Colours for Special Seasons.

Chalk-tracing.

On a dark-coloured ground the following method is pursued. Draw the text, as usual, on common cartridge-paper (3 or 4 inches wider than the zinc, so that the edges may be turned down firmly over it): with pointed scissors cut the letters out and put them aside, as they are not required: lay the remaining paper-groundwork on the zinc, and with red or white tailor's pipe-clay trace carefully round the outlines of the spaces which form the letters. When all are traced, remove the paper, and with a handkerchief brush away,verylightly, the superfluous chalk.

Dry Foundation-Colours.

Special care must be taken not to begin the lettering until the foundation-colour be perfectly hardened, otherwise the pressure of the pencil will make indented lines which cannot be removed, should correction be necessary. In cold, damp weather, the paint dries and hardens very slowly, so that the foundations should be prepared at least a week before they are required for illuminating.

To paint the Letters.

In proceeding to paint the letters, squeeze out a small quantity of the colour on to the wooden palette, and with the flexible palette-knife mix it with a little of the pale drying oil, and a very little spirits of turpentine. The lattercanbe dispensed with, if the smell of it be found injurious; otherwise it contributes to brighten the colours, and makes them dry more quickly. In painting keep the brush full, laying on the colour in long steady sweeps, not in short, hasty touches, which would leave irregularities of surface.

Corrections.

Spirits of turpentine, used alone, will serve to remove the colour, if correction be necessary; but care must be taken not to apply enough to remove the foundation-colour at the same time. If a wrong colour be accidentally applied, another can be painted over it, but, of course, this should be avoided if possible.

Gold-leaf.

Gold-leaf is applied in the manner already explained (page 9), but withoilgold-size. Plain vermilion, used in the same way as size, is said to answer the purpose equally well. Bessemer's gold paint only answers for a time, as it soon becomes discoloured on metal.

Number of Coats of Paint.

Letters painted in white will require three coats of colour; in blue and green, at least two; in black, two coats.[11]Vermilion is generally brighter if laid on in sufficient quantity at once, without retouching.

The writer has occasionally had the colours mixed for use by a village-painter, but this would only be done on an emergency.

Best Colours for Effect.

For effect, it is best not to employ many colours; red and black, with alittleblue or green, invariably look best at a distance.

Quatrefoil Border.

Borders.

Elaborate borders on zinc scrolls are quite unsuitable; an edge ofquatrefoil(three-quarters of an inch in depth), or something equally simple, having by far the best effect; this also must not be placedtoo near the letters, or it will interfere with the distinctness of the text. The border should be drawn at the edge of the zinc, unless the ground-colour contrast with the wall, in which case a narrow margin may be left.

To clean Palette and Brushes.

The palette and brushes must be washed quite clean after daily use, with spirits of turpentine. If the paint is allowed to harden (as it will in a few hours), it cannot be removed.

Health.

For the preservation of health, this description of illuminating should, in summer, be carried on with widely-opened windows, and in winter beside a large fire, which purifies the air of the room, and prevents the smell of the turpentine, &c. from being injurious to delicate persons.

Advent.

For the season of Advent, violet ground, with red and white letters.

Lent.

For Lent, a warm or pinkish-grey ground, letters all white, with black edges.

Festivals.

Long scrolls for festivals have the best effect with white ground. Short scrolls look very handsome with gold letters upon red or blue ground.

Ground Tints.

The tint of the ground-colours must, in a great measure, depend upon the light in which they will be seen. In some cases crimson is preferable to scarlet, and the blue or violet, if placed in a dark part of the church, would require to be much paler than usual.

Isa. liv. II.

Behold, I will lay thy stones with fair colours.

Heb. x. 1.

I have ventured to prefix these sacred words to this part of my subject, in order to point out how manifestly the emblematic significance of colour has its foundation and authority in the Holy Scriptures. The fact is first brought to our notice in the inspired account of the making of the Tabernacle, under the Divine commands, and subsequently in the building of the Temple. The colours, numbers, and many other particulars of the Mosaic dispensation, were symbolical types—"a shadow of good things to come," long since fulfilled; but the symbolical application of colours and other types of "heavenly things" is not therefore ended, inasmuch as they are largely so employed throughout the New Testament. These combined facts furnish an argument to my own mind most convincing, that we may, with all reverence, continue to regard colours symbolically, as types of heavenly attributes and virtues.

