Plate IIFrom the Charlemagne Bible, British Museum, Add. 10,546.
From the Charlemagne Bible, British Museum, Add. 10,546.
From the Charlemagne Bible, British Museum, Add. 10,546.
Plate IIIFrom the Charlemagne Bible, British Museum, Add. 10,546.
From the Charlemagne Bible, British Museum, Add. 10,546.
From the Charlemagne Bible, British Museum, Add. 10,546.
The special convenience of illuminating upon canvass is, that instead of the operator having to work either from a ladder or scaffold, or on a vertical or horizontal surface, he may do all that is necessary at an easel or on a table on terra firma. His work when completed may be cut out of the sheet of canvass on which it has been painted, and may be fastened to the wall, ceiling, or piece of furniture for the decoration of which it may have been intended. All that is essential, with respect to the designs which may be wrought upon it, is, to take care that they are fitted for the situations they may be ultimately intended to occupy. Thus it must be obvious that it would be an entire waste of time to elaborate designs destined to be fixed many yards from the eye, as minutely as those which would be in immediate proximity to it. No branch of designing illuminated or other ornament requires greater experience to succeed in than the adjustment of the size of parts and patterns to the precise conditions of light, distance, foreshortening, &c., under which they are most likely to be viewed.
Illumination on plaster may be executed either in distemper, if the walls or ceiling have been sized only, or in oil if they have been brought forward in oil-colours. The former is the most rapid, but least durable process. Hence decoration is usually applied in oil to walls which are liable to be rubbed and brushed against, and in distemper, to ceilings, which are, comparatively speaking, out of harm's way. Very pretty decorations on plaster may be executed by combining hand-worked illumination with diapered or other paper-hangings. Thus, for instance, taking one side of a room, say about eleven feet high, to the under-side of the plaster cornice, mark off about a foot in depth on the wall from the bottom of the cornice, set out the width of the wall into three or more panels, dividing the panels by upright pilasters of the same width as the depth of the top border. At the height of about four feet from the ground mark off the top edge of another horizontal band, which make also one foot deep; continue on the lines of the pilasters to within six inches of the top of the skirting, and draw in a horizontal border, six inches high, running all round upon the top edge of the skirting: then paint, in a plain colour, a margin, three or four inches wide, all round the panels formed by the bands and pilasters, and let the paper-hanger fill in the panels with any pretty diapered paper which may agree with the style and colour in which you may desire to work your illumination. The side of your room will then present two horizontal lines—one next the cornice, and one at about dado-height, suitable for the reception of illuminated inscriptions. In setting these out, care must be taken to bring a capital letter into a line with the centre of each pilaster, so that a foliated ornament, descending from the upper inscription, and ascending from the lower one, may meet and intertwine on the pilasters, forming panelled compartments for the introduction of subjects, if thought desirable.[99]
It is by no means necessary for the sides of these pilasters, or the bounding lines of the bands containing inscriptions, to be kept straight; they may be varied at pleasure, so long as they are kept symmetrical in corresponding parts, and uniformly filled up with foliation emanating from, or connected with, the illuminated letters. Agreeable results may be produced by variations of such arrangements as the one suggested. Frequently round doors, windows, fireplaces, &c., inscriptions may be executed with very good effect, either on label-scrolls or simple borders, and with greater or less brilliancy of colour, according to the circumstances of the case. Often simplicity and quiet have greater charms than glitter or brilliancy; thus black and red, on a light-coloured ground, the most primitive combination in the history of writing, is always sure to produce an agreeable impression: blue, crimson, or marone on gold, orvice versâ, are no less safe: black, white, and gold, counterchanged, can hardly go wrong.
Few amateurs will be likely to attempt illuminations upon plaster ceilings, owing to the great difficulty they will experience in working overhead with a steady hand. They will generally do wisely—to execute the principal portions on paper, tracing-paper, or canvas,—to fasten them up, as will be hereafter directed,—and to confine the decoration actually painted on the ceiling, to a few panels, lines, or plain bands of colour, which may be readily executed by any clever house-painter or grainer, even if altogether ignorant of drawing and the art of design. The most beautiful illuminated ceiling of mediæval times I believe to be that of the chapel in the celebrated Jacques Cœur's house, at Bourges, in France. It is vaulted, and each compartment contains inscribed labels held by floating angels. The white draperies of the angels are relieved on a delicate blue ground only, so that the stronger contrast of the black writing on the white labels gives a marked predominance to the inscriptions; which, being arranged symmetrically, produce in combination agreeable geometrical figures.
