[25]The whole are given in Shaw's "Illuminated Ornaments," plates 1, 2, 3, and 4.
The whole are given in Shaw's "Illuminated Ornaments," plates 1, 2, 3, and 4.
[26]It is on this account that we have refrained from giving any specimens of manuscripts anterior to the 6th century.
It is on this account that we have refrained from giving any specimens of manuscripts anterior to the 6th century.
[27]"Palæographia Sacra Pictoria," cap. Syriac MSS.
"Palæographia Sacra Pictoria," cap. Syriac MSS.
[28]O'Conor and others were of course earlier in the field.
O'Conor and others were of course earlier in the field.
[29]"Palæographia Sacra Pictoria," Book of Kells, page 1.
"Palæographia Sacra Pictoria," Book of Kells, page 1.
[30]Catalogue of the Libri collection of MSS., Introduction by M. Libri, pages xiv. and xxvi. London, 1859.
Catalogue of the Libri collection of MSS., Introduction by M. Libri, pages xiv. and xxvi. London, 1859.
[31]Giraldus Cambrensis, speaking probably of this very book, says, "Sin autem ad perspicacius intuentum oculorum aciem invitaveris, et longe penitus ad artis arcana transpenetraveris, tam delicatas et subtiles, tam actas et arctas, tam nodosas et vinculatim colligatas, tamque recentibus adhuc coloribus illustratas, notare poteris intricaturas, ut vere hæc omnia angelica potius quam humana diligentia jam asseveraveris esse composita."
Giraldus Cambrensis, speaking probably of this very book, says, "Sin autem ad perspicacius intuentum oculorum aciem invitaveris, et longe penitus ad artis arcana transpenetraveris, tam delicatas et subtiles, tam actas et arctas, tam nodosas et vinculatim colligatas, tamque recentibus adhuc coloribus illustratas, notare poteris intricaturas, ut vere hæc omnia angelica potius quam humana diligentia jam asseveraveris esse composita."
[32]It is more abundantly used in Vesp. A 1, which, as we shall have occasion to notice hereafter, is in a very mixed style.
It is more abundantly used in Vesp. A 1, which, as we shall have occasion to notice hereafter, is in a very mixed style.
[33]Bede expressly says, that at Augustine's synod, held at the commencement of the 7th century, the bishops and learned men attending it, "after a long disputation, refused to comply with the entreaties, exhortations, or rebukes of the saint and his companions, but preferred their own traditions before all the churches in the world, which in Christ agree among themselves."
Bede expressly says, that at Augustine's synod, held at the commencement of the 7th century, the bishops and learned men attending it, "after a long disputation, refused to comply with the entreaties, exhortations, or rebukes of the saint and his companions, but preferred their own traditions before all the churches in the world, which in Christ agree among themselves."
[34]D'Agincourt, "Painting," plates xxviii. xxix. xxx.
D'Agincourt, "Painting," plates xxviii. xxix. xxx.
[35]This precious volume and its illustrations were first figured and described by Mr. Westwood.
This precious volume and its illustrations were first figured and described by Mr. Westwood.
[36]"Life of Gregory the Great," by Johannes Diaconus, lib. ii. cap. 37.
"Life of Gregory the Great," by Johannes Diaconus, lib. ii. cap. 37.
[37]The words are, "quæ omnia illustrantur Romano habitu, figuris, et antiquitate. Imperatoris Valentiniani tempora videntur attingere." This mistake of the old librarian has been corrected with much care and learning by the Baron van Tiellandt.—See his "Naspeuringen nopens zekeren Codex Psalmorum in de Utrechtsche Boekerij berustende, door W. H. J. Baron van Westreeinen van Tiellandt."
The words are, "quæ omnia illustrantur Romano habitu, figuris, et antiquitate. Imperatoris Valentiniani tempora videntur attingere." This mistake of the old librarian has been corrected with much care and learning by the Baron van Tiellandt.—See his "Naspeuringen nopens zekeren Codex Psalmorum in de Utrechtsche Boekerij berustende, door W. H. J. Baron van Westreeinen van Tiellandt."
[38]The MS. department of the British Museum possesses some tracings from the Utrecht Psalter, and on confronting them with the Harleian 603, it requires a sharp eye to detect the slight differences existing between several of the illustrations to each of the volumes. In the Harleian volume, all the subjects have not been filled in; some are left out altogether, spaces being reserved for them in the text, and others are faintly traced with a leaden or silver point, preparatory to inking in: very few artists of the present day could block in the general forms in so peculiar a style with greater freedom or more complete conveyance of expression, by similarly slight indications.
The MS. department of the British Museum possesses some tracings from the Utrecht Psalter, and on confronting them with the Harleian 603, it requires a sharp eye to detect the slight differences existing between several of the illustrations to each of the volumes. In the Harleian volume, all the subjects have not been filled in; some are left out altogether, spaces being reserved for them in the text, and others are faintly traced with a leaden or silver point, preparatory to inking in: very few artists of the present day could block in the general forms in so peculiar a style with greater freedom or more complete conveyance of expression, by similarly slight indications.
[39]The whole of the illuminations are given in the twenty-fourth volume of the "Archæologia." The manuscript stands in the Bodleian Catalogue, "Junius, No. II."
The whole of the illuminations are given in the twenty-fourth volume of the "Archæologia." The manuscript stands in the Bodleian Catalogue, "Junius, No. II."
[40]Introduction to Shaw's "Illuminated Ornaments," pages 4 and 5.
Introduction to Shaw's "Illuminated Ornaments," pages 4 and 5.
[41]The following inscription, written in letters of gold on the reverse of the fourth leaf and the bottom of the recto of the fifth, identifies both the artist and the patron under whose auspices the volume was executed, between the years 970 and 984, the term of Ethelwold's occupation of the see of Winchester:—"Presentem Biblum jussit perscribere PresulWintoniæ Dñs quē fecerat esse PatronumMagnusÆthelwoldus* * ** * * * * *Atque Patri magno jussit qui scribere librum huncOmnes cernentes biblum hunc semper rogitent hocPost meta carnis valeam celis in herereObnixe hoc rogitat Scriptor supplexGodemann."
The following inscription, written in letters of gold on the reverse of the fourth leaf and the bottom of the recto of the fifth, identifies both the artist and the patron under whose auspices the volume was executed, between the years 970 and 984, the term of Ethelwold's occupation of the see of Winchester:—
"Presentem Biblum jussit perscribere PresulWintoniæ Dñs quē fecerat esse PatronumMagnusÆthelwoldus* * ** * * * * *Atque Patri magno jussit qui scribere librum huncOmnes cernentes biblum hunc semper rogitent hocPost meta carnis valeam celis in herereObnixe hoc rogitat Scriptor supplexGodemann."
"Presentem Biblum jussit perscribere Presul
Wintoniæ Dñs quē fecerat esse Patronum
MagnusÆthelwoldus* * *
* * * * * *
Atque Patri magno jussit qui scribere librum hunc
Omnes cernentes biblum hunc semper rogitent hoc
Post meta carnis valeam celis in herere
Obnixe hoc rogitat Scriptor supplexGodemann."
[42]If the celebrated coronation book of the Anglo-Saxon kings should turn out to have been written and illuminated in this country, it would afford a striking illustration of this reaction. The general opinion, however, appears to be, among the learned, that it may have been given to Athelstan by Otho of Germany, who married his sister, and by Matilda, Otho's mother. The arguments in favour of, and against, the Anglo-Saxon origin of the volume would be too long to discuss in this place. The writing is mainly Carlovingian.