Mrs. Jameson[12]says, "In very early art we find colours used in a symbolical or mystic sense, and until the ancient principles and traditions were wholly worn out of memory, or set aside by the later painters, certain colours were appropriate to certain subjects and personages, and could not arbitrarily beapplied or misapplied. In the old specimens of stained glass, we find these significations scrupulously attended to."

The precise tints of the colours mentioned in the Holy Scriptures must ever be a subject of doubt, but enough can be gathered from ancient writings to bring them within certain degrees of probability. In an interesting article in Dr. Kitto'sCyclopædia of Biblical Literature, we read:—"Josephus evidently takes the Hebrew word," translated "blue," "to mean 'sky-colour,' for, in explaining the colours of the vail of the Temple, and referring to the blue (Exod. xxvi. 31), he says that it represented the air or sky." We must not, however, be led away by our own modern term "sky-blue," which represents a pale colour, but recollect that (to quote again from Dr. Kitto) "in proportion as the sky is clear and serene, it assumes a dark appearance, which is still more observable in an eastern climate."

The blue of ecclesiastical colouring is always dark and intense.

Purpleis the term of most doubtful signification, being frequently applied to crimson, scarlet, and blue. The famous "Tyrian purple" was manufactured from the juice of shell-fish,—principally theMurex trunculusof Linnæus and Lamarck,—and was compared by Pliny to "the rich, fresh, and bright colour of deep-red purple roses." The same writer observes, that "violet, purple, and scarlet, were nowhere dyed so well as at Tyre, whose shores abounded with the best kinds of purples." It seems, to my judgment, reasonable to suppose that the "purple" employed in the curtains of the Tabernacle, &c. was "violet," as that colour would best unite with "scarlet" and "blue," which are separately enumerated. It is interesting also to read that Pliny describes "red" as distinguished from "purple," and calls it "a gay, lively bright, approaching the colour of fire."

But this is a long digression; to resume:—In the Divine commands relative to the making of the Tabernacle in the wilderness, this verse occurs (Exod. xxviii. 5), "And they shall take gold, and blue, and scarlet, and purple, and fine linen"—that is, white. The symbolical meaning which may be gathered from these words is very striking and beautiful. There are three colours mentioned (white is not acolour); of these, two are primary—that is, original, not formed by any combination—red and blue. Purple (or violet) is made by a combination,proceeding fromthese two; and so in these foundation-colours of the Tabernacle, I would reverently see a symbolical representation of the Three Most Holy Persons of the Godhead. To complete the symbol, we have also white, signifying perfect righteousness, the emblem and colour of light; and gold, typifying glory. Thus, in the first and highest sense, are colours symbolical.

Emphasis by Colour.

To apply the subject to the art of illumination. It has been already remarked that the emphasis of a text is expressed in two ways—by prefixing capital letters to the principal words, and also by distinction of colour. On the due attention to a few simple rules respecting the value of certain colours, and their just application, much of the beauty of an illuminated work depends.

Gold.

Goldis of the highest value. It should be employedonlyfor the letters forming the names of The Holy Trinity, or Their attributes. For the sake of distinctness, however, the gold must be either edged with blue or red, or the whole word may be placed on a tablet of colour. Sprays offleurs-de-lys, &c. in red, twining between, butnot overthe letters, will also assist in making them distinct and marked.

In words referring to Heaven or Angels, gold stars or dots sprinkled over the letters are appropriate.

Capitals should be edged entirely, or grounded, with gold. The small letters are sometimes edged only on one side, which gives them a raised appearance: it should be the side nearest the right hand.

Trefoils, and similar leaves, are generally painted in gold.

Blue.

