i in Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/elementaryinstruOOIaur_O A.. ON ILLUMINATION. *d tsr A '■ f . - , , ELEMENTARY INSTRUCTION IN The Art of Illuminating and MilTal Painting; on Vellum, A GUIDE TO MODERN ILLUMINATORS. With Illuf rations (Printed in Gold and Colours ) and Outlines for Copying for the Student. BY D. LAURENT DE LARA, (Illuminating Artijl to the Queen.) Second (Edition, CONSIDERABLY ENLARGED. LONDON: ACKERMANN AND CO. STRAND, AND ALL BOOKSELLERS. Price Six Shillings. DEDICATION TO LADY NAAS. Madam, T is with unfeigned refpeCt and admira¬ tion for your LadyShip’s admirable talent for the beautiful and interesting “ art of illuminating,” which engaged your attention at a period when I had the honour to count you amongSt my moft distinguished pupils, that I avail myfelf of your kind permission to dedicate this new edi¬ tion of my Cf elementary instruction” on MiSTal Painting” as a tribute of grateful remembrance. I have the honour to remain, Madam, Your Lady Ship’s devoted and grateful fervant, D. Laurent de Lara. 3, Torrington Square. CONTENTS. Page Preface. ... 9 On Illumination.11 Advice to beginners.19 General Rules.20 On the arrangement of Colours.24 On Compolition.28 On preparing the Vellum.35 On Tracing.37 On Colours.40 On Railed Gold Ornamentations.51 Conclufion.54 Appendix.61 . .... PREFACE. HE beautiful art of “ Illuminating,’' which fprang up with the early dawn of Chriftianity,and attained its higheft perfection in the fourteenth and fif¬ teenth Centuries, owes its total extinction to that powerful inftrument of modern civilization, the Printing Prefs. Whether it be the phlegmatic Dutch Cofter, or the German Necromancer Gut- tenberg, who was the firft inventor of “ move- able type,” I know not, but it is quite certain that the “ printing procefs” truck a fatal and de- ciftve blow to “ illuminated painting,” the relics of which at prefent are carefully hoarded up in our Mufeums and Public Libraries, and are at once the living and imperifhable oracles of the bygone ages of romance and chivalry, and form the glo¬ rious monuments of known and unknown artifts who created them ! It is equally true as well as curious, that to another mode of printing (chro- i o Preface. molithography) the prefent century is indebted for the partial revival of this beautiful art, fince the many publications from the lithographic prefs have engendered a correfponding tafte with the public for its cultivation, which is daily increafing. In order to facilitate its further progrefs, I was induced in 1850, to publifh my firft edition of this little work, a thoufand copies of which were fpeedily fold. Since that period upwards of three thoufand pupils have been under my tuition, amongft whom I have to count fome of the firft nobility of the land. My profeffional engage¬ ments have hitherto prevented me from publifhing a fecond edition, which, however much in requeft, I would not re-iflue unlefs I was enabled to en¬ large it to its prefent form. It has now affumed a date of completenefs, which additional experience was only capable of effecting. And if in my en¬ deavours to promote the ftill greater cultivation of this highly interefting and claffical art, which has outlived fo many ages, I fhall be fuccefsful, my mod; fanguine hopes will be amply realized. March, 1856. ON ILLUMINATION. HE necefiity for an t( Elementary In- ftrudion Book,” to acquire the art of illuminating on vellum, for the ufe of thofe who are defirous of pradifing this beautiful and graceful accompli fhment has become imperative; particularly fince, to my knowledge, not a fingle artift (excepting myfelf) has prefented himfelf to afford inftrudion to the many amateur artifts, who from time to time have fprung up, and who are fadly at a lofs for fome aid in their endeavours to purfue a moft beautiful accomplifhment. Though fpecimens of illumi¬ nations have from time to time been published, from which the ftudent may have derived fome flight advantage,—if it were only a fuperficial in¬ fight into ftyle and tafte,—yet they are univerfally of too elaborate a charader to be of much utility to the beginner; and in the attempt to copy fuch 12 On Illumination. fpecimens of Noel Humphreys, as are publiffied in his to my mind, is its greateft merit and recommendation. I have feen the beft effecfts produced by the fimpleft means, and by two or three colours only. Much depends on tafte, every¬ thing on effedd and found judgment; and if in fuch clafs of defign, the objecft muft be attained by the quantity of colours, it proves the poverty of the artift’s