If the celebrated coronation book of the Anglo-Saxon kings should turn out to have been written and illuminated in this country, it would afford a striking illustration of this reaction. The general opinion, however, appears to be, among the learned, that it may have been given to Athelstan by Otho of Germany, who married his sister, and by Matilda, Otho's mother. The arguments in favour of, and against, the Anglo-Saxon origin of the volume would be too long to discuss in this place. The writing is mainly Carlovingian.
[43]"Bib. Dec." vol. i. p. cxxii.
"Bib. Dec." vol. i. p. cxxii.
[44]It is to be regretted that the propriety of those just and learned remarks of Muratori, in which he exhibited himself as one of the earliest foreign scholars inclined to do justice to the ancient Irish and British schools,—"Neque enim silenda laus Britanniæ, Scotiæ, et Hiberniæ, quæ studio liberalium artium eo tempore antecellebant reliquis occidentalibus regnis; et cura præsertim monachorum, qui literarum gloriam, alibi aut languentem aut depressam, in iis regionibus impigrè suscitarent atque tuebantur" (Murat. "Antiq. Ital." diss. 43),—should have been impugned by the Rev. Mr. Berington in his "Literary History of the Middle Ages," pages 180, 181.
It is to be regretted that the propriety of those just and learned remarks of Muratori, in which he exhibited himself as one of the earliest foreign scholars inclined to do justice to the ancient Irish and British schools,—"Neque enim silenda laus Britanniæ, Scotiæ, et Hiberniæ, quæ studio liberalium artium eo tempore antecellebant reliquis occidentalibus regnis; et cura præsertim monachorum, qui literarum gloriam, alibi aut languentem aut depressam, in iis regionibus impigrè suscitarent atque tuebantur" (Murat. "Antiq. Ital." diss. 43),—should have been impugned by the Rev. Mr. Berington in his "Literary History of the Middle Ages," pages 180, 181.
[45]These pious monks, until probably some time after the Norman conquest, generally worked together in an apartment capable of containing many persons, and in which many persons did, in fact, work together at the transcription of books. The first of these points is implied in a curious document, which is one of the very few specimens extant of French Visi-Gothic MS. in uncial characters, of the 8th century. It is a short but beautiful form of consecration or benediction, barbarously entitled "Orationem in Scripturio," and is to the following effect: "Vouchsafe, O Lord, to blessthis Scriptorium of thy servants and all that dwell therein; that whatsoever sacred writing shall be here read or written by them, they may receive with understanding, and bring the same to good effect, through our Lord," &c.—See Merryweather's "Bibliomania in the Middle Ages."
These pious monks, until probably some time after the Norman conquest, generally worked together in an apartment capable of containing many persons, and in which many persons did, in fact, work together at the transcription of books. The first of these points is implied in a curious document, which is one of the very few specimens extant of French Visi-Gothic MS. in uncial characters, of the 8th century. It is a short but beautiful form of consecration or benediction, barbarously entitled "Orationem in Scripturio," and is to the following effect: "Vouchsafe, O Lord, to blessthis Scriptorium of thy servants and all that dwell therein; that whatsoever sacred writing shall be here read or written by them, they may receive with understanding, and bring the same to good effect, through our Lord," &c.—See Merryweather's "Bibliomania in the Middle Ages."
[46]"Dark Ages," second edition, p. 193.
"Dark Ages," second edition, p. 193.
[47]Librarian of the town of Evreux.
Librarian of the town of Evreux.
[48]Cornemillot, Evreux, 1846.
Cornemillot, Evreux, 1846.
[49]Du Sommerard, in "Les Arts du Moyen Age," has given copies of all the illuminations, and Mr. Westwood a page of specimens.
Du Sommerard, in "Les Arts du Moyen Age," has given copies of all the illuminations, and Mr. Westwood a page of specimens.
[50]Count Bastard gives no less than six grand facsimiles from this volume, which is one of the greatest lions of the Bibliothèque Impériale at Paris.
Count Bastard gives no less than six grand facsimiles from this volume, which is one of the greatest lions of the Bibliothèque Impériale at Paris.
[51]One of the most curious illuminations in the book, the celebrated "fontaine mystique" of the church, is altogether antique in style and execution.
One of the most curious illuminations in the book, the celebrated "fontaine mystique" of the church, is altogether antique in style and execution.
[52]The colouring in this MS. is very elegant, being mainly restricted to gold, purple, white, and a little very brilliant vermilion;—the forms are principally Saxon.
The colouring in this MS. is very elegant, being mainly restricted to gold, purple, white, and a little very brilliant vermilion;—the forms are principally Saxon.
[53]Described at length by Dr. Waagen, "Treasures of Art in Great Britain," pages 104-106.
Described at length by Dr. Waagen, "Treasures of Art in Great Britain," pages 104-106.
[54]Many illustrations, but unfortunately without colour, are given by D'Agincourt, "Pittura," plates 40 to 45 inclusive.
Many illustrations, but unfortunately without colour, are given by D'Agincourt, "Pittura," plates 40 to 45 inclusive.
[55]The folio Vulgate (B. M. Addl. MSS. No. 10546) purchased by the British Museum authorities from M. Speyer Passavant, of Basle, in 1836, for £750, was considered by its late possessor to have been the original transcript "diligently emended" by Alcuin himself, for presentation to Charlemagne on his coronation as Emperor of Rome, in the year 800. It is a very fine and interesting volume, but has been referred, by more recent authorities, to the reign of Charles the Bald. Mr. Westwood, however, considers that "it appears to have better claims than any of the several Caroline Bibles now in existence, to be considered as the volume so presented." Its chief rival is the great Bible of the Fathers of Sta. Maria, in Vallicella, at Rome. Sir Frederick Madden has entered into a minute analysis of the claims of the Speyer Passavant volume, in a series of most learned articles in the "Gentleman's Magazine" for 1836. See also Westwood's "Palæographia Sacra," and the pamphlet, by its late possessor, J. H. de Speyer Passavant, "Description de la Bible écrite par Alchuine, &c." Par. 1829, pp. 112.
The folio Vulgate (B. M. Addl. MSS. No. 10546) purchased by the British Museum authorities from M. Speyer Passavant, of Basle, in 1836, for £750, was considered by its late possessor to have been the original transcript "diligently emended" by Alcuin himself, for presentation to Charlemagne on his coronation as Emperor of Rome, in the year 800. It is a very fine and interesting volume, but has been referred, by more recent authorities, to the reign of Charles the Bald. Mr. Westwood, however, considers that "it appears to have better claims than any of the several Caroline Bibles now in existence, to be considered as the volume so presented." Its chief rival is the great Bible of the Fathers of Sta. Maria, in Vallicella, at Rome. Sir Frederick Madden has entered into a minute analysis of the claims of the Speyer Passavant volume, in a series of most learned articles in the "Gentleman's Magazine" for 1836. See also Westwood's "Palæographia Sacra," and the pamphlet, by its late possessor, J. H. de Speyer Passavant, "Description de la Bible écrite par Alchuine, &c." Par. 1829, pp. 112.
[56]It is singular, considering how generally Hiberno-Saxon ornament was adopted by continental illuminators, that the peculiar Saxonflutteringoutline never obtained a footing.
It is singular, considering how generally Hiberno-Saxon ornament was adopted by continental illuminators, that the peculiar Saxonflutteringoutline never obtained a footing.