Most of the preceding remarks apply equally to stone; but in reference to that material, there is one point to specially enforce,—namely, the advisability of not covering the whole of the surface with paint. There is about all stone a peculiar granulation, and in many varieties a slight silicious sparkle, which it is always well to preserve as far as possible. Illuminate, by all means, inscriptions, panels, friezes, &c., colour occasionally the hollows of mouldings, and gild salient members sufficiently to carry the colour about the monument, whether it may be a font, a pulpit, a tomb, a reredos, a staircase, a screen, or a doorway, and prevent the highly-illuminated portion from looking spotty and unsupported; but by no means apply paint all over. It is not necessary to produce a good effect; it destroys the surface and appearance of the stone, making it of no more worth than if it were plaster, and it clogs up all the fine arrises and angles of the moulded work or carving. Wherever stained glass is inserted in stonework, the application of illumination, or at any rate of coloured diaper-work of an analogous nature, is almost an imperative necessity, in order to balance the appearance of chill and poverty given to the stonework by its contrast with the brilliant translucent tints of the painted glass. In illuminating stonework, it seldom answers to attempt to apply decoration executed on paper or canvass; it should in all cases (excepting when it is at a great distance from the eye) be done upon the stone itself. The only exception is the one to which I shall allude in speaking of metal.
Slate, although from its portability and non-liability to change its shape under variations of temperature, a convenient material for filling panels, and forming slabs for attachment to walls, is not to be recommended to the amateur, owing to the difficulty he will experience in effecting a good and safe adhesion between his pigments and the surface of the slate. In what is called enamelled slate, an excellent attachment is secured by gradually and repeatedly raising the slate to a high temperature; but the process would be far too troublesome and expensive for practice by the great majority of amateurs.
Metal in thin sheets is liable only to the objection from which slate is free,—namely, that it is difficult to keep its surface from undulation in changes of temperature. In all other respects, both zinc, copper, lead, and iron, bind well with any oleaginous vehicle, and offer the great convenience that they may be cut out to any desired shape, and attached to any other kind of material by nails, screws, or even by strong cements, such as marine glue. Zinc is, perhaps, the best of all, as it cuts more readily than copper or iron, and keeps its shape better than lead; care should, however, be always taken to hang it from such points as shall allow it to freely contract and expand. If this is not attended to, its surface will never remain flat. It is a material particularly well adapted for cutting out into labels to surmount door and window arches, or to fill the arcading of churches and chapels, and to be illuminated with texts or other inscriptions. Very beautiful effects may be produced by combining illumination with the polished brass-work which is now so admirably manufactured by Messrs. Hardman, Hart, and others. Care should, however, be taken not to overdo any objects of this nature. Let the main lines of construction always remain unpainted, so that there may be no question as to the substance in which the article is made, and restrict the application of coloured ornament or lettering to panels, and, generally speaking, to the least salient forms. Of course, where it can be afforded, enamelling offers the most legitimate mode of illuminating metal-work; and ere long it is to be hoped that the beautiful series of processes by means of which so much durable beauty of colour was conferred on Mediæval metal-work may be restored to their proper position in British Industry, and popularized as they should, and, I believe, might readily be.
To woodwork, illumination may be made a most fitting embellishment; and the application of a very little art will speedily be found to raise the varnished deal cabinet or bookcase far above the majority of our standard "institutions" in the way of heavy and expensive mahogany ones, in interest at least, if not in money value. Almost every article of furniture may thus be made, as it were, to speak and sympathize; for the return every decorated object makes to the decorator is always in direct proportion to the amount of life and thought he has put into his work. It is a common saying, that, "what comes from the heart goes to the heart;" and in nothing does it hold good more than in the production of works of art of all kinds, including Illumination, which, through its special dealing with written characters, has so direct an access to the intellect and affections.
In all appeals the decorative artist can make to the brain through the eye, he has open to him two distinct channels of communication in making out the scheme of his ornamentation,—the one by employing conventional forms,—and the other by introducing representations of natural objects. In the former he usually eschews light, shade, and accidental effects altogether; and in the latter he aims at reproducing the aspect of the object he depicts as nearly as possible as it appears to him. Both modes have found favour in the eyes of the great illuminators of old, and by the best they have been frequently and successfully blended. Under the "conventional" series maybe classed all productions dependent on either an Oriental or Hiberno-Saxon origin; among the "natural," the later, Netherlandish, Italian, and French illuminations may be generally grouped; and, in a mixed style, the majority of the book-decorations of the Mediæval period.
To be enabled to recognize intuitively how to blend or contrast, to adopt or avoid, these different modes of treatment of ornament, is given to but few, and is revealed to those few only, after years of study and of practice. Rules may assist,[100]but can never suffice to communicate the power; work of the most arduous kind, and persistent observation, can alone bestow it. Still, with good models upon which to base his variations, and goodwill, the amateur may do much, and will probably best succeed by recurring incessantly to Nature, and combining direct, or nearly direct, imitation of Nature with geometrical lines and masses of colour symmetrically disposed. To aid his footsteps in this direction, I know no more convenient councillor than Mr. Llewellyn Jewitt, whose historical introduction to his brother's "Manual of Illuminated and Missal Painting" contains some just remarks upon the subject.[101]
Plate IVFrom British Museum, Harl. 2804.
From British Museum, Harl. 2804.
From British Museum, Harl. 2804.
