The Project Gutenberg eBook ofElementary Instruction in the Art of Illuminating and Missal Painting on Vellum

The Project Gutenberg eBook ofElementary Instruction in the Art of Illuminating and Missal Painting on VellumThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Elementary Instruction in the Art of Illuminating and Missal Painting on VellumAuthor: D. Laurent de LaraRelease date: November 23, 2014 [eBook #47438]Most recently updated: October 24, 2024Language: EnglishCredits: Produced by Chris Curnow, Pasteur Nicole and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)*** START OF THE PROJECT GUTENBERG EBOOK ELEMENTARY INSTRUCTION IN THE ART OF ILLUMINATING AND MISSAL PAINTING ON VELLUM ***

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Elementary Instruction in the Art of Illuminating and Missal Painting on VellumAuthor: D. Laurent de LaraRelease date: November 23, 2014 [eBook #47438]Most recently updated: October 24, 2024Language: EnglishCredits: Produced by Chris Curnow, Pasteur Nicole and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)

Title: Elementary Instruction in the Art of Illuminating and Missal Painting on Vellum

Author: D. Laurent de Lara

Release date: November 23, 2014 [eBook #47438]Most recently updated: October 24, 2024

Language: English

Credits: Produced by Chris Curnow, Pasteur Nicole and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK ELEMENTARY INSTRUCTION IN THE ART OF ILLUMINATING AND MISSAL PAINTING ON VELLUM ***

iJUST PUBLISHED.LAURENT DE LARA'SSHAKSPERIAN PROVERBS,FROM HIS PLAYS.Quarto Imperial, price 1s. 6d. Plain; 3s. Partly Coloured.

JUST PUBLISHED.

LAURENT DE LARA'S

SHAKSPERIAN PROVERBS,

FROM HIS PLAYS.

Quarto Imperial, price 1s. 6d. Plain; 3s. Partly Coloured.

1.All the World's a Stage.

2.Rich Gifts wax Poor.

3.Suspicion always Haunts.

4.Fast Bind, Fast Find.

5.Sweet are the uses of Adversity.

6.There is no Vice so simple.

7.Virtue itself turns Vice.

8.Come what, come may, Time.

9.O it is excellent to have a Giant's strength.

10.There's a Divinity that shapes our ends.

11.One Touch of Nature makes the whole World kin.

12.Life's but a walking Shadow.

3.Shakspere"In Memoriam," with Vignette Portrait. 2s.and 3s.6d.4.The Christian Martyr."Be thou faithful," &c. With Photograph, 2s.plain; 3s.6d.partly coloured.

3.Shakspere"In Memoriam," with Vignette Portrait. 2s.and 3s.6d.

4.The Christian Martyr."Be thou faithful," &c. With Photograph, 2s.plain; 3s.6d.partly coloured.

CROSSES.

1.No Cross, No Crown, &c.Imperial 4to, 14½ by 10½, 1s.6d.plain; 3s.partly coloured.2.Take up thy Cross and follow me.18 by 7½, 1s.6d.plain; 3s.partly coloured.

1.No Cross, No Crown, &c.Imperial 4to, 14½ by 10½, 1s.6d.plain; 3s.partly coloured.

2.Take up thy Cross and follow me.18 by 7½, 1s.6d.plain; 3s.partly coloured.

iiILLUMINATED WORKSPUBLISHED BYMessrs.LONGMAN, GREEN & CO.

ILLUMINATED WORKS

PUBLISHED BY

Messrs.LONGMAN, GREEN & CO.

The Parables of Our Lord.A Selection of the most striking Parables from the four Gospels, richly illuminated on every Page byHenry Noel Humphreys. In rich binding, in high relief, imitative of carved ebony, 21s.The Miracles of Our Lord.Being a Selection from the Miracles of our Saviour, richly illuminated with appropriate borders of original design on every page, and 6 illuminated miniatures byHenry Noel Humphreys. In a carved binding of appropriate design, 21s.Maxims and Precepts of the Saviour.A Selection of the most striking Aphorisms and Moral Precepts of the Saviour, richly ornamented with decorative borders of appropriate design byHenry Noel Humphreys, founded on the passage, "Behold the lilies of the field," &c. In an ornamental cover of novel character, after the Style of the famous "Opus Anglicum" of the 9th and 10th centuries. 21s.Sermon on the Mount.Gospel of St. Matthew, illuminated byF. Lepelle de Bois-Gallais. Printed on plates of Silver with Landscape, illustrative Vignettes, and illuminated borders. Square 18mo, bound, 21s.The Book of Ruth,from the Holy Scriptures. Enriched with coloured borders. The illuminations arranged and executed under the direction ofH. Noel Humphreys. In embossed leather cover, square fcap. 8vo., 21s.The Good Shunammite.From the Scriptures—2 Kings, chap. IV. vv. 8 to 37. Square fcap. 8vo. With Six original designs, and an ornamental border to each page, printed in Colours and Gold. In carved binding, 21s.Sentiments and Similes of Shakspeare.Illuminated byH. N. Humphreys. New Edition, square 8vo, in massive carved binding, 21s.

The Miracles of Our Lord.Being a Selection from the Miracles of our Saviour, richly illuminated with appropriate borders of original design on every page, and 6 illuminated miniatures byHenry Noel Humphreys. In a carved binding of appropriate design, 21s.

Maxims and Precepts of the Saviour.A Selection of the most striking Aphorisms and Moral Precepts of the Saviour, richly ornamented with decorative borders of appropriate design byHenry Noel Humphreys, founded on the passage, "Behold the lilies of the field," &c. In an ornamental cover of novel character, after the Style of the famous "Opus Anglicum" of the 9th and 10th centuries. 21s.