[57]The learned and most eloquent author of the "Poésie Chrétienne," M. Rio (from whom it was my privilege, while yet a youthful student, to receive many a valuable lesson), in noting this "total eclipse," remarks that "two rolls of parchment, one of which is preserved in the library of the Barbarini Palace, the other in the sacristy of the Cathedral of Pisa, are ornamented with miniatures which may serve to give us an idea of the state into which the arts of design had fallen in Italy in the 11th century. Those which were executed rather later, in the manuscript of a poem on the Countess Matilda (written by a certain 'Donizo,' in 1125), which is preserved in the Vatican, display no trace either of chiaroscuro or of correct imitation of form."The Romano-Christian school ceased from this time to exist, after having fulfilled the whole of its mission, which had been to form the connecting link between the primitive inspirations of Christian art and the new schools which were destined to reap the harvest of this rich inheritance, and turn it to good account."As for the Germano-Christian school, it may be compared to a vigorous shoot severed from a dying trunk, to revive and flourish in a better soil."
The learned and most eloquent author of the "Poésie Chrétienne," M. Rio (from whom it was my privilege, while yet a youthful student, to receive many a valuable lesson), in noting this "total eclipse," remarks that "two rolls of parchment, one of which is preserved in the library of the Barbarini Palace, the other in the sacristy of the Cathedral of Pisa, are ornamented with miniatures which may serve to give us an idea of the state into which the arts of design had fallen in Italy in the 11th century. Those which were executed rather later, in the manuscript of a poem on the Countess Matilda (written by a certain 'Donizo,' in 1125), which is preserved in the Vatican, display no trace either of chiaroscuro or of correct imitation of form.
"The Romano-Christian school ceased from this time to exist, after having fulfilled the whole of its mission, which had been to form the connecting link between the primitive inspirations of Christian art and the new schools which were destined to reap the harvest of this rich inheritance, and turn it to good account.
"As for the Germano-Christian school, it may be compared to a vigorous shoot severed from a dying trunk, to revive and flourish in a better soil."
[58]The "Menologion" of the Vatican, a magnificent volume, containing no less than 430 miniatures of remarkable interest and excellence, is the standing illustration of this assertion. The work was engraved and published at Urbino, in three folio volumes, in 1727, under the auspices of three pontiffs, Clement XI., Innocent XIII., and Benedict XIII.
The "Menologion" of the Vatican, a magnificent volume, containing no less than 430 miniatures of remarkable interest and excellence, is the standing illustration of this assertion. The work was engraved and published at Urbino, in three folio volumes, in 1727, under the auspices of three pontiffs, Clement XI., Innocent XIII., and Benedict XIII.
[59]It would be difficult to find in the production of the best Roman age anything nobler than several of the compositions in the Paris "Psalter," with commentaries (Imperial Library, Gr. No. 139), a Greek manuscript of the 10th century. One of the finest of the figures contained in it, that of "Night," I caused to be enlarged, and painted on the exterior of the Byzantine Court at Sydenham, as giving a more favourable impression of Greek art than any other pictorial representation I could meet with. A replica of this subject occurs in the Vatican "Prophecies of Isaiah." The two may be compared from the works of D'Agincourt and Seré. Most noteworthy also among the best of this class of Byzantine manuscripts, are the Paris "Commentaries of Gregory Nazianzen," the British Museum Psalter (Egerton, No. 1.139) of early 12th century work, and the Bodleian "Codex Ebnerianus."
It would be difficult to find in the production of the best Roman age anything nobler than several of the compositions in the Paris "Psalter," with commentaries (Imperial Library, Gr. No. 139), a Greek manuscript of the 10th century. One of the finest of the figures contained in it, that of "Night," I caused to be enlarged, and painted on the exterior of the Byzantine Court at Sydenham, as giving a more favourable impression of Greek art than any other pictorial representation I could meet with. A replica of this subject occurs in the Vatican "Prophecies of Isaiah." The two may be compared from the works of D'Agincourt and Seré. Most noteworthy also among the best of this class of Byzantine manuscripts, are the Paris "Commentaries of Gregory Nazianzen," the British Museum Psalter (Egerton, No. 1.139) of early 12th century work, and the Bodleian "Codex Ebnerianus."
[60]Of this ornamental style the most remarkable specimens are the Vatican "Acts of the Apostles," and a beautiful volume in the library of the Duke of Hamilton. From the former, I have given some facsimiles in "The Geometrical Mosaics of the Middle Ages" (plate 20), in order to show the similarity of design between the gold ground mosaics of the Greeks and early Italians, and the embellishments of the illuminated manuscripts of the former.
Of this ornamental style the most remarkable specimens are the Vatican "Acts of the Apostles," and a beautiful volume in the library of the Duke of Hamilton. From the former, I have given some facsimiles in "The Geometrical Mosaics of the Middle Ages" (plate 20), in order to show the similarity of design between the gold ground mosaics of the Greeks and early Italians, and the embellishments of the illuminated manuscripts of the former.
[61]Ingulphus was at that very time indebted directly to the Conqueror, his early patron, for his abbacy.
Ingulphus was at that very time indebted directly to the Conqueror, his early patron, for his abbacy.
[62]See Martene Const. Canon. Reg. in "de Ant. Eccl. Ritibus," tom. iii., for full details.
See Martene Const. Canon. Reg. in "de Ant. Eccl. Ritibus," tom. iii., for full details.
[63]This indulgence was, after all, not very luxurious, for, as Mr. Maitland remarks ("Dark Ages," 2nd edition, p. 406), "Many a scribe has, I dare say, felt what Lewis, a monk of Wessobrun, in Bavaria, records as his own experience during his sedentary and protracted labours. In an inscription appended to a copy of Jerome's Commentary on Daniel, among other grounds on which he claims the sympathy and the prayers of the readers, he says,—"'Dum scripsit friguit, et quod cum lumine solisScribere non potuit, perfecit lumine noctis.'"For whilst he wrote he froze, and that which by daylight he could not bring to perfection, he worked at again by the aid of the moonlight.
This indulgence was, after all, not very luxurious, for, as Mr. Maitland remarks ("Dark Ages," 2nd edition, p. 406), "Many a scribe has, I dare say, felt what Lewis, a monk of Wessobrun, in Bavaria, records as his own experience during his sedentary and protracted labours. In an inscription appended to a copy of Jerome's Commentary on Daniel, among other grounds on which he claims the sympathy and the prayers of the readers, he says,—
"'Dum scripsit friguit, et quod cum lumine solisScribere non potuit, perfecit lumine noctis.'"
"'Dum scripsit friguit, et quod cum lumine solis
Scribere non potuit, perfecit lumine noctis.'"
For whilst he wrote he froze, and that which by daylight he could not bring to perfection, he worked at again by the aid of the moonlight.
[64]In Italy the propensity for large letters was never relinquished.
In Italy the propensity for large letters was never relinquished.
[65]W. H. Blaauw, Esq.
W. H. Blaauw, Esq.
[66]Edited by James Raine, Jun., for the Surtees Society. 8vo. Durham, 1859.
Edited by James Raine, Jun., for the Surtees Society. 8vo. Durham, 1859.