Having thus rapidly touched upon the series of materials upon which the Art may be brought to bear, and the leading principles of design suitable under different circumstances, I proceed to suggest the class of "legends," as the mediæval decorators called them, likely to prove most fitting for special situations. No doubt many more apt and piquant may suggest themselves to some practical illuminators than the few I have culled (with the assistance of one or two kind friends), principally from old English writers; but to others, those I now present may not be without, at any rate, a convenient suggestiveness. Something similar to the following I would recommend for the embellishment of ceilings, friezes, string-courses, or flat walls of the different apartments indicated. Of some I have given four lines—one, say, for each side of a room; of others but a line, such as might go over a door. Between the two are many suitable for panels or irregular situations; and in one or two cases passages of many lines have been chosen, fit for illumination on vellum or paper, and for framing to hang up in the apartments specified, or to be inserted in panels or furniture or on screens.
FOR DRAWING-ROOMS."For trouble in earth take no melancholy;Be rich in patience, if thou in goods be poor.Who lives merry, he lives mightily;Without gladness avails no treasùre."Wm. Dunbar."Since earthly joy abideth never,Work for the joy that lestis ever;For other joy is all in vain;All earthly joy returns in pain."Idem."Who shuts his hand hath lost his gold;Who opens it, hath it twice told."George Herbert."No bliss so great but cometh to an end;No hap so hard but may in time amend."Robert Southwell."Freedom all solace to man gives;He lives at ease, that freely lives."John Barbour."That which is not good, is not deliciousTo a well-governed and wise appetite."Milton.
FOR DRAWING-ROOMS.
"For trouble in earth take no melancholy;
Be rich in patience, if thou in goods be poor.
Who lives merry, he lives mightily;
Without gladness avails no treasùre."
Wm. Dunbar.
"Since earthly joy abideth never,
Work for the joy that lestis ever;
For other joy is all in vain;
All earthly joy returns in pain."
Idem.
"Who shuts his hand hath lost his gold;
Who opens it, hath it twice told."
George Herbert.
"No bliss so great but cometh to an end;
No hap so hard but may in time amend."
Robert Southwell.
"Freedom all solace to man gives;
He lives at ease, that freely lives."
John Barbour.
"That which is not good, is not delicious
To a well-governed and wise appetite."
Milton.
FOR A STUDIO."Order is Nature's beauty, and the wayTo order is by rules that Art hath found."Gwillim.
FOR A STUDIO.
"Order is Nature's beauty, and the way
To order is by rules that Art hath found."
Gwillim.
FOR A FAMILY PORTRAIT-GALLERY OR HALL."Boast not the titles of your ancestors,Brave youths: they're their possessions, none of yours.When your own virtues equall'd have their names,'Twill be but fair to lean upon their fames,For they are strong supporters; but till thenThe greatest are but growing gentlemen."Ben Jonson.
FOR A FAMILY PORTRAIT-GALLERY OR HALL.
"Boast not the titles of your ancestors,
Brave youths: they're their possessions, none of yours.
When your own virtues equall'd have their names,
'Twill be but fair to lean upon their fames,
For they are strong supporters; but till then
The greatest are but growing gentlemen."
Ben Jonson.
FOR BREAKFAST OR DINING ROOMS."A good digestion turneth all to health."Wordsworth."If anything be set to a wrong taste,'Tis not the meat there, but the mouth's displeased.Remove but that sick palate, all is well."Ben Jonson."Nature's with little pleased, enough's a feast;A sober life but a small charge requires;But man, the author of his own unrest,The more he has, the more he still requires.""To bread or drink, to flesh or fish,Yet welcome is the best dish."John Heywood."It is the fair acceptance, Sir, createsThe entertainment perfect, not the cates."Ben Jonson,Epigrams, ci."No simple wordThat shall be utter'd at our mirthful board,Shall make us sad next morning."Ibid."To spur beyondIts wiser will the jaded appetite,Is this for pleasure? Learn a juster taste,And know that temperance is true luxury."Armstrong,Art of Preserving Health, book ii."What an excellent thing did God bestow on man,When He did give him a good stomach!"Beaumont and Fletcher.
FOR BREAKFAST OR DINING ROOMS.
"A good digestion turneth all to health."
Wordsworth.
"If anything be set to a wrong taste,
'Tis not the meat there, but the mouth's displeased.
Remove but that sick palate, all is well."
Ben Jonson.
"Nature's with little pleased, enough's a feast;
A sober life but a small charge requires;
But man, the author of his own unrest,
The more he has, the more he still requires."
"To bread or drink, to flesh or fish,
Yet welcome is the best dish."
John Heywood.
"It is the fair acceptance, Sir, creates
The entertainment perfect, not the cates."
Ben Jonson,Epigrams, ci.
"No simple word
That shall be utter'd at our mirthful board,
Shall make us sad next morning."
Ibid.
"To spur beyond
Its wiser will the jaded appetite,
Is this for pleasure? Learn a juster taste,
And know that temperance is true luxury."
Armstrong,Art of Preserving Health, book ii.
"What an excellent thing did God bestow on man,
When He did give him a good stomach!"
Beaumont and Fletcher.
"The stomach is the mainspring of our system. If it be not sufficiently wound up to warm the heart and support the circulation, we can neither
Thinkwith precision,Sleepwith tranquillity,Walkwith vigour,Or sit down with comfort."Dr. Kitchener.