Sermon on the Mount.Gospel of St. Matthew, illuminated byF. Lepelle de Bois-Gallais. Printed on plates of Silver with Landscape, illustrative Vignettes, and illuminated borders. Square 18mo, bound, 21s.

The Book of Ruth,from the Holy Scriptures. Enriched with coloured borders. The illuminations arranged and executed under the direction ofH. Noel Humphreys. In embossed leather cover, square fcap. 8vo., 21s.

The Good Shunammite.From the Scriptures—2 Kings, chap. IV. vv. 8 to 37. Square fcap. 8vo. With Six original designs, and an ornamental border to each page, printed in Colours and Gold. In carved binding, 21s.

Sentiments and Similes of Shakspeare.Illuminated byH. N. Humphreys. New Edition, square 8vo, in massive carved binding, 21s.

LONDON:LONGMAN, GREEN, LONGMAN, ROBERTS & GREEN.

iiiTHEAlbert Lithographic Printing Office,Established to promote Female Employment,168, GREAT PORTLAND STREET, OXFORD STREET,LONDON, W.

iii

THE

Albert Lithographic Printing Office,

Established to promote Female Employment,

168, GREAT PORTLAND STREET, OXFORD STREET,LONDON, W.

E. FULLER & CO.,

ARE PREPARED TO EXECUTE

Every description of Chromo-Lithography,

ALSO

COPPER-PLATE & LETTER-PRESS PRINTING,

WITH PROMPTNESS AND DESPATCH,

At Twenty per Cent. lower than any other House.

1000 CIRCULARS ON GOOD PAPER FOR 21s.

Lithographic Fac-simile Circulars, and all kinds of Commercial Printing

EXECUTED FOR THE TRADE ON LIBERAL TERMS.

The artistic Branch of Lithography wholly carried out by Females.

iv1

ELEMENTARY INSTRUCTIONINThe Art of Illuminating and MissalPainting on Vellum,A GUIDE TO MODERN ILLUMINATORS.With Illustrations in Outline as Copies for the Student.BY D. LAURENT DE LARA,(Illuminating Artist to the Queen.)Seventh Edition,WITH CONSIDERABLE ENLARGEMENTS AND ADDITIONS."Ingenuas didicisse fideliter artesEmollit mores, nec sinit esse feros."LONDON:LONGMAN, GREEN, LONGMAN, ROBERTS, AND GREEN,PATERNOSTER ROW.AND ALL BOOKSELLERS.Price Three Shillings.The Author reserves the right of translation to himself.

With Illustrations in Outline as Copies for the Student.

BY D. LAURENT DE LARA,

(Illuminating Artist to the Queen.)

Seventh Edition,

WITH CONSIDERABLE ENLARGEMENTS AND ADDITIONS.

"Ingenuas didicisse fideliter artesEmollit mores, nec sinit esse feros."

LONDON:LONGMAN, GREEN, LONGMAN, ROBERTS, AND GREEN,PATERNOSTER ROW.AND ALL BOOKSELLERS.

Price Three Shillings.

The Author reserves the right of translation to himself.

LONDON:PRINTED BY J. WERTHEIMER AND CO.,CIRCUS PLACE, FINSBURY CIRCUS.

DEDICATED BY KIND PERMISSION TOTHE LADY HARRIET ASHLY.

Madam,

IIRRESPECTIVE of the honor your Ladyship confers on me, by allowing the privilege of associating your name with this edition, a nobler motive which actuated your generous sanction, viz., "the high interest you feel in the revival of an obsolete but noble art," and of which you are at once its zealous Patroness, and its more than accomplished votary, are claims on my gratitude, which words scarcely can express, even in the hackneyed terms the humble sometimes venture to address to rank!—Appreciating, therefore, deeply the distinction you thus confer on one of your fellow-labourers in art,

Allow me,

Madam,

To remain with profound respect,

Your Ladyship's devoted

and obliged servant,

D. Laurent de Lara.

3, Torrington Square, October, 1863.

CONTENTS.

PREFACE TO THE SEVENTH EDITION.

TTWO years sufficed to exhaust the sixth edition (the first shilling one) of my "Elementary Instruction on Illuminating," in opposition, too, of a rival author; who was, however, more fortunate—for he was enabled toilluminatethe world, with seven consecutive editions in as many months, and left the world for two years after in as much darkness as ever.—Far from envying him this inordinate success, I rest secure on my laurels, humble though they be.—Ten years were needed to bring forth my seventh edition, and here it is—as unpretending as ever—but fully understood, and understandable—no new theories erudite in print and bad in practice—no old ones, filched from musty manuscripts, alike impracticable as complicated, and displayed with learning and research, to bolster up repute and attach importance to very questionable utility; wholly unimportant to those who seek information.I address thefewand the few only, who will take practical hints, from a practical man, clothed in the plainest English. I do not trade on other men's brains, but endeavour to live by my own. Those who encourage the empiric in art must buy experience, and be contented with their shillings worth.(?) I have added only some additional matter on colours and composition, as applied to illumination, which I hope the public may find useful—in other respects the seventh edition is like its predecessors—a claimant to public favour.

D. L.

PREFACE TO THE SIXTH EDITION.