Blue(intense, sapphire) is of first value in colours, when used alone, but red is of equal value if used in apposition.[13]It is pre-eminently a colour of remembrance. The children of Israel were commanded to wear on their garments fringes, and on the fringes "a riband of blue," that when they looked upon it they might "remember all the commandments of theLord, and do them,"[14]and "beholy" unto their God. This colour being worn by express command, "signified that the wearer was God's own,"—typifying, therefore, adoption, sonship; further, being the colour of the sky, it "reminded Israel of his home in Heaven: so likewise in the curtains of the Tabernacle, the blue signified that hope of Heaven which belongs to the true tabernacles of the living God, that is, to holy hearts wherein God dwelleth."[15]

Bluemay be employed to represent Heaven and holy Angels; heavenly hope; heavenly rest; holiness; consecration; truth; remembrance; adoption; peace; fidelity; constancy.

Red.

Red(scarlet, crimson, or ruby, the colour of fire) was anciently employed to typify the Holy Spirit, or the Creative Power. It is thus the symbol ofDivine Love: including help, protection, zeal, and similar holy attributes. As the colour of blood, it typifiesREDEMPTIONand forgiveness.

Mrs. Jameson informs us, that anciently ourSaviourand the Blessed Virgin were represented in "the red tunic and blue mantle, as signifying heavenly love and heavenly truth. The same colours were given to St. John the Evangelist, with this difference, that he wore the blue tunic and the red mantle."

Purple or Violet.

Purplewas anciently employed in religious worship both by Jews and Gentiles. So early as in the Book of Judges (viii. 26), we read of it as forming the attire of kings; and many texts of Holy Scripture might be adduced shewing it to be almost exclusively devoted to royalty. We read, in theCyclopædiaalready quoted, that Pliny records a similar use of it among the Romans; and Homer speaks of purple as if it were almost peculiar to kings. Suetonius relates that Julius Cæsar prohibited its use by Roman subjects, except on certain days, and that Nero forbade it altogether, on pain of death.

Purple (violet, or amethyst) signifies, therefore, first, royalty. It was also the ancient symbol of love and truth, or passion and suffering;"hence it was the colour often worn by the martyrs: in the Spanish schools, the colour of ourSaviour'smantle is generally a rich deep violet". In some instances, ourSaviour, after His resurrection, is habited in a violet instead of a blue mantle. This would, doubtless, refer to its royal, victorious signification. The Blessed Virgin is represented in "violet, after the crucifixion"—of course in token of deepest mourning. "Mary Magdalene, who, as patron saint, wears the red robe, as penitent wears violet and blue, the colours of sorrow and constancy."

We may now easily understand why purple has been accepted as the Church's mourning colour. Although so beautiful when represented in the clearness of stained glass, purple is but little used in large illuminations, excepting sometimes as a ground-colour; chiefly, perhaps, because so difficult to produce in a sufficiently bright, pure tint, as compared to the red and blue.

White.

Whiteis essentially the emblem of light and saintly purity. Of the first, because the finest light is white; of the second, I need hardly quote the reason,—|Rev. xix. 8.|"And to her was granted that she should be arrayed in fine linen, clean and white: for the fine linen is the righteousness of the saints."

Typical, also, of forgiveness:|Isa. i. 18.|"Though your sins be as scarlet, they shall be as white as snow."|Ps. li. 7.|"Wash me, and I shall be whiter than snow."

Eccles. ix. 8.

The symbol also of wisdom, innocence, faith, joy, integrity, humility: of glory, perfection, and regeneration; for white contains all colours. Solomon says, "Let your garments be always white."

Thus I have enumerated the colours more especially devoted to the Church.

Emerald Green.

Emerald Greenhas been latterly introduced; and though, from its inferior richness when contrasted with other colours, it should besparinglyemployed in illuminations, it may occasionally assist in producing a very pleasing effect, especially in floriations and ornamental stops.

Beautiful emblematic meanings are attached to this colour,—namely, hope in immortality, eternity, victory. This last, because green is the colour of laurel and palm.

Grey.

Grey, the colour of ashes, anciently signified mourning, humility, and innocence accused. This colour is sometimes employed in ground-work, not for letters.

Black.

Blackis, of course, employed only as being useful and distinct, without symbolism. It is adapted to all words of minor importance, and to intermediate stops; also, of course, for the stalks and veins of leaves, and stems of branches, &c.