refources. The partially folid and tranfparent border, which is a combination of the firft mentioned, and con- fifting of fquare, or undulated folid bands, Should in character and combination of colours be alfo alike; modified however by the consideration of 26 On Illumination. thefe folid Spaces, on which the ornamentation Should be fimpler, and in good harmony againft the colour of the background. Thefe backgrounds are in various tints—the mod: common in ufe is gold; we have alfo the crimfon, the ultramarine, the purple, and not unfrequently the black. On all thefe the taSte of the illuminator is called in, to produce a good contraft in the arrangement of colours, and the lefs confufed by quantity the better. There is another ftyle which I have adopted, and which fcrupulous antiquarians would not de¬ signate as being ftridly legitimate, in which the arrangements and a profufion of contrasting co¬ lours, is allowable and defirable. I published the clafs of defign I allude to in the “ Vidoria An¬ nual of 1844,” the originals of which are in Her MajeSty’s poSTeffion—the chief attraction confiSts in the defign of the initial letter, and the firSt word of the poem or fubjed, which is prominent at the head of the drawing enclofing the remaining text in a fmall narrow framework, Surrounded more or lefs by elaborate Scrolls, arabefques, me¬ dallions, etc., and avoiding always, known and accepted mediaeval ornamentations from the old mifials as much as pofiible, in order not to mix the diSFerent Styles into one drawing. This Style has found much favour with modern artifts, firStly On Illumination. 2 7 on account of its graceful effedt, the abfence of conventional ft iffnefs, and the rapidity with which a compofition may be arranged. Legitimijis do not like it from mere affectation; they wou prefer crude, ugly, mifshapen ornamentation, flat and unfinifhed, as long as they refembled an anti¬ quated ftyle. For the fame reafon do they objedt to green gold, or agate ornamentations ; yet what can be more attractive, than the yellow and bright green gold in combination, and enriched by the artiftic engravings of the agate ? What more gorgeous to the eye than a difplay of gracefu curves fantaftically interwoven, encloflng highly- finifhed medallions, and thrown up by all the effedts imagination and art can conjure up ? Some of thofe fpecimens may be feen at my own gallery, amongft which a rich fpecimen of a chefs table which figured at the Great Exhibition in ’5 G and which occupied me two years in painting, are numerous other ftyles, and even modern art illuminations may be multiplied in an almoft-in¬ finite variety ; but the experience in thefe here alluded to, will give fufficient inftrudtion and re¬ gulate a claflical and perfedt tafte, under whatever circumftances afterwards the pupil will be calle upon to exercife his fkill. 28 On Illumination. ON COMPOSITION. HILST the ftudent may profitably employ himfelf in attempting minor trifles — initials, copies of anything within his reach, or his own ideas, to acquire proficiency in the art, it is requifite to employ a mafter to direct his taffe on the one hand, and to lead him on flep by flep to perfection on the other. It would be highly eflential to him to ffudy the ancient miflals, fo as to enable him to diftinguifh the progrefs the art has made in various countries and in different ages. It is a field for deep refearch and ffudy, to note the dif¬ ferent ffyles adopted at different epochs, from the crude development of art of the fifth and fixth centuries, to the refined and exquifite productions of the Italian and Flemifh fchools of the fourteenth century, and again down to the inferior and flimfy ftyle of Louis Quatorze. It is from the ftudy of On Illumination. 29 thefe, that our own ideas will be developed and improved, and that our modern notions of beauty and effect may be advantageoufly thrown in to produce original and clalfical productions, aban¬ doning that which is abfurd and meaninglefs, and fubftituting that which is rational, effective, and beautiful. The pedantic abfurdity of retaining any clafs of ornamentation, folely becaufe it was ufed in the early ages by our anceftral predeceffors, becaufe their notions of drawing and perfpeCtive were imperfeCt, is as reafonable, as to become a drunkard becaufe our father unhappily happened to have been one before us; and whilft we may juftly admire the ingenuity of their efforts in pro¬ ducing the hiftoric records of their fkill, we may at leaft elevate our tafte in improving on that which plainly bears the damp of their imperfec¬ tions. In compofing a drawing, the ftudent fhould feleCt the ftyle of a certain period, to which throughout he fhould ftriCtly adhere, as the adop¬ tion of different ftyles in the fame drawing are both inconfiftent and evinces bad tafte; to mix up the Gothic with the Louis Quatorze, or the Elizabethan with the Italian ftyle, would fimply be abfurd. The writing of the text, the initial letters, the ornaments, coftume, armory, &c., all fhould partake of the correfponding period. 