[67]The same series of rolls contain many very interesting entries; as, for instance,—"1393 A.D. Soluti—de 4l.6s.8d.sol. hoc anno fratri Willelmo Ellerker pro scriptura duorum gradalium pro choro. de 40s.solutis domino Ricardo de Styrton pro eluminacione dictorum duorum gradalium—de 22s.7½d.solutis dicto Willelmo pro pergameno empto per ipsum Willelmum."A.D. 1395. Roberto Bukebinder pro ligatura unius magni gradalis pro choro ex convencione facta 10s.Eidem pro IIII. pellibus pergameni pro eadem custodiendo 20d.Eidem pro I. pelle cervi pro coopertura dicti libri 3s.2d.Fratri Willelmo Ellerker pro pergameno 4s.Domino Ricardo de Styrton in plenam solucionemalumpnyngtryum gradalium, 40s.de 3s.4d.solutis domino Johanni Brignale pro VIII. pellibus pergameni emptis pro magno gradali predicto.""Domino Ricardo de Styrton pro alumpnacione magni gradalis novi in choro, 20s."A.D. 1402. In expensis inalumpnacionemagni gradalis in choro per dominum Ricardum de Stretton, 20s."Throughout these accounts, and others too lengthy to note, it will be noticed that the value of the parchment, gold, colours, and current expenses, falls not very far short of the total cost of the labour of the illuminator.
The same series of rolls contain many very interesting entries; as, for instance,—
"1393 A.D. Soluti—de 4l.6s.8d.sol. hoc anno fratri Willelmo Ellerker pro scriptura duorum gradalium pro choro. de 40s.solutis domino Ricardo de Styrton pro eluminacione dictorum duorum gradalium—de 22s.7½d.solutis dicto Willelmo pro pergameno empto per ipsum Willelmum.
"A.D. 1395. Roberto Bukebinder pro ligatura unius magni gradalis pro choro ex convencione facta 10s.Eidem pro IIII. pellibus pergameni pro eadem custodiendo 20d.Eidem pro I. pelle cervi pro coopertura dicti libri 3s.2d.Fratri Willelmo Ellerker pro pergameno 4s.Domino Ricardo de Styrton in plenam solucionemalumpnyngtryum gradalium, 40s.de 3s.4d.solutis domino Johanni Brignale pro VIII. pellibus pergameni emptis pro magno gradali predicto."
"Domino Ricardo de Styrton pro alumpnacione magni gradalis novi in choro, 20s.
"A.D. 1402. In expensis inalumpnacionemagni gradalis in choro per dominum Ricardum de Stretton, 20s."
Throughout these accounts, and others too lengthy to note, it will be noticed that the value of the parchment, gold, colours, and current expenses, falls not very far short of the total cost of the labour of the illuminator.
[68]"Treasures of Art in Great Britain," vol. i. p. 160. The same distinguished critic, who has made a special study of the illuminated MSS. of Europe, and especially of the French (see his "Kunstwerken und Kunstlern in Paris"), in describing some of the pictures in Queen Mary's Psalter (unquestionably English), observes (p. 166), "Upon the whole, I am acquainted with no miniatures, either Netherlandish, German, or French, of this time" (the 14th century) "which can compare in artistic value with the pictures executed by the best hand in this manuscript."
"Treasures of Art in Great Britain," vol. i. p. 160. The same distinguished critic, who has made a special study of the illuminated MSS. of Europe, and especially of the French (see his "Kunstwerken und Kunstlern in Paris"), in describing some of the pictures in Queen Mary's Psalter (unquestionably English), observes (p. 166), "Upon the whole, I am acquainted with no miniatures, either Netherlandish, German, or French, of this time" (the 14th century) "which can compare in artistic value with the pictures executed by the best hand in this manuscript."
[69]It is to be regretted that Count Bastard failed to complete more than thirty-two plates of the splendid work he announced under the title of "Librairie de Jean de France, Duc de Berri, frère de Charles V., publié en son entier pour la première fois." Paris, 1834. Fol. max. &c.
It is to be regretted that Count Bastard failed to complete more than thirty-two plates of the splendid work he announced under the title of "Librairie de Jean de France, Duc de Berri, frère de Charles V., publié en son entier pour la première fois." Paris, 1834. Fol. max. &c.
[70]"De l'Art en Allemagne," tome ii. page 153. Paris, 1842.
"De l'Art en Allemagne," tome ii. page 153. Paris, 1842.
[71]See casts from his bronze doors and columns in the Crystal Palace, and his Three Gospels in the treasury of the Cathedral at Hildesheim. In Dr. F. H. Müller's "Beiträge zur teutschen Kunst und Geschichtskunde," very careful engravings of the plastic art of Bernward and Willigis may be compared with facsimiles of contemporary German illumination.
See casts from his bronze doors and columns in the Crystal Palace, and his Three Gospels in the treasury of the Cathedral at Hildesheim. In Dr. F. H. Müller's "Beiträge zur teutschen Kunst und Geschichtskunde," very careful engravings of the plastic art of Bernward and Willigis may be compared with facsimiles of contemporary German illumination.
[72]The steps of the transition are also well indicated, and illustrated by reference to special MSS. in Kugler's "Kunstgeschichte," in his article on the "Nord., vornehml. Deutsche Malerei der Roman. Periode."
The steps of the transition are also well indicated, and illustrated by reference to special MSS. in Kugler's "Kunstgeschichte," in his article on the "Nord., vornehml. Deutsche Malerei der Roman. Periode."
[73]The subject is one that I am unable to find has been treated with any great ability. The reader may, however, be referred to the following old Spanish works on the subject:—Andres Merino de Jesu-Cristo, "Escuela Palæographica, ó de leer Letras universas, antiguas y modernas, desde la entrada de los Godos en España" (Madrid, 1780, in fol. fig.);—Estev. de Terreros, "Palæographia Española, que contiene todos los modos conocidos, que ha habido de escribir en España, desde su principio y fundación" (Madrid, Ibarra, 1758, in 4to. fig.); and Rodriguez-Christ., "Bibliotheca Universal de la Polygraphia Española" (Madrid, 1738, fol. fig.).
The subject is one that I am unable to find has been treated with any great ability. The reader may, however, be referred to the following old Spanish works on the subject:—Andres Merino de Jesu-Cristo, "Escuela Palæographica, ó de leer Letras universas, antiguas y modernas, desde la entrada de los Godos en España" (Madrid, 1780, in fol. fig.);—Estev. de Terreros, "Palæographia Española, que contiene todos los modos conocidos, que ha habido de escribir en España, desde su principio y fundación" (Madrid, Ibarra, 1758, in 4to. fig.); and Rodriguez-Christ., "Bibliotheca Universal de la Polygraphia Española" (Madrid, 1738, fol. fig.).
[74]That art which is called "illumination" in Paris.
That art which is called "illumination" in Paris.
[75]"Lettere Sanese," tom. i. p. 278.
"Lettere Sanese," tom. i. p. 278.
[76]The well-known passage in which Dante alludes to Oderigi occurs in the eleventh canto of the "Paradiso," and is as follows:—"Oh, dissi lui, non se' tu Oderisi,L' onor d' Agubbio, e l' onor di quell' arteChe alluminar è chiamata a Parisi?Frate, diss' egli, più ridon le carteChe pennelegia Franco Bolognese:L' onor è tutto or suo, e mio in parte.Ben non sarei stato si corteseMentre ch' io vissi per lo gran disioDell' excellentia, ove mio cor intese.Di tal superbia qui si paga il fio."
The well-known passage in which Dante alludes to Oderigi occurs in the eleventh canto of the "Paradiso," and is as follows:—
"Oh, dissi lui, non se' tu Oderisi,L' onor d' Agubbio, e l' onor di quell' arteChe alluminar è chiamata a Parisi?Frate, diss' egli, più ridon le carteChe pennelegia Franco Bolognese:L' onor è tutto or suo, e mio in parte.Ben non sarei stato si corteseMentre ch' io vissi per lo gran disioDell' excellentia, ove mio cor intese.Di tal superbia qui si paga il fio."