It may not be considered irrelevant to the subject, if I subjoin an explanation of the colours employed in the services of the Church, taken from Purchas'sDirectorium Anglicanum:—

White.—From the evening of Christmas Eve to the Octave of Epiphany, inclusive, except Feasts of St. Stephen and the Holy Innocents. From the evening of Easter Eve to the Vigil of Pentecost; on Trinity Sunday, Purification, Conversion of St. Paul, the Annunciation, St. John Baptist, St. Michael, St. Luke, and All Saints.

Red.—Vigil of Pentecost to the next Saturday; Holy Innocents (if on a Sunday), and all other Feasts.

Violet.—Ash Wednesday to Easter Eve; Advent to Christmas Eve; Ember Weeks in September; Rogation Days; Holy Innocents, unless on Sunday; on Septuagesima, Sexagesima, and Quinquagesima Sundays.

Black.—On Good Friday, and funerals, and on public fasts.

Green.—On all other days.

Cloth-of-Goldis said to supply all other colours. It seems possible that this is with reference to Psalm xlv. 9, 13.

EMBLEMS.

St. John, xv. 5.

I am the Vine, ye are the branches.

It is hardly necessary to observe that the only ornamentation suitable to a text from Holy Scripture is that which conveys to the mind some religious thought; and such thoughts are naturally suggested by forms that figuratively represent some holy attribute or virtue.

Crosses.

The first and most obvious of Christian emblems is the Cross, that blessed form which must and should always remind us of the inestimable price of our redemption. As such a remembrance it has been received from the earliest ages of Christianity;[16]and most dear may it always prove to those who love theirSaviour's Name!

The almost infinitely varying forms of this sacred symbol are divided into two classes, the Latinand the Greek; which distinction originated in the separation of the Eastern and Western Churches. The Latin forms most nearly resemble the true cross,i.e.having the lower limb elongated—this, of course, is received as the emblem of the Atonement: the Greek, having each of the four limbs equal in length, is considered symbolical of the Christian religion, extending its blessed influence through all the four quarters of the world. On this distinction of the two forms, it has been well observed that "the Latins, who were more material in sentiment than the Greeks, preferred theactualform; the Greeks, more spiritual than the Latins, idealised the reality."

The Western Church has generally retained the Latin form, while the Greek is more peculiar to the Eastern branch. In all the earlier examples we read that this distinction seems to have been very scrupulously observed.[17]

Of Latin crosses, the principal are these:—

The plain form (called in heraldry the Passion Cross) resembling, as is generally believed, that on which our Blessed Lord died for us. Sometimes, when intended especially to symbolise sorrow and suffering, the three upper arms are sharp-pointed. The simple cross, raised on three steps, is called the Cross Calvary, the steps being said to typify the three Christian graces, Faith, Hope, and Charity.

The Tau Cross, resembling in shape the Greek letter Τ (tau); it is also called the Egyptian Cross, and, in heraldry, the CrossPotent, which is the old English word for crutch.

The Cross Crosslet, of this form, on our title-page, is taken from the seal of the Latin Convent of St. Salvador, at Jerusalem, but the riband and motto are adopted for the present occasion.

St. Philip is sometimes represented with this cross,—on which, indeed, he is believed to have suffered martyrdom,—and St. Anthony so generally, that it is often called after his name.

Some old writers on symbolism saw in the Tau Cross the ideal precursor of the real cross—anticipatory, typical—the cross of the Old Testament. It is represented also in religious art as that on which the brazen serpent was hung.

St. Andrew's Cross is an emblem of humility as well as of suffering, the Apostle being said to have declared himself unworthy, even in death, to approach the image of hisMaster's sufferings, and therefore to have entreated that the instrument of his martyrdom might be of a different form. The heraldic term for this cross issaltire.

The Patriarchal Cross, formerly borne by Patriarchs and Archbishops; retained now in the Church of Rome, and worn on the robes of Cardinals. This cross is very common in Spain.

The Greek crosses are so infinite in variety, that I can only attempt to portray a very small number of them, selecting some of the most admired.

