PART 6.

"

Beati quo

Immaculati.

"In
"

corriget."
Parimento."
super

Adhesit Et veniat

"

me."

"

Memor

esto

servi tui.'

G. H.

(Initials.)
PART

7.
servo

"

Retribus Manus Deficit

tuo." me."

"

tuoe

fecerunt mea."

"

anima

"

In oeliornum

Domiue."

"

Quomodo
Lucerna

delexi."

"

pedibus meis."
8. odio

PART
"

Iniquos
Feci

habui."

"

Judicium."

"

Mirabilia."
Justus
es

"

Domine."

"

Clamaviintotocordemeo."
Vide humilitatem." gantly ele(23 subjects)

"

The

cxix bound

Psalm in

cloth,antique gilt.
45s.

Plain

25s. ;

PartiallyColoured,

LIST

OF

OUTLINES

FOR

ILLUMINATING,

ETC.

13

PART Nos. 48
"

9. inclusive.
"

PART Nos. The

13.

to 53

74 to 79 inclusive.
on

Proverbs,"
Letters
PART A
to

Sermon PART

the 14.

Mount."

Initial

F.

10.
"

Nos. The

80 to 8$ inclusive.
on

Sermon PART

Nos.
4t

54 to 59 inclusive.
on

the 15.

Mount."

The

Sermon

the

Mount." Nos.

86 to 91 inclusive.

PART Nos.
"

11.
"

Proverbs,"

"c.

60 The

to 67

inclusive.

On

boards

10|

in. 16.

by 7 in.

Beatitudes." 8s. ;

Dight subjects; Plain,

Coloured,

partially
Nos.
"

PART

16s. the Part.

92 to 97 inclusive. Initial Letters G to

Proverbs,"

L.

PART

12.

Size

144 by 10J.
each.

Nos.
""

68 to 73 inclusive.
on

Plain,

Is. Qd. ; partiallyColoured,3s.

The

Sermon

the

Mount."

PART The The The

17.
"

Spiritof Poetry. Longfellow. Idyllsof the King. Tennyson. Maid. Beggar Tennyson.
" "

Size 144

by 10|.
3s. each

Plain,

Is.

"d. ;

partially Coloured,
"PRIZE" Size

Subject.

THE

BEATITUDES.

144 by 104.
3s. 6d. each.

Four

Subjects. Plain, 2s.; partially Coloured,

SONNETS.

Elementary Plain,
4s.

Designs,
6d. ;

from

the

most

eminent 9s. each

English

Authors.

partiallyColoured,
THE ROYAL from version
"

part of six subjects

.

PSALTER.
The of the Hours Psalms. of Anne Each Plain

Series of
the

Designs adapted
entire

comprising
in

authorised
six

Brittany;" Part (complete

9s. ;

of

itself), containing
18s. each

will be issued subjects,

monthly.

partially

Coloured

Part.

14

GEORGE

ROWNEY

AND

CO.'S

LIST

OF

TEXTS,

ETC.

THE

FOLLOWING
Plain Is. 6d. ; and

TEXTS
Coloured Partially Pray. 3s. each.

On

Boards, 2U

by 6;

Watch
Fear God We Praise

God. is Love.

Thee,

God.

Read, Mark,
On Boards

Learn, and
2s. ; God thou Will

Inwardly Digest.
3s. 6d. each.

29" by 7, Plain
Thou

Coloured Partially
seest
me.

Hope

in God. be Done
unto

Thy
Suffer This Do

little Children

to Come

Me.

in Remembrance Love
one

of Me.

another. Coloured Partially and Goodwill 4s. towards 4s.

On

Board

21

by 14|. Highest,
"

Plain
on

2s. 6d. ;

Glory

to God

in the

Earth Plain

Peace,
2s. ; OF

Men.

On

Board
THE

14| by 10|.
ADORATION

Coloured Partially
THE MAGI. INITIALS.

AN

ALPHABET

OF Plain

MEDIAEVAL 2s. ;

On

Board

14J by 10^.
ILLUMINATED

Coloured Partially

3s. 6d.