Thinkwith precision,
Sleepwith tranquillity,
Walkwith vigour,
Or sit down with comfort."
Dr. Kitchener.
"The destiny of Nations has often depended upon the digestion of a Prime Minister."—Dr. Kitchener.
"Is't a time to talkWhen we should be munching?"Justice Greedy, inMassinger'sNew Way to pay Old Debts."No roofs of gold o'er riotous tables shining,Whole days and sums devoured with endless dining."Crashaw'sReligious House."Now good digestion wait on appetite,And health on both."Shakspere."When you doubt, abstain."Zoroaster."Where there is no peace, there is no feast."Clarendon."Not meat, but cheerfulness, makes the feast.""Who carves, is kind to two; who talks, to all."George Herbert.
"Is't a time to talk
When we should be munching?"
Justice Greedy, inMassinger'sNew Way to pay Old Debts.
"No roofs of gold o'er riotous tables shining,
Whole days and sums devoured with endless dining."
Crashaw'sReligious House.
"Now good digestion wait on appetite,
And health on both."
Shakspere.
"When you doubt, abstain."
Zoroaster.
"Where there is no peace, there is no feast."
Clarendon.
"Not meat, but cheerfulness, makes the feast."
"Who carves, is kind to two; who talks, to all."
George Herbert.
FOR KITCHENS."A feast must be without a fault;And if 'tis not all right, 'tis nought."King'sArt of Cookery."Good-nature will some failings overlook,Forgive mischance, not errors of the cook."Ibid.
FOR KITCHENS.
"A feast must be without a fault;
And if 'tis not all right, 'tis nought."
King'sArt of Cookery.
"Good-nature will some failings overlook,
Forgive mischance, not errors of the cook."
Ibid.
FOR SUPPER-ROOMS."Oppress not nature sinking down to restWith feasts too late, too solid, or too full."Armstrong,Art of Preserving Health."As menDo walk a mile, women should talk an hourAfter supper: 'tis their exercise."Ben Jonson,Philaster, act 2, sc. 4.
FOR SUPPER-ROOMS.
"Oppress not nature sinking down to rest
With feasts too late, too solid, or too full."
Armstrong,Art of Preserving Health.
"As men
Do walk a mile, women should talk an hour
After supper: 'tis their exercise."
Ben Jonson,Philaster, act 2, sc. 4.
FOR STILL-ROOMS."The nature of flowers Dame Physic doth show;She teaches them all to be known to a few."Tusser,Five Hundred Points of Good Husbandry."The knowledge of stilling is one pretty feat,The waters be wholesome, the charges not great."Id. ibid.
FOR STILL-ROOMS.
"The nature of flowers Dame Physic doth show;
She teaches them all to be known to a few."
Tusser,Five Hundred Points of Good Husbandry.
"The knowledge of stilling is one pretty feat,
The waters be wholesome, the charges not great."
Id. ibid.
FOR A STORE-ROOM."He that keeps nor crust nor crumb,Weary of all, he shall want some."Shakspere.
FOR A STORE-ROOM.
"He that keeps nor crust nor crumb,
Weary of all, he shall want some."
Shakspere.
FOR MUSIC-ROOMS."Music removeth care, sadness ejects,Declineth anger, persuades clemency;Doth sweeten mirth, and heighten piety,And is to a body, often ill inclined,No less a sovereign cure than to the mind."Ben Jonson."Here will we sit, and let the sounds of musicCreep in our ears."Shakspere,Merchant of Venice."Play on and give me surfeit."Ibid.
FOR MUSIC-ROOMS.
"Music removeth care, sadness ejects,
Declineth anger, persuades clemency;
Doth sweeten mirth, and heighten piety,
And is to a body, often ill inclined,
No less a sovereign cure than to the mind."
Ben Jonson.
"Here will we sit, and let the sounds of music
Creep in our ears."
Shakspere,Merchant of Venice.
"Play on and give me surfeit."
Ibid.
FOR SMOKING-ROOMS."Tobacco's a physician,Good both for sound and sickly;'Tis a hot perfume,That expels cold rheum,And makes it flow down quickly."Barten Holliday."Tobacco hic! Tobacco hic!If you are well, 'twill make you sick;Tobacco hic! Tobacco hic!Twill make you well, if you are sick."
FOR SMOKING-ROOMS.
"Tobacco's a physician,
Good both for sound and sickly;
'Tis a hot perfume,
That expels cold rheum,
And makes it flow down quickly."
Barten Holliday.
"Tobacco hic! Tobacco hic!
If you are well, 'twill make you sick;
Tobacco hic! Tobacco hic!
Twill make you well, if you are sick."
FOR DRINKING-ROOMS."Backe and syde goo bare goo bare,Both hande and fote goo colde;But belly, God sende the gode ale inoughe,Whether hyt be newe or olde."Bp. Still, inGammer Gurton's Needle."The first draught serveth for health,The second for pleasure,The third for shame,The fourth for madness.""The greatness that would make us graveIs but an empty thing;What more than mirth would mortals have:The cheerful man's a king."Isaac Bickerstaff.