"Oh, dissi lui, non se' tu Oderisi,
L' onor d' Agubbio, e l' onor di quell' arte
Che alluminar è chiamata a Parisi?
Frate, diss' egli, più ridon le carte
Che pennelegia Franco Bolognese:
L' onor è tutto or suo, e mio in parte.
Ben non sarei stato si cortese
Mentre ch' io vissi per lo gran disio
Dell' excellentia, ove mio cor intese.
Di tal superbia qui si paga il fio."
[77]Vita di Giotto.
Vita di Giotto.
[78]"Storia Pittorica," vol xi. p. 13, ed. Pisa, 1815; and vol. v. pp. 8, 9, 10.
"Storia Pittorica," vol xi. p. 13, ed. Pisa, 1815; and vol. v. pp. 8, 9, 10.
[79]Lanzi speaks of these choral books as "De' più considerabili che abbia l'Italia."
Lanzi speaks of these choral books as "De' più considerabili che abbia l'Italia."
[80]The Kensington Museum possesses two splendid leaves from a great "Chorale," which contain miniatures completely in the manner of Fra Angelico.
The Kensington Museum possesses two splendid leaves from a great "Chorale," which contain miniatures completely in the manner of Fra Angelico.
[81]The Duke of Hamilton possesses some beautiful MSS. illuminated by, or in the manner of Memmi. Mr. Layard is the fortunate owner of one leaf of surpassing grandeur and elevation of style.
The Duke of Hamilton possesses some beautiful MSS. illuminated by, or in the manner of Memmi. Mr. Layard is the fortunate owner of one leaf of surpassing grandeur and elevation of style.
[82]The style, if not the hand, of Taddeo Bartolo, another of the great early masters of the Siennese school, may be distinctly traced in several existing miniatures.
The style, if not the hand, of Taddeo Bartolo, another of the great early masters of the Siennese school, may be distinctly traced in several existing miniatures.
[83]"Poetry of Christian Art," p. 140.
"Poetry of Christian Art," p. 140.
[84]"Ornò i libri corali di figure nobillissime."—Cittadella, "Catalogo dei Pittori e Scultori Ferraresi," vol. i. pp. 1-27.
"Ornò i libri corali di figure nobillissime."—Cittadella, "Catalogo dei Pittori e Scultori Ferraresi," vol. i. pp. 1-27.
[85]Rio. It must be a matter of delight to all lovers of true art that that most useful society, the "Arundel," has been of late turning its attention to the production, by means of chromo-lithography, of some of the finest examples extant of Italian quattro and cinque-cento illumination.
Rio. It must be a matter of delight to all lovers of true art that that most useful society, the "Arundel," has been of late turning its attention to the production, by means of chromo-lithography, of some of the finest examples extant of Italian quattro and cinque-cento illumination.
[86]A small volume, which passed from the hands of the late Mr. Dennistoun into the collection of Lord Ashburnham, contains a series of arabesques and miniatures of the most interesting character, recalling in different pages, and in the highest perfection, the varied styles of Pietro Perugino, Pinturicchio, Lo Spagna, and others. The Duke of Hamilton's library is extraordinarily rich in Italian MSS.; his Grace's Dante with outline illustrations being of great importance.
A small volume, which passed from the hands of the late Mr. Dennistoun into the collection of Lord Ashburnham, contains a series of arabesques and miniatures of the most interesting character, recalling in different pages, and in the highest perfection, the varied styles of Pietro Perugino, Pinturicchio, Lo Spagna, and others. The Duke of Hamilton's library is extraordinarily rich in Italian MSS.; his Grace's Dante with outline illustrations being of great importance.
[87]SeeMr. Shaw's truly beautiful reproduction, in that gentleman's "Illuminated Ornaments," &c., of a portion of Arabesque border from this volume, containing a medallion portrait, Plate XXXV. A very beautiful Sforza MS. has lately been transferred from the possession of Mr. Henry Farrer to that of the Marquis D'Azeglio.
SeeMr. Shaw's truly beautiful reproduction, in that gentleman's "Illuminated Ornaments," &c., of a portion of Arabesque border from this volume, containing a medallion portrait, Plate XXXV. A very beautiful Sforza MS. has lately been transferred from the possession of Mr. Henry Farrer to that of the Marquis D'Azeglio.
[88]That Andrea exercised a great influence upon miniature-painting may be recognized in the works of Girolamo: a grand leaf from a folio, on which is painted a seated allegorical figure of "Rome," in the possession of Mr. T. Whitehead, is so noble in every way, and so entirely in Andrea's manner, that it seems almost impossible to doubt its being by his hand. It may, however, possibly have been executed by his contemporary in the Mantuan school, "Giovanni dei Russi," who in 1455 illuminated the great Bible of the house of Este, for Borso, Duke of Modena.
That Andrea exercised a great influence upon miniature-painting may be recognized in the works of Girolamo: a grand leaf from a folio, on which is painted a seated allegorical figure of "Rome," in the possession of Mr. T. Whitehead, is so noble in every way, and so entirely in Andrea's manner, that it seems almost impossible to doubt its being by his hand. It may, however, possibly have been executed by his contemporary in the Mantuan school, "Giovanni dei Russi," who in 1455 illuminated the great Bible of the house of Este, for Borso, Duke of Modena.
[89]"Vita di Fra Giocondo e di Liberale, e d'altri Veronesi."
"Vita di Fra Giocondo e di Liberale, e d'altri Veronesi."
[90]The Celotti sale, which took place at Christie's on the 26th of May, 1825, and which included by far the most important collection of Italian illuminations ever brought to the hammer, contained no less than nineteen beautiful specimens extracted from the choral books of that pope.
The Celotti sale, which took place at Christie's on the 26th of May, 1825, and which included by far the most important collection of Italian illuminations ever brought to the hammer, contained no less than nineteen beautiful specimens extracted from the choral books of that pope.
[91]SeeBaglioni, "Vite dei Pittori ed Architetti fioriti in Roma, dal 1572 sino al 1642,"—Vita di Giulio Clovio.
SeeBaglioni, "Vite dei Pittori ed Architetti fioriti in Roma, dal 1572 sino al 1642,"—Vita di Giulio Clovio.
[92]Facsimiles of the exquisite pages of this volume are given in Mr. Noel Humphrey's work; they are perfect triumphs of chromolithographic skill, and their production by Mr. Owen Jones formed what Germans may hereafter call a "standpunkt" in the history of that art, of which this volume presents no unfavourable sample.
Facsimiles of the exquisite pages of this volume are given in Mr. Noel Humphrey's work; they are perfect triumphs of chromolithographic skill, and their production by Mr. Owen Jones formed what Germans may hereafter call a "standpunkt" in the history of that art, of which this volume presents no unfavourable sample.
[93]Grenville Collection.
Grenville Collection.
[94]In his catalogue of the sale of the Celotti collection.
In his catalogue of the sale of the Celotti collection.
[95]The Kensington Museum possesses a beautiful specimen by this artist, formerly in Mr. Ottley's collection. Two others of equal excellence are treasured among other gems of art, by Mr. Ram, of Ramsfort, Ireland. They all came from Celotti.
The Kensington Museum possesses a beautiful specimen by this artist, formerly in Mr. Ottley's collection. Two others of equal excellence are treasured among other gems of art, by Mr. Ram, of Ramsfort, Ireland. They all came from Celotti.
[96]Mr. Whitehead's small but choice collection of specimens includes one quite worthy of the hand of Tintoretto.