BOOK
"

MARKERS.
12 small. dozen.
"

The

Twenty-eight subjects large and Coloured Large Size Plain 6s. ; Partially
16 Small ditto ditto Plain

9s. per 6s. 4s.

4s. ;
3s. ;

Ditto

ditto

Nineteen

Subjects,
THE

PartiallyColoured

per

Dozen.

SIX

FOLLOWING
the 14th Is. ; away 0

SUBJECTS, Boards,

Illuminated

in

the 11

styleof
9.

by

Plain turneth

Century, on Superfine London 2s. each. Coloured Partially

wrath
; but

No.

1.

soft

answer

grievouswords
my

stir up

anger.

2. 3. 4. 5.

Give Give

ear

to my to

words,
the

Lord,

consider he is

meditation.
mercy

thanks
ever.

Lord, for
for in thee and

good: an.d his

trust.

endureth
"

for

Preserve

me,

God,

do

I put my

The

Earth

is the

Lord's

the

fulness

the thereof,

world

and

they
of

that

dwell

therein. the Lord taketh

away,

6.

The

Lord

giveth,and

blessed

be the

name

the Lord.

Several

New

Works

in

Preparation.

LITHOGRAPHIC

DRAWING-BOOKS
PUBLISHED BY

AND

STUDIES,

GEORGE
51 and

ROWNEY PLACE,

"

Co.,
LONDON,
W.

52,

RATHBONE

BARNARD'S BARNARD'S BRIGHT'S

Tints.

PORTFOLIO ELEMENTARY
ADVANCED Six 11.

STUDIES. STUDIES 2s. each. DRAWING

Six

Plates, 9s.
OF TREES.

Size 21 1st

by
and

15. 2nd

Series, comprising 9 Numbers,

Numbers, GRADUATED

price 2s.
TINT

BRIGHT'S
15

Size, 15 by 11. BOOK, adapted for the Pencilling each. Size, 15 by 11. 24 plates,Is. each. STUDIES. Size,
BOOK.
FIGURES. BOOK OF Six Six

by

DOLBY'S
each.

GAVARNI'S
each.

ARCHITECTURAL Size 10 by 7. RUSTIC

DRAWING

Numbers, Plates, at

Is. 2s.

STUDIES
DRAWING

OF

Size, 21 by
ELEMENTARY
Is. each.

15.

GAUCI'S

TREES.

Twelve OF
3s.

Numbers,

Size, 10 by 7.

THE OF FIVE ILLUSTRATIONS ORDERS GREEN'S Six Plates, 2s. 6d. each. ARCHITECTURE. Size, 21 by 15. STUDIES. Three RUSTIC GREEN'S Subjects, 2s. plain; coloured.

6d.

Size, 24 by 18.
SECOND DRAWING 2s. 6d. each. STUDIES OF

GREEN'S
Six

BOOK,

adapted for

the

Tints. Pencilling
Six

Numbers,
FIRST RUSTIC

Size, 15 by 11.
LANDSCAPE. Parts
In and 3."

GREEN'S
each. HICKS'S
at Is.

Numbers,

6d.

Size, 9 J by 6 J.
FIGURES.

1, 2,

Six

Plates in eaclu

Size, 15
ART ODDS EARLY

by

11. Fourteen Six ENDS.

JACKSON'S PHENEY'S PHENEY'S

Size

INSTRUCTOR.
AND

Plates, 6s Numbers, Is. each.

Six Six

Size,
Size

15 10

by 1U by 7.

LANDSCAPE BOOK
STUDIES. SCENES AND DRAWING OF

STUDIES. ANIMALS.
Six

Numbers,
Numbers,

6d. each. Is. each.

9| by 6J.
DRAWING

ST ARK'S
Size 10

by 7. Plates, 9s.
Six
Six Size SHIPPING. BOOK. DRAWING Six Numbers, large plates,on 21 by Numbers, 15. 2s. each.

SYER'S SYER'S SYER'S SYER'S

each.

PORTFOLIO
RIVER

Size, 15 by 11.
ELEMENTARY
EARLY RUSTIC Proof

Numbers,

Is. each. Is.

Size, 10 by 7.
LANDSCAPE SCENES. BOOK.
Is. tinted each.