TTHE steady revival of the "Art of Illuminating" during the last few years, and the rapid progress it has made amongst the educated classes, even since the fifth edition of this work was published in 1859 (all the copies of which are now sold), has induced me to re-publish it, under the present less expensive form, in order to keep pace with the many publications which, under the names of "Manuals," "Primers," "Treatises," "Guides," and "Instruction Books," have lately been forced on the public notice, each pretending to give the desired information to the followers of this beautiful art, with more or less display of talent; but all tending towards the cultivation of a highly interesting pursuit, and proving that the nineteenth century may in future history be distinguished as having produced a "style" of its own, and identifying it with the happy and peaceful reign of "Victoria,"under whose mild rule, arts and civilization are so eminently flourishing. The perusal, however, of these various publications has confirmed me in the conviction, that, for the purposes of instruction, the plan originally carried out by me was best fitted to achieve the object in view, my aim being toinstruct in, and not tolecture onthe art. I have, therefore, studiously divested the present publication of technicalities, or of any attempt to display learned research, in the origin or progress of the art, which, to the uninitiated, would not be instructive, and could only prove "caviare to the general." My long professional experience as a practical artist, has induced me to clothe, in the plainest language, the information I wished to convey; and, in common English, endeavour to speak to the understanding of my readers. If, therefore, the present volume prove continuously useful, as it has hitherto been, my readers will absolve me from blame or egotism, in thus adhering to my original plan; my care having been not to fall into the error of my contemporary imitators. All I have ventured to add, is such information as my continued practical experience has enabled me to collect, and I cheerfully communicate it to my readers.

3, Torrington Square, October, 1860.

INTRODUCTION.

TTHE beautiful "Art of Illuminating," which sprang up with the early dawn of Christianity, and attained its highest perfection in the fourteenth and fifteenth centuries, owes its total extinction to that powerful instrument of modern civilisation, the Printing Press. Whether it be the phlegmatic Dutch Coster, or the German Necromancer, Guttenberg, who was the first inventor of "moveable type," I know not; but it is quite certain that the "printing process" struck a fatal and decisive blow to "illuminated painting," the relics of which at present are carefully hoarded up in our Museums and Public Libraries, and are at once the living and imperishable oracles of the bygone ages of romance and chivalry, and form the glorious monuments of the known and unknown artists who created them! It is equally true, as well as curious, that to another mode of printing (chromo-lithography) the present century isindebted for the partial revival of this beautiful art, since the many publications from the lithographic press have engendered a corresponding taste with the public for its cultivation, which is daily increasing. That taste is now so manifest, and so general amongst the higher and middle classes, that it can no longer be considered as a mere "fashionable" pursuit, subject to the capricious ebb and flow of the tide of fashion, and again to be doomed to pass into oblivion. I believe a healthier motive is apparent in its cultivators; and the desire of re-instating it to the rank it once held amongst its sister arts is not unmixed with the holier emotions which a genuine religious feeling, arising from the daily contemplation of the divine truths of Holy Writ (as exhibited in the study of our finest missals), is capable of producing. In this respect, it presents itself to the devout mind of the novice as a labour of love, for the glorious poetry of the Bible offers such a singularly fertile source, to which the imagination and pencil may look for artistic inspiration.

The seductiveness of the art, too, on which the meanest capacity can employ itself, is another incentive, which will cause many to venture on so pleasing an occupation. The interesting question then arises: What probable results are likely to follow from this general revival of an obsolete art?My answer is, "That modern civilisation will adapt it to our modern wants, and will gradually lay the foundation of forming anew school, identical with the nineteenth century." To attain this end,conscientiousartists only can pave the road;theyhave it in their power to direct and guide the masses, and the public is sure to go with them.

TheIlluminating Art Union of London, in its annual expositions, invites artists to exhibit their productions, by which others less gifted may be incited to follow their example. True Genius, however exalted, does not feel itself above instructing others, as long as through the medium of its productions the very best interests of the art are likely to be promoted. Gradually, these productions will develop new ideas, new resources, and features of originality, in addition to the improvements which modern civilisation and modern appliances necessarily suggest. Already three prizes have been awarded for original designs of the "Beatitudes"; and, as a first essay of a young Society, they are eminently creditable. The highest in the land, and, perhaps, the humblest also, are its members and supporters; and however the effort to increase its strength and its popularity might have been thwarted, by the lukewarmness of those professedly the most interested in the art, we owe it a debt of profound gratitude, for the realgood it has already achieved, and cheerfully join our wishes for its welfare and success in what it still hopes to accomplish.

A tendency to undermine the best interests of the art is, however, insidiously at work to misguide the public taste. The hired pen of the unprincipled and unskilful scribbler has been used by mere traders, to advertisetheir own materials, and bring into noticeworthless designs for illuminating; the former without the slightest regard to their adaptability for the purposes of "missal painting," and the latter without the least pretence to artistic merit. Unscrupulous authors have been found to dictate "rules" for instruction, when, practically, they requireinstructionthemselves, judging from the ignorance they display in their own pages. These very books, miscalled "Guides" and Outlines, facetiously named "Useful Models," have received, in their turn, fulsome praise in the pages of those, whose talents (to their shame be it written) as illuminators are unquestionable, and whose commendations, though valuable (?) in atrading sense, are sadly detrimental to the interests of those who seek for information and instruction.

It is, however, to be hoped that a discriminating public, whose taste inMissal Painting and Illuminatinghas become considerably enlightened and developed of late years, by the daily contemplation of, andfamiliarity with, the works of our greatest masters, (owing to the great liberality displayed by the trustees of the British Museum, in throwing open, without reserve, for daily inspection, the glowing vellums contained in its various collections, together with the publication of such immortal works as the "Hours of Anna Brittanny" published in Paris, etc., etc.) will be enabled to discern theusefulfrom the worthless, and separate thegoldfrom thedross.