11- luftrations alfo fhould be introduced according to 30 On Illumination. the fubjed, and the ornamentations be alfo adapted to, and harmonizing with the fubjed. If, for instance, it was determined on to illuminate the Creed or Lord’s Prayer, pidures might be intro¬ duced illuftrative of the lives of the Saviour and the Apoftles, hiftorica! and pidorial illuftrations of the Chriftian creed, etc. If a fecular fubjed from Milton, Shakefpeare, or Byron, the fame rule fhould be adopted. The lines on a fkull from Byron might happily be illuftrated with em¬ blems of mortality ; great liberty being allowed for embodying the imaginations of the poet with thofe of the painter, and it indeed affords ample opportunities and material for the exercife of the inventive powers-of the illuftrator, and evinces a decided ffamp of refledive genius. Never attempt to illuftrate a common-place fubjed, or defedive and puerile poetry ; it is not worth the pains of a finoje daub of colour. In arranging a fubjed for illumination, I fhould firft draw my attention to the initial letter at the head of the text. There are thoufands of fpeci- mens in the Britifh Mufeum, and many publica¬ tions of alphabets (not much to boaft of) are in exiftence, very ufeful for the beginner ; thefe may be varied, or copied ftridly at pleafure.* Colours * I have prepared a variety of drawings of initial letters, claffical borders both on vellum and cardboard, with accotn- On Illumination. 31 may be changed, fcrolls or foliage altered, taking care that alterations are judicioufly made, and do improve the general effedt; that being fettled on, I would recommend next, to write the text in old Englifh, or Church ftyle, each line fhould be ruled in equi-diftant, and the capitals left blank, to be painted in afterwards. Where a word at the end of a line is too fhort fo as not to fill up clofe to the margin, let it be filled up with a fmall orna¬ ment inftead, in fome colour, in diftindtion of the writing; where a word is to be prominent, write it in gold, or red, or a different colour to the gene- panying outlines of the lame, very faintly lithographed, on fu- perfine drawing-boards which may be purchafea for a trifling expenfe at Ackermann’s, Rowney, Dalton and White, Fuller’s, etc. The illuminations may be had alfo or on hire, for the purpofe of copying, on the fame principle as other drawings. Thefe are carefully and exquifltely executed under my direc- tions_ and fuperintendence, by upwards of thirty ladies, whom I had the honour to inltruft, and who now follow the art out as a lucrative profeflion. As the ftudent will obtain better and more accurate ideas of copying from drawings than from prints, I have at the fuggeftion of many of my friends adopted this plan of fupplying the amateur artift with an illuminated copy, and its outline, which he may eadly fill up, according to his own tafte, or Ariftly follow the original: fhould this be encouraged, the public in receiving its benefits will alfo confer a great boon on a worthy clafs of female artifts who have been zealous and luccefsful in a beautiful branch of female accom- plifhment. 32 On Illumination. ral body of the text; when the writing is com¬ pleted, I would arrange the border, one fide of which may be double the width of the other, the bottom alfo wider than the top ; if pictures are to be introduced, (ketch out a proper framework firft, for their reception. Thefe arrangements form the heads of the drawing; fcrollwork may then be introduced, beginning at fome corner, or fpringing from the framework of the intended picture; when that is nicely arranged, the fame fcroll might be repeated, upwards or fideways by tracings ; the intervening fpaces, if too naked, can be filled up with flowers, taking care, that in the reduction of the fize of the flowers, they each fhall preferve a relative proportion to the other, equal to the fcale to which they are reduced ; this is very efiential. If any infedls are introduced, this rule fhould always be obferved. It would look very ridiculous that a butterfly, fluttering over a rofe, fhould be as large or larger than the rofe itfelf, or that a caterpillar fhould affume the fize of a conger eel in proportion to the fize of a heart’s eafe introduced in the fame drawing ; one’s natural judgment will fugged fuch faults as abfurd, and they fhould be avoided. If the border is to remain tranfparent, lighter ornamentations may be introduced to fill up the blanks; and finally, all the white parts may be covered by thoufands On Illumination. 