Six Numbers, Size

10

Size, 10| by 7.

SYER'S SYER'S

by 7.

Single
Size, 9 TEMPLETON'S

Sheets, 24

PROGRESSIVE

DRAWING
IN

BOOK.

6d. each. paper, Six Numbers, 6d. each.

by 5\.
STUDIES
5s. coloured.

THREE
20.

CRAYONS. DRAWING
BOOK

Six

Plates,3s.
OF

each, plain ;
TEMPLETON'S
HUMAN

Size, 27 by
Twelve

ELEMENTARY
FIGURE. ADVANCED In STUDIES Six Numbers, OF each.

THE

WALTON'S
Tints.

Is. each. Numbers, Size, 10 by 7. DRAWING BOOK, adapted for the Pencilling Is. 6d. each. Size, 13" by 10. CATTLE AND 11.

WILLIS'S

RUSTIC

FIGURES.

Six

Numbers,

at 2s. 6d.

Size, 15 by

Just

Published, Printed

in

Colours,

PROGRESSIVE
IN

LESSONS

WATER-COLOUR
BY Parts 1 and R. with P.

PAINTING.
NOBLE.
2s. 6cl. each.
are

2, SEPIA,

Price Letter-Press,

The

of the Original Drawings in Sepia, and Plates consist of Fac-similes intended to form an introduction to compound colours.

The

remaining portions of the

Work

are

in progress,

and

will be

duly announced.

GEORGE

ROWNEY

"

Co.'s

NEW
"THE
"

CHROMO-LITHOGRAPHS.
OF Price "1

LAKE

COMO,"
11s. 6d.

after T. after J.

COLLINGWOOD BURRELL

SMITH. SMITH.
Size

Size 25J

by

16".
MELROSE
Price
"

ABBEY,"
"1
"1 5s.

22| by
Size 23

14|.

GRAND
Price

CANAL,
5s.

VENICE,"
BENNETT. SYDNEY

after

E. Size

A.

GOODALL.

by 15.

" "

GLEN
MILKING

TILT,"
Price

after W.

2H

by

15.

TIME,"
"1
15s. Is. OF GULF

after

COOPER,
T. L. L.

A.R.A.

Price "1 Is. Size 17 by 11J.

Size Size 19

"

THE THE SUMMER

SPEZZIA," BAI^E,"
IN Price OF

after after T.

ROWBOTHAM.

2U

by 9.

Price
"

BAY Price

OF
15s. EVENING

ROWBOTHAM.

by 10*.

"

THE 6d.

HIGHLANDS,"
after T.

by

T. L. ROWBOTHAM.

Size
"

18

by

6.

10s.

IN

THE Price

BAY

NAPLES,"
THE Price

L. ROWBOTHAM. after after T. M.

Size 14

by 9J.

10s. 6d.

"

LOCH CASTLE
Size

KATRINE,
Size 14

TROSACHS,"
10s. 6d. LOCH 10s. 6d.

RICHARDSON.
RICHARDSON.

by

10.

"

URQUHART, 15* by 9|. Price

IN SOUTH Price

NESS,"
after T.

T.

M.

"VIEW

WALES,"
R. P

L. ROWBOTHAM.

Size 12| by
Price P.

9i.
" "

7s. 6d.
after THE LEITCH. Size 9|

LOCH VIEW
GREEN

AWE,"
ON

by 6|.
after Size R.

7s. 6d.
LEITCH. Size

BRITANNY Price

COAST,"
L.

14| by by
"

1\.

7s. 6d. ROWBOTHAM. ROWNEY

;

LANES,"
BY

after T.

lOf by 7J.

Price 5s. ;

PUBLISHED
Retail

GEORGE
10

"

Co.,

LONDON

Department,

51 anil

52, Rathbone Place, W. and 11, Percy Street,W.

Wholesale

Department,

"

Messrs.

G.

ROWNEY drawn

have

made

ai-rangements for the "c.,

the from Portfolio

FIGURES,
selected

.pleasure in announcing that they have of HEADS, publication of a series of STUDIES Stone the best on by Lithographic Artists, and of that eminent A.R.A. FREDK. GOODALL, Artist,
much