Mr. Whitehead's small but choice collection of specimens includes one quite worthy of the hand of Tintoretto.
[97]Mr. S. Leigh Sotheby, in his admirable "Principia typographica," Dr. Dibdin in his "Bibliotheca Spenceriana," and the Baron de Heinecken in his "Idée générale d'une Collection complète d'Estampes, &c.," give the best literary and graphic illustrations of the block books of the middle ages.
Mr. S. Leigh Sotheby, in his admirable "Principia typographica," Dr. Dibdin in his "Bibliotheca Spenceriana," and the Baron de Heinecken in his "Idée générale d'une Collection complète d'Estampes, &c.," give the best literary and graphic illustrations of the block books of the middle ages.
[98]Our good fortune in possessing at the present time, and in common use, a remarkably clear and easily intelligible set of alphabets, was thus admirably noted in an article in theTimesnewspaper of December 28th, 1859:—"Happily for us, the written symbols employed by the Romans, which are now the chief medium of expression for all the languages of Europe, America, Australia, and the greater part of civilized Africa, reflect exactly the rough and stalwart energy which made Rome to Europe what we are to the world. They have bestowed on us an alphabet as practically effective, and as suited to the capabilities of human vision, as any that could have been devised. This alphabet of ours is like an Englishman's dress—plain and manageable; not very artistically arranged, it may be, nor remarkable for copiousness or flow of outline, but sufficiently elastic and capable of extension. Its symbols have certainly no graceful curves like the picturesque Persian; but, better than all flourishes, each letter has plain, unmistakable features of its own. The vowels, which are to the rest of the alphabet what the breath, or rather life itself, is to the body, are assigned their legitimate position, and are formed to be written continuously with the consonants. Lastly, though scanty in itself, it is abundantly equipped with capital letters, stops, italics, and every appliance for securing rapid legibility, so that the eye can take in the subject of a page at a glance. Oriental alphabets are the very reverse of all this. They are complex, cumbersome, unmanageable." Much the same might have been said of many of the mediæval ones.
Our good fortune in possessing at the present time, and in common use, a remarkably clear and easily intelligible set of alphabets, was thus admirably noted in an article in theTimesnewspaper of December 28th, 1859:—
"Happily for us, the written symbols employed by the Romans, which are now the chief medium of expression for all the languages of Europe, America, Australia, and the greater part of civilized Africa, reflect exactly the rough and stalwart energy which made Rome to Europe what we are to the world. They have bestowed on us an alphabet as practically effective, and as suited to the capabilities of human vision, as any that could have been devised. This alphabet of ours is like an Englishman's dress—plain and manageable; not very artistically arranged, it may be, nor remarkable for copiousness or flow of outline, but sufficiently elastic and capable of extension. Its symbols have certainly no graceful curves like the picturesque Persian; but, better than all flourishes, each letter has plain, unmistakable features of its own. The vowels, which are to the rest of the alphabet what the breath, or rather life itself, is to the body, are assigned their legitimate position, and are formed to be written continuously with the consonants. Lastly, though scanty in itself, it is abundantly equipped with capital letters, stops, italics, and every appliance for securing rapid legibility, so that the eye can take in the subject of a page at a glance. Oriental alphabets are the very reverse of all this. They are complex, cumbersome, unmanageable." Much the same might have been said of many of the mediæval ones.
[99]For excellent examples, see plates Technical Manual, Nos.7and8; and Historical Manual, Nos.7and9.
For excellent examples, see plates Technical Manual, Nos.7and8; and Historical Manual, Nos.7and9.
[100]The best are contained in the writings of De Quincy, Owen Jones, Winkellman, Pugin, and Sir Charles Eastlake.
The best are contained in the writings of De Quincy, Owen Jones, Winkellman, Pugin, and Sir Charles Eastlake.
[101]Seeespecially pages 24 to 28 inclusive, from which I transcribe a few elegant and suggestive passages:—"The student should keep," says Mr. Jewitt, "both in form and colour, as near to Nature as possible. No fantastic design can be so elegant as one copied and studied from Nature. What, for instance, can be more beautiful or more appropriate for intertwining with rich scroll-work than the convolvulus, the maurandia, the woodbine, the tropeolum, or the passion-flower? These painted upon a rich groundwork of diapered gold, or upon one of the beautiful grounds of the 15th century, composed of gold and blue or green, in fine waved or winding lines, crossing each other in every conceivable direction, form truly elegant studies, for almost all varieties of ornamentation. Whenever birds, insects, &c., are introduced, they should, as a general rule, be drawn true to nature; but they may, nevertheless, be turned and twisted into almost any position or shape. For instance, a lizard, with its beautiful emerald-green back, its yellow underparts, and rich brown mottlings, might be introduced with its long tail wrapped and twisted round the stem of a plant, and its little head, with brilliant eyes, shown just peeping out from under one of the beautiful flowers. The ladybird, with its bright red wings, covered with small black spots, might also be well introduced, creeping upon a leaf or stem. Hairy caterpillars, ants, beetles, snails, glow-worms, and even spiders, form also beautiful additions to a design, and may be introduced in almost any form or shape. Butterflies and moths, in their endless and beautiful variety, with their wings of every conceivable colour and shade, and of the most exquisite forms, are truly amongst the most beautiful and appropriate objects which the student can have for his mind to dwell upon. But not only these,—for occasionally a squirrel might be introduced perched upon the scroll-work; a cat, a goat, a dog, a monkey peeping out from behind a leaf; or, indeed, any animal, if artistically and naturally treated, may be introduced with really good effect. Flowers, fruits, shells, corn, &c., all add their beauties to a design; and, indeed, there is nothing in nature, no, not one object, but which may well be introduced into ornamental designing, and may be so translated and poeticised as to become appropriate to any subject."
Seeespecially pages 24 to 28 inclusive, from which I transcribe a few elegant and suggestive passages:—
"The student should keep," says Mr. Jewitt, "both in form and colour, as near to Nature as possible. No fantastic design can be so elegant as one copied and studied from Nature. What, for instance, can be more beautiful or more appropriate for intertwining with rich scroll-work than the convolvulus, the maurandia, the woodbine, the tropeolum, or the passion-flower? These painted upon a rich groundwork of diapered gold, or upon one of the beautiful grounds of the 15th century, composed of gold and blue or green, in fine waved or winding lines, crossing each other in every conceivable direction, form truly elegant studies, for almost all varieties of ornamentation. Whenever birds, insects, &c., are introduced, they should, as a general rule, be drawn true to nature; but they may, nevertheless, be turned and twisted into almost any position or shape. For instance, a lizard, with its beautiful emerald-green back, its yellow underparts, and rich brown mottlings, might be introduced with its long tail wrapped and twisted round the stem of a plant, and its little head, with brilliant eyes, shown just peeping out from under one of the beautiful flowers. The ladybird, with its bright red wings, covered with small black spots, might also be well introduced, creeping upon a leaf or stem. Hairy caterpillars, ants, beetles, snails, glow-worms, and even spiders, form also beautiful additions to a design, and may be introduced in almost any form or shape. Butterflies and moths, in their endless and beautiful variety, with their wings of every conceivable colour and shade, and of the most exquisite forms, are truly amongst the most beautiful and appropriate objects which the student can have for his mind to dwell upon. But not only these,—for occasionally a squirrel might be introduced perched upon the scroll-work; a cat, a goat, a dog, a monkey peeping out from behind a leaf; or, indeed, any animal, if artistically and naturally treated, may be introduced with really good effect. Flowers, fruits, shells, corn, &c., all add their beauties to a design; and, indeed, there is nothing in nature, no, not one object, but which may well be introduced into ornamental designing, and may be so translated and poeticised as to become appropriate to any subject."