33 of little dots, in colour and gold, taking care that in fize and distance they are all alike; this laft procefs can be effected either with the brufh or fine fteel pen, as bell fuited to the ability of the pupil; if it fhould be determined on to fill up the blanks with afolid background of gold, the fpaces need not be filled up too profufely with fmall de¬ tails, fince the filling up of the gold would become tedious; if folid, a white line of equal diftance may be preferved round every object in the border; thefe lines fhould be drawn round carefully firft (not too wide), and afterwards filled up folid. This white edging forms a very foft and pleafing appearance in the drawing. If the gold is clofely to fill up againft the fcroll or flowers, you may throw a ftrong fhadow under it on the gold, by which means the ornaments will appear to ftand out in bold relief, and be very effective, taking care that the fhadows are properly thrown on, and always according to the ftricft rules of drawing. The folid part, inftead of gold or filver, may alfo be made of a light tint, fuch as a pink, or light blue, or deep purple, or even black; if pink, fhade it with the fame, a little deeper; if blue, with the fame; or if black, with the fame more intenfe, to which fome gum may be added, which will throw up the fhadow more perfect; the folid parts may be fcrolled over with clofe and fine orna- c 34 On Illumination. mentations of permanent white or gold on the black background. As the varieties of effect are fo very numerous, I think it beft to leave the judgment of the pupil unfettered, to fugged; the varieties himfelf, or to confult the various fpeci- mens in the manufcript room of the Britifh Mu- feum. A very effective mode of painting pictorial illuftrations may alfo be reforted to, viz. to draw a fubjedt for illuftration or a group of figures, all in one colour, including the background, fay blue, the outlines are given on the fide where the light falls in gold; on the fhaded fide, with a deeper blue, the lights are gradually tinted over with gold, and the fhadows fhaded in with darker blue. This mode of introducing pictures was very pre¬ valent in the Italian miflals of the twelfth and thirteenth centuries, and I have feen them exe¬ cuted in every colour, with very good effedt. On Illumination. 35 ON PREPARING THE VELLUM. HE vellum, which is the belt Italian, and prepared from the kid, is of pe¬ culiarly fine and white texture, differ¬ ent from the parchment both in fub- flance and quality. I import it myfelf, and previoufly prepare it for the artift, fo that both fides are equally good to receive the drawing upon. Yet there is always a preferable fide, which can eafily be diftinguifhed : it is in reality the infide of the fkin, and has the fmootheft ap¬ pearance. The price varies, according to the fize, from ioj - . to 3/. the fkin. Parchment of courfe is much cheaper, and Englifh vellum may alfo be had, but it does not poffefs that beautiful and even quality as the Italian. To prepare it for drawing, it fhould be ftretched on a board made of good deal ; the vellum fhould be cut about the thick- nefs of the board larger than the fize, and fponged 36 On Illumination. with a perfedtly clean fponge and water on the fide only which is to lay againft the board. When moderately foaked, it fhould be laid between a frefh mangled napkin for about five minutes, to let the vellum get an equal moifture ; the board is then placed on the top, and the two correfpond- ing fides are tightly folded over, and refting it on the fide, you begin to nail from the centre, with fmall gimp-pins till one fide is completed, each pin to be about one inch and a half apart. You then do the fame operation on the other fide, pre- vioufly Jlightly and evenly , ftretching it with the hand, and then again fixing the pin from the centre till the fecond fide be completed. You then again lay the board flat on the napkin, and fold the other two fides over as before, and com¬ plete the flretching of the vellum in a fimilar manner. Let it gradually dry, when it will lay perfectly fmooth and unwrinkled : it is then ready to work upon. On Illumination. ON TRACING. F