ON ILLUMINATION.

TTHE necessity for an "Elementary Instruction Book," to acquire the art of illuminating on vellum, for the use of those who are desirous of practising this beautiful and graceful accomplishment, has long since become imperative; particularly since, to my own knowledge, several handbooks have made their appearance, professedly with the object of affording instruction to the many amateur artists, who eagerly seek for such information in the first one that is presented to them by the bookseller; and it often happens, that such books, by their high sounding titles, deceive both the vendor and purchaser. The subsequent disappointment to the latter may be easily imagined, when, instead of the "instruction" anxiously looked for, he finds an elaborate treatise "cut short" on the plea "of the necessary limits of the little work," etc; and then only obtains snatches of information of extraordinary existing specimens to befound in the various libraries of Europe, to which he can havenoaccess; interlarded with "technical phrases," of which he can havenoidea, and elaborate fragments of ornamentation, illustrative of the author's text, but without affording him the slightest clue what to do with them, or how, in his experience, he can apply them to a useful purpose. The disappointed amateur artist, therefore, turns away and feels himself sadly at a loss for some aid in his endeavour to pursue a most beautiful, and, at the same time, easy accomplishment, simply from the fact of unexplained difficulties having been thrown in his path; for though specimens of illuminations have from time to time been published, from which the student may have derived some slight advantage,—if only a superficial insight into style and taste,—yet they are universally of too elaborate a character to be of much utility to the beginner; and in the attempt to copy such specimens as Noel Humphreys has published in his "Illuminated Books of the Middle Ages," the pupil frequently must become embarrassed by the intricacy of the design; and not knowing any methodwhereto commence orhowto proceed, would, in attempting such specimens, make such signal failures, that in despair he would throw his work aside, and for ever abandon an art, which, simple and highly interesting in itself, would by him be considered at once as futile and impracticable.

The beauty of illuminated drawing consists chiefly in thenicetyof execution, elaborate ornamental detail, and the mathematical precision with which ornaments are frequently repeated throughout the same design. The arrangement of colours requires also much judgment and taste, whilst the knowledge how to lay them on evenly and smoothly, requires the practical instruction of the teacher, without whom it is almost impossible to overcome these difficulties, or acquire proficiency, particularly inraised gilding, and the nicety which is required in using the agate, with which the ornamentations are engraved on matted gold or silver.

As an art, which originated at the remotest period of Christianity, and which originally was practised by very limited artistic intelligence, its first development was exceedingly simple, crude, and grotesque. When the rolled papyrus manuscripts were superseded by squares of parchment, in the form of our present books, the Scribes or Monks of the early Christian period were the first who were engaged in the writing of prayer-books or missals for the wealthier classes of people, who at that time were alone enabled to indulge in the luxury of a book; it is then we find the first germs of artistic composition displayed, in the initial letters which began to be conspicuously large and ornamental, fanciful, and sometimes intricately and ingeniously contrived, in contradistinctionto the older rolled manuscripts discovered in Herculaneum and Pompeii, in which no traces of ornamentation could be found. From this simple source of artistic development, we may contrast the productions of Giulio Clovio of a much later period, and his many and unknown contemporaries, who have astonished the world by productions, unequalled by anything that modern art could achieve. As I shall have occasion to speak of the progress of illuminating, and ornamental art, in a separate work about to be published, I merely hint here, at the commencement, that, for modern purposes of illumination, it would be highly pedantic to copy the earlier productions of missal painting, merely because they are antique, if in other respects they do not possess some artistic quality of graceful development both in outline and colouring, to which the modern artist may, with very good taste, give preference.

The object of this little work is not so much to enter into any detailed history of the progress of ornamental art, which may well become a separate and intricate study, as to smooth down the difficult path of the beginner, to unravel for him apparent mysteries in the art, to give him examples of practical designs to imitate from, suitable to his skill; to point out to him clearly and unmistakeably such rules as, from my experience, I have found absolutely necessary to adopt, and which if studiously followed up will,in a great measure, assist his first efforts and enhance his ultimate success and proficiency.

That which is most remarkable in those mediæval vellum-illuminations which have been preserved in the various collections of Europe, is the brilliancy of their colours, tints unsurpassed by anything that our modern contrivances can equal, or our colour-box approach. Specimens which have stood the test of a thousand years' duration, are as fresh and as brilliant as if they came newly from the artist's hands. Suchorange, and suchgreens, andpurples, as if directly snatched and stolen from the rainbow itself, or distilled from the prismatic rays of a benignant sun. The borders are actually studded with gems of colour which sparkle on the insects as if they were photographed from nature, colours as well as form. Drapery, damask, armoury, furs, and feathers, are all portrayed in such rich and gorgeous tints, that we may well doubt whether the secret of these colours has not died with those who used them centuries ago. Our water-colours were as brickdust at the side of them. In order somewhat to remedy the deficiency of our colours (as I found them) in comparison with what was desirable, the attempt has been made to manufacture them on a new principle, in order to preserve all the brightness of the chief tints predominant in illuminations; and I am happy to say, that, after years of experience, I have entirely succeeded inproducing a set of colours suitable for the purposes of illumination; and I now beg to recommend to my pupils and readers those only called "Illuminating Colours." Chemically speaking, they are manufactured on a totally distinct principle from other water-colours, and are made to answer all the purposes of illuminated drawing, affording perfect facility on the one hand in laying them on evenly and smoothly, and, on the other, saving a great deal of time and labour, and enhancing much the general effect of the design, in thebrilliancyof the tints; this refers more particularly to their use when applied to vellum, which from its greasy surface is apt to reject theusual water-colours, whilst those of the illuminating-box are found perfectly to answer the purpose. I beg also to recommend the "water gold-size," which in its application to the drawing, can be raised considerably above its surface, assuming all the appearance of being embossed, and can beimmediatelygilded over, which greatly expedites the process over that of any other gold varnish.[A]