The most familiar to English eyes is the Cross of St. George, first impaled by Charles I.; to this was afterwards added (on the national flag) the white St. Andrew's, on the union with Scotland; and later still (1801) on the union with Ireland, St. Patrick's "red saltire." And thus the crosses of the "patron saints" peculiar to each kingdom became united in our national flag.

One of the best known among Greek crosses is the Maltese, borne by the Knights of Malta. It is often confounded with the following—

Cross Pattée: if the outer lines are curved inwardly, it is called a "Pattée concave;" if outwardly (a pretty form), "Pattée convex." This cross is found prefixed to old writings instead of the words "In Christi Nomine."

Cross Fleury.

Cross Boutonnée (like buds), or Trefflée (trefoil).

Crosslet Pattée. The term crosslet means a little cross, and also a cross crosslet,i.e.a cross with a short bar transversing each of the arms: these are even sometimes again crossed.

Cross Pommellée (frompomme, an apple).

Some examples of both the Latin and the Greek cross are elaborately and beautifully ornamented. It is a remark quoted on good authority, in the Magazine already referred to, that during the Middle Ages, in the Western Church a plain cross was considered as a cross of shame, and an ornamental one as a cross of glory.

The simple Latin cross and St. Andrew's are most suitable for introduction into capital letters. The Greek is more generally placed at the conclusion of a text, sometimes also as an intermediate stop, or rather as a renewed dedication.[18]Two crosses are, in general, quite sufficient for the same text; one as a part of the dedication, the other as a conclusion.

The Dove.

The Dove is the well-known symbol of the Holy Spirit. When thus employed, the head should be encircled with a Divine glory. With the olive-branch, it is the emblem of peace. The dove has also been employed to represent simplicity and purity of heart, and in ancient times was thought an emblem of the soul.

The Dove resting on the cross is a modern but beautiful combination of emblems, probably originating in the following lines:—

"Shouldst thou not need some mighty charmTo win thee to thy Saviour's side,Though He hath deigned with thee to bide?The Spirit must stir the darkling deep,The dove must settle on the cross,Else we should all sin on or sleepWith Christ in sight, turning our gain to loss."Christian Year(4th Sunday after Easter.)

"Shouldst thou not need some mighty charm

To win thee to thy Saviour's side,

Though He hath deigned with thee to bide?

The Spirit must stir the darkling deep,

The dove must settle on the cross,

Else we should all sin on or sleep

With Christ in sight, turning our gain to loss."

Christian Year(4th Sunday after Easter.)

Triangle, Trefoils, &c.

TheTriangle(equilateral), trefoil, three circles, or triple triangle, are the emblems of the Holy Trinity.

Of the trefoil, which is in fact the shamrock, it is said that St. Patrick, when endeavouring to explain the doctrine of the Holy Trinity in Unity to the heathen in Ireland, suddenly cast his eye on the green leaves at his feet, and plucking one of them, conveyed an idea of his meaning in this simple form.

Circle.

ThePlain Circle, without beginning and without end, was the early symbol of eternity; united with the cross, it typifies eternal life: enclosing a triangle,Three in One.

Serpents.

The serpent, with its tail in its mouth, has been justly considered an emblem of eternal punishment. The serpent, or dragon, being always the emblem of all wickedness, is to me quite unaccountably a favourite subject for illumination. It has, however, an obvious meaning, represented as flyingfromthe sacred words.

The Lamb.

TheLambis the obvious (and very ancient) type of our BlessedSaviour. It is represented with animbus, or glory, containing four rays, one of which is concealed by the head. If each ray contains a cross, it is called acruciferous nimbus. The rays are the especial mark of aDivineglory, the circlets, or glories, surrounding heads of saints and martyrsneverincluding them.

The Lamb bearing a banner, the token of victory, is an emblem of the resurrection.

Pelican.

ThePelicanwounding her own breast to feed her young ones was an ancient symbol of the Great Sacrifice. One or both of these last-named emblems are frequently met with in ancient crosses or crucifixes, the lamb at the foot, and the pelican at the top of the cross.