a copy is to be made of any illumi¬ nation, the eafieft mode is by affixing a piece of French tracing paper on the back of the drawing and throw¬ ing it over the front; begin with a fine pointed h h h pencil, to draw an accurate outline of the whole, thin, pale and delicate. Above all things be correal; do not trace more than is neceffiary for your objedt, and avoid details, which may eafier be put in by the eye. T"oo much tracing often con- fufes. The upper and inner line of the hair, the eyebrows, the line of the nofe, the upper line of each eyelid, the central line of the mouth, and the contour of the cheek and chin, is fufficient to give a correct tracing of a face ; if you trace more, in retracing it you will get confufed. With orna¬ mentations the fame rule applies ; trace only as much as will fecure your objedt. When your 38 On Illumination. tracing is complete, unfaften it, and attach it by two fpots of gum at the hack of the drawing or vellum ; and placing the red prepared paper be¬ tween it (with the prepared fide towards the vel¬ lum), you trace over it with the fame pencil, (ufing a little prefiure), and you then obtain a fine, thin, delicate and faint red tracing on the vellum. In this operation in order to work cleanly, the following rules mull be obferved. You fhould ufe a fine h h h fharp pointed pencil, you fhould not prefs hard to make the retracing too red, nor fhould your pencil tracing in the firft inftance be otherwife than light; it becomes deeper when the pencil goes over it a fecond time, which avoids the neceffity of lifting up the paper, to afcertain where you have or have not been over. A good, correct and delicate tracing makes it pleafurable to paint; a coarfe deep red one gives the artift an in¬ finite deal of trouble, and the drawing in this cafe will always look fmeared and dirty, which with a little attention can eafily be avoided. As the pre¬ pared red paper cannot always be eafily obtained, it is much eafier to prepare it yourfelf, which is done as follows : purchafe at the chymift’s a quarter of a pound of red french chalk , fcrape fome with a table knife on the thinned: white writing paper you may have handy, and with a piece of wadding rub it equally over the furface, taking care that On Illumination. 39 the other fide is kept perfectly clean ; no greafe or water fhould be ufed in this operation, and if blacklead is ufed inftead, you will of courfe ob¬ tain a pencil tracing if preferred. 4 o On Illumination. ON COLOURS. S brightnefs and effedl are effentials in miffal painting, all the fault mull not be laid at the door of the colour-box, but frequently to the unfkilful man¬ ner in which they are ufed. It is aftonifhing the difference which is perceivable in the drawings of one artift and another. I have frequently had occafion to afk my pupil where fhe obtained that orange or this vermilion. “ It is from your colour- box,” would be the reply. And whilft in another inftance I might find fault with a colour for being dingy and impure, fhe might have been heard to anfwer, that it was my own colour fhe had ufed. The fa< 5 t therefore is quite clear, that one artift has better fkill to ufe the colours than another; and it requires a certain experience and method to ufe them properly. From my own experience, therefore, will I give explanations how each colour On Illumination. 41 Should be ufed, for what applies to one may be totally different in another. I fhall therefore com¬ mence with— The Ultramarine Blue , Which is a vegetable colour of recent invention, and exclusively manufactured in Germany. The beft and pureft is prepared in France, and varies confiderably in price and quality. It forms one of the mod: effential colours in illuminated paint¬ ing, giving tone and life to the whole, and form¬ ing a Strong contraft againSt any other bright colour; it Should, however, not be too predomin¬ ant, but judiciously introduced. I manufacture it without any component ingredient which tends to affect its brightnefs, or its brilliant depth. In combination with our enamel white it can be tem¬ pered to any Shade, refembling the pure ultrama¬ rine in tint, but of a brighter and lefs greeniSh quality. It muft be laid on very evenly, very rapidly, and after once being painted in and yet moift, a full bruSh muSt immediately be ufed, to let an additional quantity freely and fully drop in ; when dry, it will be perfectly even and equally dif- perfed. The gold, the platina, or the enamel white , may form graceful ornamentations over it, as alfo a deep black, which forms a rich contraft againft 42 On