FOR DRINKING-ROOMS.
"Backe and syde goo bare goo bare,
Both hande and fote goo colde;
But belly, God sende the gode ale inoughe,
Whether hyt be newe or olde."
Bp. Still, inGammer Gurton's Needle.
"The first draught serveth for health,
The second for pleasure,
The third for shame,
The fourth for madness."
"The greatness that would make us grave
Is but an empty thing;
What more than mirth would mortals have:
The cheerful man's a king."
Isaac Bickerstaff.
FOR PUBLIC COFFEE-ROOMS."If you your lips would keep from slips,Five things observe with care:Of whom you speak, to whom you speak,And how, and when, and where.""Every creature was decreedTo aid each other's mutual need."Gay.
FOR PUBLIC COFFEE-ROOMS.
"If you your lips would keep from slips,
Five things observe with care:
Of whom you speak, to whom you speak,
And how, and when, and where."
"Every creature was decreed
To aid each other's mutual need."
Gay.
FOR BILLIARD-ROOMS."The love of gaming is the worst of ills;With ceaseless storms the blacken'd soul it fills,Inveighs at Heaven, neglects the ties of blood,Destroys the power and will of doing good;Kills health, poisons honour, plunges in disgrace."Young,4th Satire."Play not for gain, but sport: who plays for moreThan he can lose with pleasure, stakes his heart,Perhaps his wife too, and whom she hath bore."Geo. Herbert,The Church Porch.
FOR BILLIARD-ROOMS.
"The love of gaming is the worst of ills;
With ceaseless storms the blacken'd soul it fills,
Inveighs at Heaven, neglects the ties of blood,
Destroys the power and will of doing good;
Kills health, poisons honour, plunges in disgrace."
Young,4th Satire.
"Play not for gain, but sport: who plays for more
Than he can lose with pleasure, stakes his heart,
Perhaps his wife too, and whom she hath bore."
Geo. Herbert,The Church Porch.
FOR BEDROOMS."Rise with the lark, and with the lark to bed;The breath of night's destructive to the hueOf every flower that blows.* * * Oh, there is a charmWhich morning has, that gives the brow of ageA smack of youth, and makes the life of youthShed perfume exquisite. Expect it not,Ye who till noon upon a down bed lie,Indulging feverous sleep."Hurdis,Village Curate."Watch and ward,And stand on your guard."Izaak Walton."Sleep is Nature's second course."
FOR BEDROOMS.
"Rise with the lark, and with the lark to bed;
The breath of night's destructive to the hue
Of every flower that blows.
* * * Oh, there is a charm
Which morning has, that gives the brow of age
A smack of youth, and makes the life of youth
Shed perfume exquisite. Expect it not,
Ye who till noon upon a down bed lie,
Indulging feverous sleep."
Hurdis,Village Curate.
"Watch and ward,
And stand on your guard."
Izaak Walton.
"Sleep is Nature's second course."
UPON A LOOKING-GLASS."Since as you know, you cannot see yourselfSo well as by reflection, I your glassWill modestly discover to yourselfThat of yourself which you yet know not of."Shakspere.
UPON A LOOKING-GLASS.
"Since as you know, you cannot see yourself
So well as by reflection, I your glass
Will modestly discover to yourself
That of yourself which you yet know not of."
Shakspere.
FOR LADIES' BOUDOIRS."Birth,beauty,wealth, are nothing worth alone.All these I would for good additions take:Tis the mind's beauty keeps theotherssweet."Sir Thomas Overbury,The Wife."'Tis beauty that doth oft make women proud;'Tis virtue that doth make them most admired;'Tis modesty that makes them seem divine."Shakspere.
FOR LADIES' BOUDOIRS.
"Birth,beauty,wealth, are nothing worth alone.
All these I would for good additions take:
Tis the mind's beauty keeps theotherssweet."
Sir Thomas Overbury,The Wife.
"'Tis beauty that doth oft make women proud;
'Tis virtue that doth make them most admired;
'Tis modesty that makes them seem divine."
Shakspere.
FOR A DRESSING-ROOM."The apparel oft proclaims the man."
FOR A DRESSING-ROOM.
"The apparel oft proclaims the man."
FOR SCHOOLROOMS."Extend generosity, it is profuseness;Confine economy, it is avarice;Unbridle courage, it is rashness;Indulge sensibility, it is weakness.""Catch Time by the forelock; he's bald behind.""Nothing is truly good that may be excell'd."Motto of King Arthur's Table."He may do what he will that will but do what he may."Arthur Warwick."God dwelleth near about us,Ever within,Working the goodness,Consuming the sin."Fulke Greville, Lord Brooke, born 1554.
FOR SCHOOLROOMS.
"Extend generosity, it is profuseness;
Confine economy, it is avarice;
Unbridle courage, it is rashness;
Indulge sensibility, it is weakness."
"Catch Time by the forelock; he's bald behind."
"Nothing is truly good that may be excell'd."
Motto of King Arthur's Table.
"He may do what he will that will but do what he may."
Arthur Warwick.