TheGood Shepherd, carrying a sheep, is also an ancient emblem.

Swords.

TheSwordis an emblem varying in signification according to the sharpness of its point. That with anacutepoint is the sword of justice; with the pointobtuse, the sword of religion; with no point, the sword of mercy. The flaming sword typifies Divine vengeance.

Fish.

TheFishis one of the very earliest symbols of our Divine Lord. The five letters of the Greek word for a fish (ΙΧΘΥΣ) make the initials (in Greek) of the following sentence—Jesus Christ, God's Son, theSaviour(Ἰησοῦς Χριστὸς Θεοῦ Υἱὸς Σωτήρ). "In this sense," Mrs. Jameson informs us, "we find the fish as a general symbol of the Christian faith upon the sarcophagi of early Christians; on the tombs of the martyrs in the catacombs; on rings, coins, lamps, &c.; and as an ornament in earlyChristian architecture." It was also thought an appropriate emblem of the Christian in the waters of baptism, and in allusion to the promise, "Ye shall become fishers of men."

Flaming Heart.

TheFlaming Heartexpresses fervent piety and love.

Anchor.

TheAnchoris an ancient Christian emblem of firmness, hope, and patience. It is found in the catacombs and ancient Christian gems.

Lamp.

TheLamp, lantern, or taper, is the old emblem of piety, celestial light, or wisdom. "For Zion's sake will I not hold my peace, and for Jerusalem's sake I will not rest, until the righteousness thereof go forth as brightness, and the salvation thereof as a lamp that burneth." (Isa. lxii. 1.) "Let your light so shine before men." (St. Matt. v. 16.)

Lilies.

TheLilyis the emblem of the incarnation, and of purity, always placed in the hand of the angel Gabriel, and often in the hand of the infantSaviourand the Blessed Virgin; sometimes in that of St. Joseph.Lilies of the Valleyseem to be peculiarly fitted to represent purity and meekness combined.Violetsare a modern emblem of modesty.

Fleur-de-lys.

TheFleur-de-Lysis considered the conventional form of the lily, and was in the Middle Ages adopted as the emblem of the Blessed Virgin. Some see in the Mother of our Lord a type of the Churchon earth—see St. Matt. xii. 49, 50—which gives her emblem a much enlarged significance.

Passion-flower.

ThePassion-flowerpresents in itself a crowd of emblems, suggestive of the most solemn thoughts, on which we can hardly dwell with sufficient reverence. ThePassiflora cærulea(common blue Passion-flower) is thus described:—It was discovered in the Brazils, and its wonders were soon proclaimed to Christendom as representing the Passion of our Lord, whence its present appellation. Its leaves are said exactly to resemble the spear that pierced our Saviour's side, while the five points remind us of the five wounds which He endured; the tendrils, the cords that bound, or the whips that scourged, Him; the ten petals, the Apostles, Judas having betrayed, and Peter denied, Him; the pillar in the centre was the cross or tree; the stamens, the hammers; the styles, the nails; the inner circle about the central pillar, the crown of thorns; the radiance, the glory; the white tint, the emblem of purity; and the blue, the type of heaven. On one of the species, thePassiflora alata, red spots are seen on the cross or tree. The flower keeps open three days, and then disappears, denoting the resurrection. As a whole, the passion-flower is an emblem of faith.

Pomegranate.

ThePomegranate, bursting open, and the seeds visible, was considered (in early art) as an emblem of the future—of hope in immortality.

Phœnix.

ThePhœnixis an ancient symbol of immortality.

Palm.

ThePalmis the well-known symbol of victory after suffering, and of heavenly bliss. Mrs. Jameson remarks that it was the ancient classical symbol of victory and triumph, and was early assumed by the Christians as the universal symbol of martyrdom.

Olive Branch.

TheOlive Branchand the palm were very early emblems of immortality.

Crown.

TheCrownis a Scriptural emblem of the Church. "Thou shalt also be a crown of glory in the hand of the Lord, and a royal diadem in the hand of thy God". (Isa. lxii. 3. See also Zech. ix. 16.) This symbol, placed above the initial letter of a Holy Name, gives it a beautiful and marked significance.[19]It may be appropriately blended with the cross; also with the palm and the lily.