Illumination. the ultramarine ; particularly if a bright fpot of orange or carnation, fuch as a dot, is introduced. The drawing of any ornamentation over it ffiould be done very finely, and with the fineft bruffi fo as to look delicate, artiftic, and ftudioufly neat. The beft mode of Shading it is not with black, but with deep carmine and a little gum arabic in folution ; it forms an intenfe purple, and is more effective than black. Vermilion . The vermilion which at all times is difficult to obtain very bright, requires to be laid on evenly and not too thin ; it ffiould not be allowed to dry before the intended fpace be completed, otherwife you obtain a ffiarp edge. The bruffi ffiould be moderately full, but if too full, will caufe the colour to run towards one point, and form a dark fpot. Once is fufficient to go over with the bruffi, if carmine ornamentations are intended to embel- liffi it (as in illustration, Plate IV.) ; but when a bright red only is intended, it would be better to paint over twice, taking care each time to let the firSt waffi dry firSt, before applying the colour a fecond time. Carmine ffiould always be ufed to Shade or ornament it, and if in fome inftances a deeper contraft is defirable, add a little burnt car- On Illumination. 43 mine to it, where the moft intenfity is required. Never ufe black to effedt this objedt. Emerald Green Requires nearly the fame treatment as the ver¬ milion, with a little more care in wafhing in a fecond time, fince that colour is eaftly difplaced by the fecond time going over it, and which gives it an uneven appearance. The beauty of illumi¬ nated drawing is greatly increafed by the folid and even appearance of the colours. If ufed faintly, it may be fhaded and ornamented with cobalt; if ufed intenfely, Hooker’s green may be more effec¬ tive ; mixed with a little cobalt it forms a bluifh green, frequently introduced in drapery in the old miffals. It is a ufeful and effective adjundl in fcrollwork, but never ufe it for the painting of natural leaves ; they look then as if cut out from bright green paper, inftead of nature’s variegated ornaments. Cobalt Blue Is ufed precifely as the emerald green. A thin and even wafh is moft eftential in the firft place, and gradually tinted up with the fame tint; a good deal of patience and manipulation is necef- 44 On Illumination. fary to fmooth this moft difficult colour into obe¬ dience. Young beginners will find it moft irk- fome to handle, but it forms an agreeable variety amidft the other blues. It looks well for Ikies in tiny landfcapes, or water (mediaeval water of courfe). White ornamentations are ufed over it, to hide any defers. Purple Is not a permanent colour, but being in combi¬ nation with another it changes to a bluifti tint; it is eafily applied, very ufeful and rich in contraft with orange, filver, or light colours in general. This colour has been much efteemed as prefer¬ able to the made purple of carmine and cobalt; it can be ufed for backgrounds if intenfely laid on, two or three times over: it has a very velvety appearance, and may be ufed with advantage in every ffiade, and modified with a little burnt car¬ mine to fuit the tafte of the artift. Ora?ige Chrome Is not fo bright as the red lead, but is permanent, and will not turn black. I have preferved all its brightnefs that was poffible to obtain, and have therefore entirely abandoned the more fedudlive red lead : it is ufed precifely as the vermilion. On Illumination. 45 Kings Yellow Requires no particular treatment; it is, however, not permanent though brighteft : we place it in the box to be occasionally ufed for illuminations which are intended for a frame, where the exclufion of air protects it from changing. The gamboge can be ufed inftead, and will, in combination with pruffian blue, form beautiful greens for foliage. Carmine plain and burnt Is one of the moft ufeful colours in illuminations ; its richnefs diluted or intenfe gives life and bril¬ liancy to the furrounding colours. In combina¬ tion with enamel white it makes a rich pink, with cobalt in addition it forms a foft lilac ; the burnt carmine produces a rich brown, and adds to the general effect. Carmine is fo generally ufeful, fo eafily applied, that the artift foon will difcover its ineftimable value. Hooker s Green Is equally ufeful, brilliant, and eafily applied. It adds intensity in the fhading of all the greens. In combination with white a beautiful middle tint is obtained, and may be ufed for ornamentations, fcrollwork, etc. 4 6 On Illumination. Burnt Sienna Is ufed chiefly in fhading gold or