That persons having a knowledge of drawing can and will make better illuminators than those who have not, there can be no doubt; and the more accomplished the artist, the better illuminator he will make is also obvious. Yet the art of illumination may be practised by persons who may be but indifferentartists in general design, and with a great deal of success; whilst others, conversant with the highest principles of art, have frequently been found to be but very indifferent illuminators. The reason of this is apparent; illuminating being for the most part a strictly mechanical art (though subject to artistic principles), any one possessed of natural gifts of taste, patience and perseverance, will, by studiously following out some slight mechanical contrivances, easily attain the first principles primarily necessary to copy any given outline however intricate; not even excluding the human figure.

The ornamental arabesque scroll, from its primitive simplicity to the most elaborately finished foliage, interlaced initials, etc., are given in due succession for the pupil to copy; by which means his hand becomes gradually trained to curval delineations, and his eyes get by degrees educated, till at last all angular tendency in his ornamentations is entirely eradicated. Once trained to that perfection, colouring and shading become comparatively easy, and a little instruction, with practice, will enable the hitherto uneducated artist to overcome almost every obstacle. The free-hand artist, on the other hand, relying on his capacity alone, and disregarding the mechanical contrivances at his command, not unfrequently stumbles over the easiest parts, pettishly condemns all such appliances, the neglect of which destroys theuniformity and mathematical precision of his work, and finally he leaves off, disgusted with his ill success.

I would, therefore, recommend first of all to the pupil to provide himself with a box of Illuminating Colours, which can be obtained of the author, or at any of the authors agents, which also includes compasses, parallel rule, ruling-pen, agate, gold, etc., and other little but indispensable tools; without which the student would be at a loss to proceed. Having procured these, I would then place this book in his hand, and, by following up the rules laid down here he will find himself, at least, enabled to make such progress, that, with the aid of one or two courses of instruction from a proper and experienced artist, he will completely overcome those difficulties which it would be vain to struggle against by himself. The manuscript room in the British Museum, to which, on a proper recommendation, access can be had, will finally give him an opportunity of studying the art more fully, and make him conversant with the immense store of mediæval treasures hoarded up there in endless variety and profusion.

GENERAL RULES.

BBEGINNERS should not be too ambitious; let them be, therefore, contented to copy first, before attemptingoriginaldesigns,—it will give them experience and method. In the higher walks of art, copying is always resorted to; the painter has models, casts, and drapery to guide him, and Nature is his instructor; and let him be ever so original, he still imitates nature. Now, since there are no ornamentations in nature to guide our illuminating art-student, let him be content to copy, first, from those whose works are acceptable for their originality, their effect, and their classical beauty.The more these are studied and copied from, the nearer the pupil will arrive at perfection, and may gradually become an original artist himself.

In commencing a subject, it is absolutely necessary first to arrange a rough design of the intended subject; to perfect a sketch, and then to make careful and correct tracings of the various parts (if the design is a subject of repetition), or the whole; to retrace them to the vellum, or Bristol board, with the red prepared paper, as faintly as is consistent with being able to see it. This is accomplished by placing the red paper between the tracing and the vellum, or drawing board, and following its outline rather briskly with a fine pointedH H Hlead pencil, reversing the tracing when the ornament or border forms the counterpart of the design, which secures a perfect facsimile reversed; and, when completed, repairing any part which may be defective with the pencil, and perfecting the outline where it is uneven, or the scrollwork is broken or ungraceful. The beauty of illuminations is always best secured when the scrollwork runs gracefully smooth, not broken or angular, which gives it an awkward and unartistic appearance. In order toprepare the pupil, I have given, in the illustrations, the arabesque scroll and curval lines to be drawn at the beginning in pencil only; and whenformis thoroughly attained, let him re-execute it with a fine sable brush and carmine, which will give proper practice to use the brush effectually. I have adopted the arabesque scroll as the principle of all ornamental design; and I would advise the novice to practise it continually, on the same principle that exercises and scales are recommended in music to train the hand.

Referring back to the design, when the sketch is complete (which should always be as faint and delicate as possible, since it is no easy matter to erase a coarse outline from the vellum or cardboard by the usual mode of india-rubber), the process of colouring may then commence, by placing in the various compartments of the design the colours as previously arranged, somewhat in the following order, viz., first, all the blue throughout the drawing, or any portion of it intended for completion; then the vermilion, the orange, the purple, the green or yellow, and any other colour which may be in the design; next, the gold forming the outlines of the next ornamentations; and last of all, the shading of scrollwork, both gold and coloured, and also the shadings on the gold backgrounds; that being completed, you put white or gold arabesqueornamentations on the ultramarine, carmine damask on the vermilions and orange, and Hooker's green or cobalt ornamentations on the emerald. After the whole has been thus far finished, the raised gold may be introduced, finishing the matted or dead gold with burnished ornamentations, dots, scrolls, arabesques, or any other design. This should be the last process of all, since the atmosphere is somewhat apt to deaden its brilliancy; and, therefore, it should be the concluding operation before the drawing is finally consigned to the frame or album. I must here also state, that if the vellum be somewhat soiled whilst the drawing proceeds (which every care should be taken to avoid, by always using a mat of blotting paper to rest the hand on), it may be rubbed over with a piece of stale bread, which will perfectly cleanse it. This process, however, must always be done before filling in the gold, silver, or platina, as it cannot be usedoverthegoldwith safety.