The emblems of the four Evangelists are these:—St. Matthew, a winged man (notan angel); St. Mark, a winged lion; St. Luke, a winged ox, or calf; St. John, an eagle. These symbols are taken from the vision of Ezekiel, and from that of St. John in the Revelation.[20]

Acts, iv. 12.

There is none other Name under Heaven given among men, whereby we must be saved.

It is surprising how much the real meaning of the letters IHS, or IHC, has been lost sight of, emblazoned as it is on the pulpit-coverings, altar-cloths, and windows of our Churches. The interpretation has been guessed at, or supposed to signify the initial letters of the following sentences:—"Jesus Hominum Salvator"—Jesus, Saviour of men. "Inspiration(of the)Holy Spirit;" or, "Jesus Humanitatis Consolator"—Jesus, Comforter of mankind. None of these interpretations are correct.

On the tombs of the early Christians, in the Roman catacombs, these letters (ΙΗΣ) were sometimes found (though not so frequently as the next monogram). They are, in the Greek character, the first three letters of the sacred name of Jesus— ΙΗΣΟΥΣ. The third letter,sigma, had in early Greek two forms, C and Σ; hence the apparent variety in what is really one and the same Monogram.

The second Monogram, now rarely seen, but formerly much employed in memorial inscriptions, is called the Cross of Constantine. It consists of the two Greek characters, Χ and Ρ. Χ stands for, or is equivalent to, our CH; Ρ, the Greekrho, is translated by our letter R: thus we have the equivalent of the first three letters of the sacred name ofChrist—in Greek, ΧΡΙΣΤΟΣ.

It is related, on the authority of Eusebius, that the Emperor Constantine, while engaged in prayer, suddenly saw this sign in the sky, and that it was also visible to his whole army; over the sign was an inscription signifying "Conquer by this," or, "In this sign thou shalt conquer" (In hoc signo vinces). On the same night the Emperor had a dream—a vision of theSaviourappearing to him with the same sign, commanding him thenceforth to bear it on his banner, whereby he should always be victorious. In obedience to this revelation, the Emperor immediately caused such a banner to be constructed, and afterwards wore the sacred sign upon his helmet. This banner was called alabarum, of which we find the following brief account in Fosbrooke'sEncyclopædia of Antiquities:—

"The name, but not the thing, commences with Constantine. It is a standard, with a cross-piece, from which hung a piece of stuff. The Romans borrowed it from the Germans, Dacians, &c.; and upon coins of Augustus, and the emperors preceding Constantine, it refers to some conquered nation. It had an eagle painted or embroidered, till Constantine, who added the cross, monogram of Jesus Christ, and Α and Ω" (Alpha and Omega: see Rev. i. 8). "Sometimes, above the flag, was a crown, in the midst of which was the monogram mentioned. From the cross-piece hung a square stuff, upon which Constantine placed the figures of himself and his children in gold."

The above is an original example of the two Monograms combined, well suited for illumination.

The following is a beautiful illustration, in a simple form, of the doctrine of the Holy Trinity in Unity:—

Read thus:[21]"Pater non est Filius. Filius non est Sanctus Spiritus. Sanctus Spiritus non est Pater. Pater est Deus. Filius est Deus. Sanctus Spiritus est Deus."

The accompanying emblematic initial letters are suitable in illuminating the following (and similar) texts of Holy Scripture:—

AWith the cross and lily,"He shall give His Angels charge over thee."—Ps. xci. 11.

AWith the cross, heart, and anchor,"An Anchor of the soul, both sure and steadfast."—Heb. vi. 19.

BWith St. Andrew's cross,"Be ye also patient."—Jam. v. 8.

CWith the cross,"Take up thy Cross daily."—See St. Luke, ix. 23.

DWith the wheat and vine,"Do this in remembrance ofMe."—St. Luke, xxii. 19.

EWith the cross and trefoil,"Enter ye in at the strait gate."—St. Matt. vii. 13.