filver, intenfi- fied with lamp-black. It is ufed for figure draw¬ ing in the hair, eyebrows, etc. In combination with burnt carmine it forms a rich brown for back¬ grounds, and touches up in foliage to much ad¬ vantage. Lamp-black For its intenfity is preferable to indian ink, and is very effective for backgrounds. To add to its intenfity you may mix a little gum arabic with it, when required as a fhadow on the fame colour. Middle Tints, Or opaque colours, which form fo confpicuous a feature in the old miflals, fuch as pink, falmon, gray, lilac, pale green, primrofe or pale blue, are feverally produced, by the addition of the enamel white with the following colours; carmine, ver¬ milion, black, cobalt and carmine, Hooker’s green, yellow and ultramarine, in fuch proportion as the tint requires to be high or faint; but care muft be taken in laying thefe on evenly to preferve an On Illumination. 47 equal furface, and which is eafily difplaced by- going over it a fecond time. TLnamel White Forms a diftinguifhed feature in illuminating ; its utility for various objects is obvious ; a fmall dot, the lize of a pin’s point, tells on the blue, red, pink, or lilac with mod delicate effeCt. It forms alfo a brightnefs on the gold and on colours, when judicioufly applied (fee Plate IV. in the illuftration). The artift can extenfively avail himfelf of it, and may modify its intenfity as circumftances require. It forms a hard enamel over the gold fize, which then may be painted over with the gold or filver from the fhell, and when perfectly dry, may be burnifhed richly over with the agate, and forms a bright gold or hlver raifed ornament. It aids him alfo to repair any damage or imperfection which accidentally may occur, and its general utility will foon be difcoverable, when the ftudent begins to advance in the art. Platina and Silver. I have adopted platina in preference to filver, fince the former retains its colour permanently, whilft the filver generally difcolours after two or 48 On Illumination. three weeks’ expofure to the air. Thofe who pre¬ fer the more brilliant colour of the bright filver, can however ufe it, and by gently wafhing it over with a foft new brufh dipped into fpirits of wine, which when dry forms a varnifh over it, excluding atmofpheric air, preventing thereby effectually difcoloration. Care fhould be taken that in the procefs the filver be not removed by the brufh being too dry or too roughly ufed. Green or Yellow Gold . The application of the green gold forms alfo a pleafing variety, amidfl illuminations of yellow or matted gold, and gives a richnefs to the defign, entirely unknown in the ancient miffals, fince its ufe at that period was not difcovered. For this reafon many of my orthodox pupils have objected to ufe it, “ becaufe they could not find it in the ancient manufcripts ; ” but whilft I would encou¬ rage the ftudy and clofe imitation of the Jlyle of the ancient maffers, as far as artiftical principles are concerned, I cannot objeCt to the introduction of any improvement in effect, which modern art may fuggeft, merely on the ground that our pro¬ ductions fhould flavifhly be imitative of the old originals. For this reafon, I alfo always difcou- rage the introduction of quaint and grotefque On Illumination. 49 figures, mifshapen animals and monftrofities, ima¬ ginary flowers or fruits which never had exiftence ; and which merely indicated a want of artiftical knowledge at the time, of the real beauties which are to be found in the productions of nature, the want of which knowledge taught them to fupply us with the defective creations of their untutored imaginations. Of thefe, plenty of fpecimens are found in the earlier productions of the fixth and feventh centuries, and are gradually improved upon in the later productions. I prefer, therefore, the pleafing confiftency of reprefenting objects of accurate defign, to thofe which at the prefent moment would incur the ridicule and juft cenfure of the critic. Very little obfervation need be made in the ufe of either gold, filver, or platina, fince it is applied eafily from the fhell with a paint-brufh and clean water to the vellum, and can be orna¬ mented or burniftied with the agate at pleafure, or be painted over with blue, white, or red fcroll- work. With refpect to other colours, they may be ufed as occafion requires, and thofe acquainted with water-colour painting, can apply them to the painting of flowers, landfcapes, miniatures, &c., in the fame manner as on drawing-board. The delicacy of vellum being much better fitted for the purpofes of painting than either ivory or paper, I need not add that the moft pleafing and D 50 On Illumination. the higheft finilhed drawing may fuccefsfully be executed on it. 