[102]"Materials for a History of Oil-painting," by Charles Lock Eastlake: London, 1847.
"Materials for a History of Oil-painting," by Charles Lock Eastlake: London, 1847.
[103]The most copious text of Heraclius is contained in the Le Bègue collection of writers on art, brought together by Master John Le Bègue, of Paris, in the 15th century.
The most copious text of Heraclius is contained in the Le Bègue collection of writers on art, brought together by Master John Le Bègue, of Paris, in the 15th century.
[104]Sir Charles Eastlake does not place Heraclius so early as Raspe and Mr. Hendrie do. I incline to agree with the last-named critics.
Sir Charles Eastlake does not place Heraclius so early as Raspe and Mr. Hendrie do. I incline to agree with the last-named critics.
[105]The text of Heraclius is given not from the Le Bègue manuscript, but from one less perfect, formerly at Cambridge, but now in the British Museum, Egerton 840 A, in Raspe's work—"A Critical Essay on Oil-painting." London, 1781.
The text of Heraclius is given not from the Le Bègue manuscript, but from one less perfect, formerly at Cambridge, but now in the British Museum, Egerton 840 A, in Raspe's work—"A Critical Essay on Oil-painting." London, 1781.
[106]Muratori, "Antiq. Ital. Medii Ævi," p. 269.
Muratori, "Antiq. Ital. Medii Ævi," p. 269.
[107]The title he himself gives to his work illustrates its comprehensive character—"Theophili qui et Rugerus, Presbyteri et Monachi Libri III. de diversis Artibus, seu diversarum Artium Schedula." Translations, with excellent critical comments, have been made by the Count de l'Escalopier into French, and by Mr. Robert Hendrie into English. In the extracts here given I have followed the accurate text of the last-named gentleman.
The title he himself gives to his work illustrates its comprehensive character—"Theophili qui et Rugerus, Presbyteri et Monachi Libri III. de diversis Artibus, seu diversarum Artium Schedula." Translations, with excellent critical comments, have been made by the Count de l'Escalopier into French, and by Mr. Robert Hendrie into English. In the extracts here given I have followed the accurate text of the last-named gentleman.
[108]I cannot take leave of this good old monk, the influence exercised by whose writings during the whole of the Middle Ages is proved by the numerous transcripts of them executed at different periods, still preserved in most of the chief European libraries, without giving him credit for a pure and liberal philanthropy worthy of imitation in all ages. Nothing can be more dignified and noble than the words in which he concludes the introduction to his work. After reciting the various arts he has endeavoured to illustrate, and the sufferings and labour through which the knowledge he desires to convey to others had been acquired by himself, he winds up by saying:—"When you shall have re-read this often, and have committed it to your tenacious memory, you shall thus recompense me for this care of instruction, that, as often as you shall successfully have made use of my work, you pray for me for the pity of omnipotent God, who knows that I have written these things which are here arranged, neither through love of human approbation, nor through desire of temporal reward, nor have I stolen anything precious or rare through envious jealousy, nor have I kept back anything reserved for myself alone; but, in augmentation of the honour and glory of His name, I have consulted the progress and hastened to aid the necessities of many men."
I cannot take leave of this good old monk, the influence exercised by whose writings during the whole of the Middle Ages is proved by the numerous transcripts of them executed at different periods, still preserved in most of the chief European libraries, without giving him credit for a pure and liberal philanthropy worthy of imitation in all ages. Nothing can be more dignified and noble than the words in which he concludes the introduction to his work. After reciting the various arts he has endeavoured to illustrate, and the sufferings and labour through which the knowledge he desires to convey to others had been acquired by himself, he winds up by saying:—
"When you shall have re-read this often, and have committed it to your tenacious memory, you shall thus recompense me for this care of instruction, that, as often as you shall successfully have made use of my work, you pray for me for the pity of omnipotent God, who knows that I have written these things which are here arranged, neither through love of human approbation, nor through desire of temporal reward, nor have I stolen anything precious or rare through envious jealousy, nor have I kept back anything reserved for myself alone; but, in augmentation of the honour and glory of His name, I have consulted the progress and hastened to aid the necessities of many men."
[109]It will be found given in extenso in the 32nd vol. of "The Archæologia," pp. 183-244, with an elaborate letter from its possessor.
It will be found given in extenso in the 32nd vol. of "The Archæologia," pp. 183-244, with an elaborate letter from its possessor.
[110]There is some confusion about this word, for it is used to denote mixtures which would produce real rose-colour, light warm yellow, and a perfect drab.
There is some confusion about this word, for it is used to denote mixtures which would produce real rose-colour, light warm yellow, and a perfect drab.
[111]That is, the mineral green with the vegetable madder.
That is, the mineral green with the vegetable madder.
[112]A beautiful example may be found in Dan Lydgate's legends of St. Edmund and St. Fremund, MS. Harleian, 2278.
A beautiful example may be found in Dan Lydgate's legends of St. Edmund and St. Fremund, MS. Harleian, 2278.
[113]"Materials for a History of Oil-painting," by Charles Lock Eastlake (Lond. 1847), pp. 127, 128.
"Materials for a History of Oil-painting," by Charles Lock Eastlake (Lond. 1847), pp. 127, 128.
[114]Mr. Edwin Jewitt's little "Manual of Illuminated and Missal Painting," Mr. Randle Harrison's, Mr. Albert Warren's, and Mr. Henry M. Lucien's, published by Messrs. Barnard, of Oxford-street; Mr. J. W. Bradley's, and Mr. T. G. Goodwin's, published by Messrs. Winsor & Newton, of Rathbone Place; and Mr. Noel Humphrey's hand-book on the same subject, have no doubt proved useful to many, and helped to produce the quantity of good illumination now executed.
Mr. Edwin Jewitt's little "Manual of Illuminated and Missal Painting," Mr. Randle Harrison's, Mr. Albert Warren's, and Mr. Henry M. Lucien's, published by Messrs. Barnard, of Oxford-street; Mr. J. W. Bradley's, and Mr. T. G. Goodwin's, published by Messrs. Winsor & Newton, of Rathbone Place; and Mr. Noel Humphrey's hand-book on the same subject, have no doubt proved useful to many, and helped to produce the quantity of good illumination now executed.
[115]For illumination in water-colour on paper, cardboard, or vellum, Messrs. Winsor & Newton, Rowney, Barnard, Newman, and others, fit up boxes with special selections of all requisite materials; including all that can be wanted for the application and burnishing of gold and other metals. Messrs. Miller's "Glass Mediums, Nos. 1 and 2," and Newman's "Preparation for sizing albumenized papers," are exceedingly useful for mixing with illuminating colours; giving great hardness and body to them, and preventing them from "washing up," in working over with glazing and other tints. I have found Mr. Barbe's powder body-colours give remarkably solid tints, with great freedom in working.
For illumination in water-colour on paper, cardboard, or vellum, Messrs. Winsor & Newton, Rowney, Barnard, Newman, and others, fit up boxes with special selections of all requisite materials; including all that can be wanted for the application and burnishing of gold and other metals. Messrs. Miller's "Glass Mediums, Nos. 1 and 2," and Newman's "Preparation for sizing albumenized papers," are exceedingly useful for mixing with illuminating colours; giving great hardness and body to them, and preventing them from "washing up," in working over with glazing and other tints. I have found Mr. Barbe's powder body-colours give remarkably solid tints, with great freedom in working.