"God dwelleth near about us,
Ever within,
Working the goodness,
Consuming the sin."
Fulke Greville, Lord Brooke, born 1554.
FOR LIBRARIES, STUDIES, AND BOOK-ROOMS.
"Reading furnishes the mind only with materials of knowledge: it is thinking makes what we read ours. We are of the ruminating kind, and it is not enough to cram ourselves with a great load of collections: unless we chew them over again, they will not give us strength or nourishment."—Locke.
"Crafty men contemn studies; simple men admire them; and wise men use them."—Bacon.
"Read not to contradict and refute, nor to believe and take for granted, nor to find talk and discourse, but to weigh and consider."—Idem.
"Some books are to be tasted, others to be swallowed, and some few to be chewed and digested: that is, some books are to be read only in parts; others to be read, but not curiously; and some few to be read wholly, and with diligence and attention."—Idem.
"In reading, we hold converse with the wise; in the business of life, generally with the foolish."—Bacon.
"That place that doesContain my books, the best companions, isTo me a glorious court, where hourly IConverse with the old sages and philosophers."J. Fletcher."Bookes are a part of man's prerogative,In formal inke they thoughts and voyces hold,That we to them our solitude may give,And make time present travel that of old.Our life fame peceth longer at the end,And bookes it farther backward doe extend."Sir Thomas Overbury,The Wife."Books should for one of these four ends conduce,—For wisdom, piety, delight, or use."Sir John Denham."Cease not to learne until thou cease to live;Think that day lost wherein thou draw'st no letter,Nor gain'st no lesson, that new grace may giveTo make thyself learneder, wiser, better."Quadrains of Pibrac, translated byJoshua Sylvester."Who readeth much and never meditates,Is like a greedy eater of much food,Who so surcloyes his stomach with his cates,That commonly they do him little good."Ibid.
"That place that does
Contain my books, the best companions, is
To me a glorious court, where hourly I
Converse with the old sages and philosophers."
J. Fletcher.
"Bookes are a part of man's prerogative,
In formal inke they thoughts and voyces hold,
That we to them our solitude may give,
And make time present travel that of old.
Our life fame peceth longer at the end,
And bookes it farther backward doe extend."
Sir Thomas Overbury,The Wife.
"Books should for one of these four ends conduce,—
For wisdom, piety, delight, or use."
Sir John Denham.
"Cease not to learne until thou cease to live;
Think that day lost wherein thou draw'st no letter,
Nor gain'st no lesson, that new grace may give
To make thyself learneder, wiser, better."
Quadrains of Pibrac, translated byJoshua Sylvester.
"Who readeth much and never meditates,
Is like a greedy eater of much food,
Who so surcloyes his stomach with his cates,
That commonly they do him little good."
Ibid.
"Reading maketh a full man, conference a ready man, and writing an exact man."—Bacon'sEssays—Of Studies.
"Calm let me live, and every care beguile,—Hold converse with the great of every time,The learn'd of ev'ry class, the good of ev'ry clime."Rev. Samuel Bishop."Of things that be strange,Who loveth to read,In these books let him rangeHis fancy to feed."Richard Robinson.
"Calm let me live, and every care beguile,—
Hold converse with the great of every time,
The learn'd of ev'ry class, the good of ev'ry clime."
Rev. Samuel Bishop.
"Of things that be strange,
Who loveth to read,
In these books let him range
His fancy to feed."
Richard Robinson.
FOR MUSEUMS OR LABORATORIES."O mickle is the powerful grace that liesIn herbs, plants, stones, and their true qualities:For nought's so vile that on the earth doth live,But to the earth some special good doth give."Shakspere."Speak to the earth, and it shall teach thee."Solomon.
FOR MUSEUMS OR LABORATORIES.
"O mickle is the powerful grace that lies
In herbs, plants, stones, and their true qualities:
For nought's so vile that on the earth doth live,
But to the earth some special good doth give."
Shakspere.
"Speak to the earth, and it shall teach thee."
Solomon.
FOR A SURGICAL MUSEUM."There is no theam more plentifull to scan,Than is the glorious, goodly frame of Man."Joshua Sylvester'sDu Bartas, 6th day.
FOR A SURGICAL MUSEUM.
"There is no theam more plentifull to scan,
Than is the glorious, goodly frame of Man."
Joshua Sylvester'sDu Bartas, 6th day.
FOR JUSTICE-ROOMS."'Tis not enough that thou do no man wrong,—Thou even in others must suppress the same,Righting the weake against th' unrighteous strong,Whether it touch his life, his goods, his name."Quadrains of Pibrac, trans. byJoshua Sylvester."Upon the Law thy Judgments always ground,And not on man: For that's affection-less.But man in Passions strangely doth abound;Th' one all like God: Th' other too like to beasts."Id. cod.
FOR JUSTICE-ROOMS.
"'Tis not enough that thou do no man wrong,—
Thou even in others must suppress the same,
Righting the weake against th' unrighteous strong,
Whether it touch his life, his goods, his name."
Quadrains of Pibrac, trans. byJoshua Sylvester.