All straight lines, however short, should be drawn in with the ruling-pen, opening it wider or narrowing it, as the line is required to be thick or thin; if very thick, rule intwothin lines equally distant, and then fill up the intermediate space with the brush. A circle, or portion of a circle, is drawn with the bow-pen; and any portion of a curve is drawn in by theaid of the wooden scroll, which is fixed on the drawing in such a position, that its curve corresponds with the outline to be ruled. The nicety of the drawing depends entirely on the execution, and the carefulness with which the details are accomplished.

ON COLOURS.

IF the observations on Colours, advanced elsewhere, hold good, as to their brilliancy in the mediæval missals, the improvement which the modern manufacturer has been able to effect is not less apparent; for, although the mediæval productions are mostly painted in body colours, which are managed so exceedingly and wondrously skilfully, with touches so light and aërial, that to the beholder the dew-drops might almost seem capable of being gathered from the flowers, or the "mealy" dust brushed from off the wings of the butterfly—that furs and feathers would almost seem to yield to the touch, so nicely is the perception of their appearance preserved, that one may well look with amazement, not only at the marvellous tints themselves, which are preserved to this day in all the brilliancy of their pristine freshness and beauty, but also question as towhether these effects were mostly attributable to the skill of the artist, or to the quality of the body colours themselves. Still, I am inclined to think, from general observation and historic tradition, that thesecretof the chemical admixture of these pigments was as much the individual secret of the artist himself, as was his particular mode of executing his handiwork. For it is reliably known, that the great Rubens, and his predecessor Van Eyck, both Flemish artists, most assiduously studied chemistry in Germany before they applied themselves to painting; and that, to a great extent, the brilliancy of their colours was owing to their extensive knowledge of that science. If, therefore, the "science of chemistry" was considered so material a qualification in the mediæval painter, it is not at all improbable, that the illuminator of the period was actuated by the same motive to acquire this knowledge, by which only his works could be appreciated, as so much was depending on the quality of his colours, to produce those mysterious and almost miraculous effects, which the present age is still at a loss to imitate. I am strengthened in this assumption by the fact of having seen a curious old missal, in the library and museum of the Hague, a few years ago, attributed to Van Eyck (who is known, not only as an illustrious painter, but also as a skilful illuminator), in which is embodied an illumination representing a studio, where the scribe is assiduously engaged on hiswork, whilst an assistant is seengrinding materials on a stone slab, and arranging them on a pallet, for the use of the artist.

With work on hand, and, perhaps, with commissions for years, is it too much to assume, that he would never incur the additional trouble of preparing his materials, were it not that thesecretof his preparations was his motive for so doing? This secret, I contend, is lost to us, and with it the character of these body-colours, which our present ones do not equal. For instance, I ask the student and observer to compare the delicacy and permanency of thewhite ornamentationsin the works of the older masters with what our presentChinese whitewill effect.

Whether, in the present day, we can again produce such glowingscarletor brilliantorange, remains a matter of doubt; but enough has been done already to make us hope that much more may be expected, in proportion as the attention of chemical science is directed to the object, and the urgency of the illuminator furnishes suggestions. I have come, however to the conclusion, that with our present appliances, we may make a tolerably good shift; and I recommend, therefore, for general purposes of the art, the "Illuminating Cake Colours" as the best, and as the safest (particularly to place in the hands of the beginner). They are capable of being used with the greatest facility, and can be worked up, with thehappiest effect, in shading very minute ornamentations or miniature paintings; and it would require more than ordinary skill, and a vast amount of experience, to handle "Moist Colours" equally well. How the several writers on this art can recommend them, I am totally at a loss to imagine. One colour manufacturer, in his eagerness to go with the stream, has actually produced an illuminating box withPowder Colours. I advise the unlucky purchaser to lay them by, to tint wax-flowers with, since, for the purposes of illumination, they are totally useless. TheCake Colours, from my own experience, are the only means the illuminator has to rely on, in order to give a soft tone to his work; and when mixed with theenamel white, they form opaque tints, which even then can be used with greater facility than when compounded with Moist Colours.

Half a dozen only of the Moist Colours I recommend, in addition to the Cakes, to produce finishing effects in touching up, when all the subject has been completed, or to use wholly for deep-tinted fruits or flowers, such as cherries, currants, carnations, or hearts'-ease, in which the rich, moist, purple carmine will give the happiest and quickest effects.Hooker's green,carmine,burnt carmine,purple,burnt sienna, andemerald green, will be amply sufficient for this purpose. In conclusion, I therefore warn the purchaser not to be allured by the sounding title of an "IlluminatingColour-box," though highly-priced and costly fitted up, but to purchase that only which is likely and capable of answering his purpose.