[116]This had better be bought ready prepared, since some experience is requisite in so applying the red chalk as to prevent its depositing under the weight of the hand, and yet coming off sufficiently in the line traced by the point.
This had better be bought ready prepared, since some experience is requisite in so applying the red chalk as to prevent its depositing under the weight of the hand, and yet coming off sufficiently in the line traced by the point.
[117]The experienced illuminator will generally do his writing before he gets in the outline of his ornament, and he will frequently dispense with the transferring process altogether; but it would be by no means safe for a beginner to do so.
The experienced illuminator will generally do his writing before he gets in the outline of his ornament, and he will frequently dispense with the transferring process altogether; but it would be by no means safe for a beginner to do so.
[118]Both the cushion and tip will be described in detail under the head of Oil-gilding.
Both the cushion and tip will be described in detail under the head of Oil-gilding.
[119]The amateur may of course prepare mordants of different degrees of tenacity and body for his own use, by the employment, and various combinations, of leather and parchment size, isinglass, red lead, gum arabic, sugar, honey, glycerine, borax, plaster of Paris, bol ammoniac, glaire, and similar substances; but his time will be more profitably spent in improving himself in design than it could be (nowadays) in experimenting on the "materia technica" of art.
The amateur may of course prepare mordants of different degrees of tenacity and body for his own use, by the employment, and various combinations, of leather and parchment size, isinglass, red lead, gum arabic, sugar, honey, glycerine, borax, plaster of Paris, bol ammoniac, glaire, and similar substances; but his time will be more profitably spent in improving himself in design than it could be (nowadays) in experimenting on the "materia technica" of art.
[120]This information is principally derived from Nathaniel Whittock's "Decorative Painter's and Glazier's Guide." It gives the usual practice of "Writers to the trade," but must, of course, be modified according to the specialities of any of the historical styles adopted.
This information is principally derived from Nathaniel Whittock's "Decorative Painter's and Glazier's Guide." It gives the usual practice of "Writers to the trade," but must, of course, be modified according to the specialities of any of the historical styles adopted.
[121]Japanners' gilding is a branch of oil-gilding, the size or ground being made with 1 pound of linseed oil, to which, while boiling, is added gradually 4 ounces of gum animi in powder, the whole being stirred until the gum is completely dissolved, and kept boiling till the mixture is of a thick consistence, in which state it should be strained through a thick flannel, and stored in a wide-mouthed stoppered bottle. Vermilion is ground up with the size before it is applied, to render it opaque; and if it does not leave the brush freely, it should be thinned with oil of turpentine.The gold powder may be either real gold, or what is called Dutch metal, or imitation gold. Gold powder is produced by grinding the leaf gold with pure honey on the stone till it is perfectly reduced to powder, and afterwards dissolving the mixture in water till the honey is completely removed, and for this several waters are necessary; the water is then poured off, and the powder dried. If this gold be mixed up with weak gum-water and spread upon cockle-shells, it is then called shell gold, which is used in drawings only.The Dutch gold powder is made by reducing the Dutch leaf gold by exactly the same process; and if well protected by varnishing, its appearance is little inferior to the genuine metal. There is another method of procuring gold powder, which is by precipitating grain gold into powder by means of aqua regia, which is made by dissolving four parts of pure spirit of nitre and one part of sal ammoniac in powder. This process was (as has been already stated) well known to the mediæval illuminators. In 4 ounces of this compound, ½ an ounce of grain gold is dissolved under the action of a slight heat; a solution of green vitriol, consisting of copperas 1 dram, water 1 ounce, being gradually added. When the precipitation has ceased, the gold powder must be carefully washed and dried, and will be found to be more brilliant than that made from leaf gold. The use of japanners' gold-size is very similar to oil-gilding, and is equally simple. If the material to be gilded is brought to a smooth and clean face, the size may be laid on at once without other preparation; using great care, however, not to touch any part but what you wish to gild, as the gold will adhere wherever there is size. Priming with a mixture of chalk and size is sometimes used for a first coat, but not by the best japanners, as the work is liable to chip off; no material should therefore be japanned which cannot be made smooth. For hard or close-grained wood, metal, leather, or paper, one or two coats of varnish will answer all requirements; very great care being observed that each coat of varnish be perfectly dry and hard before it is again touched. It is a good practice to allow the work to stand a day or two between the applications; then the japanners' gold-size may be added, and touching with the finger as before described will indicate the proper state for applying the gold, whether in leaf or powder. Either may be employed; but in the case of colours being intermixed and subsequently varnished, the powder is usually adopted; it is easily laid on by means of a camel-hair brush, the work being set aside to get thoroughly dry, when the superfluous metal is removed with a soft brush. In case more size should have been prepared than is needed, the remainder, if water be poured over it, will keep for future use.
Japanners' gilding is a branch of oil-gilding, the size or ground being made with 1 pound of linseed oil, to which, while boiling, is added gradually 4 ounces of gum animi in powder, the whole being stirred until the gum is completely dissolved, and kept boiling till the mixture is of a thick consistence, in which state it should be strained through a thick flannel, and stored in a wide-mouthed stoppered bottle. Vermilion is ground up with the size before it is applied, to render it opaque; and if it does not leave the brush freely, it should be thinned with oil of turpentine.
The gold powder may be either real gold, or what is called Dutch metal, or imitation gold. Gold powder is produced by grinding the leaf gold with pure honey on the stone till it is perfectly reduced to powder, and afterwards dissolving the mixture in water till the honey is completely removed, and for this several waters are necessary; the water is then poured off, and the powder dried. If this gold be mixed up with weak gum-water and spread upon cockle-shells, it is then called shell gold, which is used in drawings only.
The Dutch gold powder is made by reducing the Dutch leaf gold by exactly the same process; and if well protected by varnishing, its appearance is little inferior to the genuine metal. There is another method of procuring gold powder, which is by precipitating grain gold into powder by means of aqua regia, which is made by dissolving four parts of pure spirit of nitre and one part of sal ammoniac in powder. This process was (as has been already stated) well known to the mediæval illuminators. In 4 ounces of this compound, ½ an ounce of grain gold is dissolved under the action of a slight heat; a solution of green vitriol, consisting of copperas 1 dram, water 1 ounce, being gradually added. When the precipitation has ceased, the gold powder must be carefully washed and dried, and will be found to be more brilliant than that made from leaf gold. The use of japanners' gold-size is very similar to oil-gilding, and is equally simple. If the material to be gilded is brought to a smooth and clean face, the size may be laid on at once without other preparation; using great care, however, not to touch any part but what you wish to gild, as the gold will adhere wherever there is size. Priming with a mixture of chalk and size is sometimes used for a first coat, but not by the best japanners, as the work is liable to chip off; no material should therefore be japanned which cannot be made smooth. For hard or close-grained wood, metal, leather, or paper, one or two coats of varnish will answer all requirements; very great care being observed that each coat of varnish be perfectly dry and hard before it is again touched. It is a good practice to allow the work to stand a day or two between the applications; then the japanners' gold-size may be added, and touching with the finger as before described will indicate the proper state for applying the gold, whether in leaf or powder. Either may be employed; but in the case of colours being intermixed and subsequently varnished, the powder is usually adopted; it is easily laid on by means of a camel-hair brush, the work being set aside to get thoroughly dry, when the superfluous metal is removed with a soft brush. In case more size should have been prepared than is needed, the remainder, if water be poured over it, will keep for future use.