FWith the shield of faith,"Fear not, I will help thee."—Isa. xli. 13."Faith worketh by Love."—See Gal. v. 6.

GWith trefoils,"My help cometh of GOD."—Ps. vii. 11.

HWith lilies of the valley,"Be clothed with humility."—1 Pet. v. 5.

IWith monogram, trefoils, and crown,"I am the Resurrection and the Life."—St. John, xi. 25."I am with you alway, even unto the end of the world."—St. Matt, xxviii. 20.

IWith lily, cross, and trefoils,"My peace I give unto you."—St. John, xiv. 27.

KWith the cross and trefoils,"Thine eyes shall see the King in His beauty: they shall behold the Land that is very far off."—Isa. xxxiii. 17.

LWith lilies of the valley (foundation colour red),"Lay hold on Eternal Life."—1 Tim. vi. 12.

LWith lilies of the valley (foundation colour blue),"Learn ofMe, for I am Meek and Lowly in heart."—St. Matt. xi. 29.

MWith the cross and crown,"My Peace I give unto you."—St. John, xiv. 27.

N"The Night is far spent, the Day is at hand."—Rom. xiii. 12.

OWith the cross,"Occupy till I come."—St. Luke, xix. 13.

PWith dove and lilies,"Peace I leave with you."—St. John, xiv. 27.

RWith the cross,"Repent ye: for the Kingdom of Heaven is at hand."—St. Matt. iii. 2.

SWith the holy dove, cross, and lilies of the valley,"Suffer the little children to come untoMe."—St. Mark, x. 14.

SWith St. Andrew's cross and crown,"So run that ye may obtain."—1 Cor. ix. 24.

TWith the triangles and cross,"Thou GOD seest me."—Gen. xvi. 13.

VWith lilies,"Add to your Faith, Virtue."—2 Pet. i. 5.

W[22]With trefoils,"What I do thou knowest not now; but thou shalt know hereafter." —St. John, xiii. 7.

Y[23]With the cross,"FeedMySheep."—St. John, xxi. 16.

In conclusion, I would suggest an answer to a question sometimes asked—"What is the use of these scrolls?" The first most obvious reply might be—to place on our walls. The questioner persists—"But why?" Let your answer be in the sense of these words: I hope thus to impress more strongly on my mind a particular promise or commandment contained in the Holy Scriptures. I also hope that the same effect may sometimes be produced on the hearts of others, who may often, certainly, have read those words before, yet possibly without much thought; having them thus brought suddenly and in a marked manner before their eyes, deeper reflection may be the profitable result. A commandment, an injunction fromGod's Word, thus placed before me, may often, I trust, serve as a check in moments of temptation. A promise Iknowto be of inestimable comfort, as the sick and the dying have testified.Nodoubt the law ofGodmust be pre-eminently written in theheart,[24]must abide there as its choicest treasure,—"a well of water springing up into eternal life," nourishing the soul atalltimes; and we have the precious gift of Him Who "bringeth all things to our remembrance."[25]Yet so long as I have eyes through which I may receive holy impressions, I cannot—dare not—despise the humblest means towards so good an end. To look upon a text of Scripture, engraved with fair colours and emblematic adornments, gives me the same feeling of elevating happiness, through the organ of sight, that a melodiously chaunted hymn or anthem conveys through the organ of hearing. "The hearing ear, and the seeing eye, the Lord hath made even both of them."[26]

And to the young I would earnestly say,—cherish always a feeling of reverence on this subject of illuminating sacred texts. Let it be considered not as a trivial, passing amusement, but, while in practice, as a grave and steady occupation—one to which you are in duty bound, if you undertake it at all, to give your very best attention. No work of yours—nor of any human hand—can be worthy of the subject; in all humility and sincerity keep this truth before you. Strive to enter as fully as possible into the meaning of the inspired words you are delineating; endeavour earnestly and with child-like simplicity to learn the lesson they would teach.

Lastly, let your work be as perfect as you can possibly make it, and if the result be pleasing, render thanks to Him who hath bestowed on you the precious talent, and from Whom all good gifts do come. And so, "Whatsoever ye do,

Do all to the glory of GOD."

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