I must give the present age credit for having left no means untried to supply the demand of suitable materials for the purposes of illuminating, in the hope of approaching, or even equalling, the effects displayed in the missals of the middle ages; and, as these effects vary in the originals, owing to different theories pursued by different artists, so the present systems adopted by various and eminent manufacturers in their presentIlluminating Colours, are apt also to producedifferent results. We have then before us—Powder,Moist,Cake, and recently again a new contrivance ofLiquid Colours, produced by a firm of eminent repute, and which, from my own experience, are certainly asbrightandbrilliantas one would wish to see—each of these possesses merits useful in its own way,provided the skill of the Artist has been able to seize on their adaptability,—but placing each of these four different kinds of colours in four equally clever hands, there will be four distinct results; thus, with ourpresent Moistcolours, we shall obtain (if we wish to imitate that) the coarsest results of the earlier productions of mediæval art, without theirbrilliancy, looking heavy, and wanting thetransparencyso charming in the better productions of the later Italian style. ThePowdercolours again look transparent, andperhaps brilliant, but require great skill andmuchmanipulation, to keep the shading soft, and prevent thehard line, where the colour unhappily was suffered prematurely to dry; depth of tone, too, is out of the question. TheLiquidcolour possesses brilliancy of tint, a perfectly flat and even appearance like enamel, depth of tone, and is most useful for flat illuminationswhere no shading is required; transparency, however, according to my present impressions, is wanting.Cakecolours, therefore, aided here and there by the adjuncts of moist or liquid colours, as the nature of the work in hand may suggest, are, in my opinion, the best medium through which the higher qualities of finish, and the general impression which those better and unapproachable specimens of our best models leave on our mind, can be attained.

Since brightness and effect are essentials in missal painting, all the fault must not be laid at the door of the colour-box, but frequently to the unskilful manner in which they are used. It is astonishing the difference which is perceptible in the drawings of one artist and another. I have frequently had occasion to ask my pupil where she obtained that orange or this vermilion. "It is from your colour-box," would be the reply, and whilst, in another instance, I might find fault with a colour for being dingy and impure, she might have been heard to answer, that it was my own colour she had used. The factis thus quite clear, that one artist has better skill to use the colours than another; and it requires a certain knowledge and method to use them properly. From my own experience, therefore, I will give explanations how each colour should be used, for what applies to one may be totally different in another. I shall, therefore, commence with—

The Ultramarine Blue,

Which is a metallic colour of recent invention, and chiefly manufactured in Germany. The best and purest is prepared in France, and varies considerably in price and quality. It forms one of the most essential colours in illuminated painting, giving tone and life to the whole, and forming a strong contrast against any other bright colour; it should, however, not be too predominant, but judiciously introduced. It is manufactured without any component ingredient which tends to affect its brightness, or its brilliant depth. In combination withenamel whiteit can be tempered to any shade, resembling the pureultramarinein tint, but of a brighter and less greenish quality. It must be laid on very evenly, very rapidly, and after once being painted in and yet moist, a full brush must immediately be used, to let an additional quantity freely and fully drop in; when dry, it will be perfectly even and equally dispersed. Gold,platina, orenamel whitemay form graceful ornamentations over it, as also a deep black, which forms a rich contrast against the ultramarine; particularly if a bright spot of orange or carnation, such as a dot, is introduced. The drawing of any ornamentation over it should be done very finely, and with the finest brush, so as to look delicate, artistic, and studiously neat. The best mode of shading it is not with black, but with deep carmine and a little gum arabic in solution; it forms an intense purple, and is much more effective than black.

Vermilion.

The vermilion, which at all times is difficult to obtain very bright, requires to be laid on evenly and nottoothin; it should not be allowed to dry before the intended space be completed, otherwise you obtain a sharp edge. The brush should be moderately full, but if too full, it will cause the colour to run towards one point, and form a dark spot. Once is sufficient to go over with the brush, if carmine ornamentations are intended to embellish it; but when a bright red only is intended, it would be better to paint over twice, always taking care to let the first wash dry first, before applying the colour a second time. Carmine should always be used to shade or ornament it, and if in some instances a deeper contrast is desirable,add a little burnt carmine to it, where the greatest amount of intensity is required. Never use black to effect the object.

Emerald Green

Requires nearly the same treatment as vermilion, with a little more care in washing in a second time, since that colour is easily displaced by the second time going over it, which would give it an uneven appearance. The beauty of illuminated drawing is greatly increased by the solid and even appearance of the colours. If used faintly, it may be shaded and ornamented with cobalt; if used intensely, Hooker's green may be more effective; mixed with a little cobalt, it forms a bluish green, frequently introduced in drapery in the old missals. It is a useful and effective adjunct in scrollwork, but should not be used for the painting of natural leaves; they look then as if cut from bright green paper, instead of representing nature's variegated ornaments.

Cobalt Blue

Is used precisely as the emerald green. A thin and even wash is most essential in the first place, to be gradually tinted up with the same tint. A good deal of patience and manipulation is necessary to smooththis most difficult colour into obedience. Young beginners will find it most irksome to handle, but it forms an agreeable variety amidst the other blues. It looks well for skies in tiny landscapes, and may be used for water, if copying the older missals, in which it will be seen that water is always blue. White ornamentations are used over it, to hide any defects.

Purple

Is not a permanent colour, but being in combination with another, it changes to a bluish tint; it is easily applied, and very useful and rich in contrast with orange, silver, or light colours in general. This colour has been much esteemed, as preferable to the made-purple of carmine and cobalt. It can be used for backgrounds if intensely laid on, two or three times over: it has almost the appearance of velvet, and may be used with advantage in every shade, and modified with a little burnt carmine to suit the taste of the artist.

Orange Chrome

Is not so bright as the red lead, but is permanent, and will not turn black. I have preserved all its brightness that was possible to obtain, and have,therefore, entirely abandoned the more seductive red lead: it is used precisely as the vermilion.