"Upon the Law thy Judgments always ground,
And not on man: For that's affection-less.
But man in Passions strangely doth abound;
Th' one all like God: Th' other too like to beasts."
Id. cod.
FOR CASINOS OR SUMMER-HOUSES."Abusèd mortals, did you knowWhere joy, heart's ease, and comfort grow,You'd scorn proud towers,And seek them in these bowers;Where winds, perhaps, sometimes our woods may shake,But blustering care can never tempest make."Sir Henry Wotton."We trample grasse, and prize the flowers of May;Yet grasse is greene when flowers doe fade away."Robert Southwell."Blest who no false glare requiring,Nature's rural sweets admiring,Can, from grosser joys retiring,Seek the simple and serene."Isaac Bickerstaff.
FOR CASINOS OR SUMMER-HOUSES.
"Abusèd mortals, did you know
Where joy, heart's ease, and comfort grow,
You'd scorn proud towers,
And seek them in these bowers;
Where winds, perhaps, sometimes our woods may shake,
But blustering care can never tempest make."
Sir Henry Wotton.
"We trample grasse, and prize the flowers of May;
Yet grasse is greene when flowers doe fade away."
Robert Southwell.
"Blest who no false glare requiring,
Nature's rural sweets admiring,
Can, from grosser joys retiring,
Seek the simple and serene."
Isaac Bickerstaff.
FOR A COUNTING-HOUSE."Omnia Somnia.""Gae, silly worm, drudge, trudge, and travell,So thou maist gainSome honour or some golden gravell:But Death the while to fill his number,With sudden callTakes thee from all,To prove thy daies but dream and slumber."Joshua Sylvester,Mottoes.
FOR A COUNTING-HOUSE.
"Omnia Somnia."
"Gae, silly worm, drudge, trudge, and travell,
So thou maist gain
Some honour or some golden gravell:
But Death the while to fill his number,
With sudden call
Takes thee from all,
To prove thy daies but dream and slumber."
Joshua Sylvester,Mottoes.
FOR OFFICES OR WORKSHOPS."Have more than thou showest;Speak less than thou knowest;Lend more than thou owest;Learn more than thou trowest."Shakspere."A spending hand that always poureth out,Had need to have a bringer-in as fast;And on the stone that still doth turn aboutThere groweth no moss: these proverbs yet do last."Sir T. Wyatt."How many might in time have wise been made,Before their time, had they not thought them so?What artist e'er was master of his tradeYer he began his prenticeship to know?"To some one act apply thy whole affection,And in the craft of others seldom mell;But in thine own strive to attain perfection,For 'tis no little honour to excell."Quadrains of Pibrac, translated byJoshua Sylvester."If youth knew what age would crave,Youth would then both get and save.""Flee, flee, the idle brain;Flee, flee from doing nought;For never was there idle brain,But bred an idle thought."
FOR OFFICES OR WORKSHOPS.
"Have more than thou showest;
Speak less than thou knowest;
Lend more than thou owest;
Learn more than thou trowest."
Shakspere.
"A spending hand that always poureth out,
Had need to have a bringer-in as fast;
And on the stone that still doth turn about
There groweth no moss: these proverbs yet do last."
Sir T. Wyatt.
"How many might in time have wise been made,
Before their time, had they not thought them so?
What artist e'er was master of his trade
Yer he began his prenticeship to know?
"To some one act apply thy whole affection,
And in the craft of others seldom mell;
But in thine own strive to attain perfection,
For 'tis no little honour to excell."
Quadrains of Pibrac, translated byJoshua Sylvester.
"If youth knew what age would crave,
Youth would then both get and save."
"Flee, flee, the idle brain;
Flee, flee from doing nought;
For never was there idle brain,
But bred an idle thought."
"Get to live; then live to use it, else it is not true that thou hast gotten."—G. Herbert.
"To him that is willing, ways are not wanting."
"To him that is willing, ways are not wanting."
FOR SHOPS."Whoso trusteth ere he know,Doth hurt himself and please his foe."Sir Thomas Wyatt."Think much of a trifle,Though small it appear;Small sands make the mountain,And moments the year."
FOR SHOPS.
"Whoso trusteth ere he know,
Doth hurt himself and please his foe."
Sir Thomas Wyatt.
"Think much of a trifle,
Though small it appear;
Small sands make the mountain,
And moments the year."
FOR A BELL-TURRET."We take no note of timeBut from its loss; to give it then a tongueIs wise in man."Young'sNight Thoughts.
FOR A BELL-TURRET.
"We take no note of time
But from its loss; to give it then a tongue
Is wise in man."
Young'sNight Thoughts.
FOR A BATHING-HOUSE."Do not fear to put thy feetNaked in the river sweet;Think nor leach, or newt, or toadWill bite thy foot, where thou hast trod."Beaumont and Fletcher,Faithful Shepherdess.
FOR A BATHING-HOUSE.
"Do not fear to put thy feet
Naked in the river sweet;
Think nor leach, or newt, or toad
Will bite thy foot, where thou hast trod."
Beaumont and Fletcher,Faithful Shepherdess.