Chrome Lemon.

Requires no particular treatment; it is both permanent and bright. We place it in the box to be occasionally used for illuminations, where an opaque colour is desirable. The gamboge can be used instead, when a transparent colour is preferable, and it will, in combination with prussian blue, form beautiful greens for foliage.

Carmine,plain,burnt,and purple.

Is one of the most useful colours in illuminations; its richness, either diluted or not, gives life and brilliancy to the surrounding colours. In combination with enamel white, it makes a rich pink; with cobalt, it forms a soft lilac; and with burnt carmine, it produces a rich brown, and invariably adds to the general effect. Carmine is so generally useful, so easily applied, that the artist will soon discover its inestimable value.

Hooker's Green

Is equally useful, brilliant, and easily applied. Itadds intensity to the shading of all the greens. In combination with white, a beautiful middle tint is obtained, and may be used for ornamentations, scrollwork, etc.

Burnt Sienna

Is used with the greatest advantage in shading gold or silver (particularly the former), intensified with lamp-black. It is used in figure-drawing for the hair, eyebrows, etc. In combination with burnt carmine and lamp-black, it forms a rich brown for backgrounds, and touches up foliage to much advantage.

Lamp-black

For its intensity, is preferable to Indian ink, and is very effective for backgrounds. To add to its intensity, you may mix a little gum arabic with it, when required as a shadow on the same colour.

Middle Tints

Or opaque colours, which form so conspicuous a feature in the old missals, such as pink, salmon, gray, lilac, pale green, primrose, or pale blue, are severally produced, by the addition ofenamel whitewith thefollowing colours: carmine, vermilion,[B]black, cobalt and carmine, Hooker's green, yellow and ultramarine, in such proportion as the tint requires to be high or faint; but care must be taken in laying these on evenly to preserve an equal surface, which is easily displaced by going over it a second time.

Enamel White

Forms a distinguished feature in illuminating; its utility for various objects is apparent; a small dot, the size of a pin's point, tells on the blue, red, pink, or lilac with most delicate effect. It adds, also, a brightness to the gold and on colours, when judiciously applied. The artist can extensively avail himself of it, and may modify its intensity as circumstances require. It forms ahard enamelover the gold size, which then may be painted over with gold or silver from the shell; and when perfectly dry, may be burnished richly over with the agate, and forms abright gold or silverraisedornament. It aids him, also, to repair any damage or imperfection which may accidentally occur; and its general utility will soon be discoverable, when the student begins to advance in the art.

With respect to other colours, not enumerated here, they may be used as occasion requires; and those acquainted with water-colour painting, can apply them to the painting of flowers, landscapes, miniatures, etc., in the same manner as on drawing-board. The delicacy of vellum, however, is much better fitted for the purposes of painting than either ivory or paper; I need not add, that the most pleasing and the highest finished drawing may be successfully executed on it.

Platina and Silver.

I have adopted platina, or aluminium, in preference to silver, since the two former retain their colour permanently, whilst the silver generally discolours after two or three weeks' exposure to the air. Those who prefer the more brilliant colour of bright silver, can, however, use it; gently washing it over with a soft new brush dipped into spirits of wine (which, when dry, forms a varnish over it), thus excluding atmospheric air, and thereby effectually preventing discoloration. Care should be taken that in the processthe silver be not removed, by the brush beingtoodry or too roughly used.

Green or Yellow Gold.

The application of the green gold forms also a pleasing variety, amidst illuminations of yellow or matted gold, and gives a richness to the design, entirely unknown in the ancient missals, since its use at that period was not discovered. For this reason, many of my orthodox pupils have objected to use it, "because they could not find it in the ancient manuscripts;" but whilst I would encourage the study and close imitation of thestyleof the ancient masters, as far as artistic principles are concerned, I cannot object to the introduction of any improvement ineffect, which modern art may suggest, merely on the ground that our productions should be slavishly imitative of the old originals. For this reason, I also always discourage the introduction of quaint and grotesque figures, mis-shapen animals and monstrosities, imaginary flowers or fruits, which never had existence, and which merely indicate a want at the time of artistic knowledge of the real beauties which are to be found in the productions of nature, the want of which knowledge, taught them to supply us with the defective creations of their untutored imaginations. Of these, plenty of specimens are found in the earlier productions of the sixth andseventh centuries; they are, however, gradually improved upon in the later productions. I prefer, therefore, the pleasing consistency of representing objects of accurate design, to such as, at the present moment, would incur the ridicule and just censure of the critic. Very little observation need be made in the use of either gold, silver or platina, since it is applied easily from the shell with a paintbrush and clean water to the vellum, and can be ornamented or burnished with the agate at pleasure, or be painted over with blue, white, or red scrollwork.

The Agate

Is used, with a little practice, to great advantage, and is capable of producing beautiful effects on the shell gold. A large field of gold would look rather monotonous; the agate is, therefore, employed for engraving, as it were, little ornaments over it, of various designs, which appear in bright contrast to the dead gold. A steady hand is required to make the scrollwork run smoothly and freely; a little dot, or a cluster of them, a stalk producing little flowers, and an indented rose-leaf or vine-leaf, with its arteries, can also successfully be produced. It were best, however, to practise this on a small scale first, before progressing with the drawing in too great a hurry. I entirely disagree with the use, under anycircumstances, of any kind ofimitationorliquid gold, firstly, because its permanency is quite uncertain; secondly, it is too coarse and brassy in appearance; and lastly, the agate could not produce the delicate tracings on its surface, as when applied to therealshell gold.

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