With those still more admirable "legends" which may be selected from the Bible I do not meddle. In it golden words of comfort and admonition lie strewn so thickly, that error cannot be made by a selector. It may not be amiss, also, for the illuminator to remember, that not unfrequently "a verse may find him whom a sermon flies."
I cannot quit this portion of my theme without one word of summary, in the way of advice, to the designer of illumination, on whatever material applied. Briefly, then, let him eschew quaintness, and aim at beauty; let him not shrink from beauty in old times because it was masked in quaintness; but with a discriminating eye let him learn to winnow the chaff from the wheat, and, scattering the one to the winds, let him garner up the other in the storehouse of his memory, and for the sustenance of his artistic life; and let him rest assured that the best designers, in all ages, have been usually those who have gathered most widely and profoundly from the failures, successes, and experiences of their predecessors.
Plate VFrom British Museum, Harl. 2804.
From British Museum, Harl. 2804.
From British Museum, Harl. 2804.
Plate VIFrom British Museum, Harl. 2804.
From British Museum, Harl. 2804.
From British Museum, Harl. 2804.
On analysis it will be found that this section of my Essay resolves itself into three divisions, embracing respectively, 1stly, the ancient processes; 2ndly, the modern processes; and, 3rdly, the possible processes, not yet introduced into common use. Of the last, I do not propose speaking in the present work. Notices of the first of these might of course have been presented in the historical manual; but, upon reflection, I considered it would be most useful to the student to introduce them, in a collected form, in this place; and for the following reasons:—1stly, In order that they might not interrupt the thread of the narrative; and, 2ndly, because I considered it desirable to put the ancient and modern processes in direct contrast, so that the amateur might be the better enabled to reject what is obsolete in the former, and to revive any which might appear to promise greater technical excellence or facility than he might be enabled to obtain through the employment of the latter.
I commence, therefore, with theAncient processes.
Sir Charles Eastlake, who has profoundly studied the history and theory of the subject, has justly remarked[102]the intimate relation which, in the classical ages, existed between the physician and the painter,—the former discovering, supplying, and frequently preparing, the materials used by the latter. This ancient connection was not broken during those ages when almost all knowledge and practice of either medicine or art were limited to the walls of the cloister. The zealous fathers not only worked themselves to the best of their ability, but delighted in training up their younger brethren to perpetuate the credit and revenue derived from their skill, knowledge, and labour, by the monasteries to which they were attached. "Nor was it merely by oral instruction that technical secrets were communicated: the traditional and practical knowledge of the monks was condensed in short manuscript formulæ, sometimes on the subject of the arts alone, but oftener mixed up with chemical and medicinal receipts. These collections, still more heterogeneous in their contents as they received fresh additions from other hands, were afterwards published by secular physicians, under the title of 'Secreta.' The earliest of such manuals serve to show the nature of the researches which were undertaken in the convents for the practical benefit of the arts. Various motives might induce the monks to devote themselves with zeal to such pursuits. It has been seen that their chemical studies were analogous; that their knowledge of the materials fittest for technical purposes, derived as it was from experiments which they had abundant leisure to make, was likely to be of the best kind. Painting was holy in their eyes; and, although the excellence of the work depended on the artist, it was for them to ensure its durability. By a singular combination of circumstances, the employers of the artist, the purchasers of pictures (for such the fraternities were in the majority of cases), were often the manufacturers of the painter's materials. Here, then, was another plain and powerful reason for furnishing the best-prepared colours and vehicles. The cost of the finer pigments was, in almost every case, charged to the employer; but economy could be combined with excellence of quality, when the manufacture was undertaken by the inmates of the convent."
All that is asserted in this passage with respect to painting, holds equally good with regard to the materials requisite for the practice of the Art of Illumination; and the same treatises which are illustrative of art generally, almost invariably include specific instructions with regard to the particular branch of it that I am now endeavouring to illustrate.
Fortunately, the series of these "Secreta" both commences from a remote date, and is tolerably complete from that to a quite recent period. Scattered allusions to the processes of art and industry may be met with in the writings of several authors of the Alexandrian Neo-Platonic school in the early ages of the Church, from whom the Byzantine Greeks, no doubt, learnt much; but the most ancient collection on the subject is the treatise of Heraclius, or Eraclius, "de Artibus Romanorum."[103]It would appear not to have been written earlier than the 7th or later than the 10th century,[104]its art being, as Mr. Robert Hendrie, the learned translator and editor of the essay of Theophilus, of whom mention will presently be made, observes, "of the school of Pliny, increased, it is true, by Byzantine invention, but yet essentially Roman."[105]The next collection, in point of age, is that published by Muratori,[106]and well known as the "Lucca Manuscript," ascribed by Mabillon to the age of Charlemagne, and by Muratori himself to a period certainly not later than the 10th century. Its Latinity is barbarous, but I scarcely think I can do wrong in following the translation of so careful a writer as Sharon Turner in the following extracts, which treat of illumination, and give us a clear insight into the practice of the school founded under the patronage of the great Frankish emperor of the West.
The first I select refers to the preparation of the calf-skin.