'The Agate Is ufed with a little pra&ice, to great advantage, and is capable of producing beautiful effects on the fhell gold. A large field of gold would look rather monotonous, the agate is therefore employed for engraving, as it were, little ornaments over it, of various defigns, which appear in bright con¬ trail: to the dead gold. A fteady hand is required to make the fcrollwork run fmoothly and free; a little dot, or a duller of them, and a ftalk pro¬ ducing little flowers, and indented rofe-leaf or vine-leaf with its arteries, can alfo fuccefsfully be produced. It were bell however to pradtife this on a fmall fcale firft, before progrefling with the drawing in too great a hurry. On Illumination. ON RAISED GOLD ORNAMEN¬ TATIONS. HE raifed gold ornaments, which form fo brilliant a relief, amidft the gaiety and contrail of well arranged colours and matted gold, are fubjedts which require a great deal of pradtice ; their ufe, there¬ fore, ffiould be fparingly at firft, on account of the difficulty, and ffiould always be introduced with great judgment, ffiice a profufion of bright orna¬ mentations diftradt the eye from the main fubjedt, and becomes extremely vulgar, refembling much that ginger-bread appearance of the French clafs of tinfel and emptinefs ; whilft a moderate ufe of them, here and there, enriches the drawing, with¬ out their effedl becoming tirefome and deftrudtive to the general beauties of the drawing itfelf. They ffiould therefore be limited to fmall raifed dots, or three-foiled leaves only, a line to form a bright ffiadow on the dead gold, or the arteries on a leaf 52 On Illumination. of green gold. They may alfo form a circle round a gem of ruby or emerald, reprefenting the fetting or mounting of real gold, and fuch other trifles as the fubjecft may require. Ackermann’s gold fize, for the purpofe of producing thefe raifed orna¬ ments, is well calculated to effect this. The brown pafte contained in the little veflel is ufed in a fimilar manner as a cake of water-colour, wetting it with a fable brufh, till of fufficient con- fiftency, and painting with it the defired ornament, and railing it by dropping freely fuflkient pafte on it, which by its own gravity, will be properly rounded off, and becomes, when properly fet, fit to receive the gold leaf. It ftands then raifed on the vellum, and which may be increafed ad libitum , by dropping more and more on it till fufficiently high. In ten or fifteen minutes at furtheft, when fufficiently fet, cut a piece of gold leaf (always a trifle larger than the objeft), and flightly breathing on it, with the warm breath previoufly, place the cut gold leaf on it, either with the point of a brufh, or clean fciflors, or a pair of fteel tongs made for the purpofe. The gold being placed on the top fhould receive the warm breath again, and immediately it will adhere firmly to the moiftened matter: leave it there for about one hour, when it will be properly hardened; after which with a foft clean piece of wadding rub it over, and the fuperfluous parts will loofen eafily. On Illumination. 53 while thofe intended to be gilded will remain. Should any part be imperfed, apply the pafte again as before over the imperfed part, going through the fame procefs till complete. This however will not occur when the pupil acquires fufficient experience of the material with which he has to work. Another mode of raifed gilding, and one which in my opinion is more expeditious and lefs troublefome, is effeded by my dM IRfOAtMy^AeTiyJKI^i, TO H.M. THE QUEEN AND THE ROYAL FAMILY, Beg to announce that they have just published the following important and interesting Works:— THE LAST OF THE BRAVE; OR, RESTING PLACES OF OUR FALLEN HEROES IN THE CRIMEA AND AT SCUTARI. Containing Fourteen Views of the various Burial Grounds, accompanied by the entire Inscriptions on the Monuments, both Public and Regimental, BY CAPTAIN THE HON. JOHN COLBORNE, 60th ROYAL RIFLES, AND CAPTAIN F. BRINE, R.E. Size 4to royal, in handsome gilt binding, price £1 Is. A CORRECT MAP OF SEBASTOPOL AND SURROUNDING COUNTRY; Shewing the Russian Defences, Position of the Allied Armies and their Trenches, also the British Military and Naval Burial Grounds. BY CAPTAIN FREDERIC BRINE, R.E., F.R.G.S. VOCABULAIRE SYMBOLIQUE, FOR STUDENTS OF EVERY AGE AND IN ALL CLASSES, In which the most useful and common words are taught by Illustrations. Sixth Edition, price 5s. LATELY PUBLISHED, PORTRAIT OF BLINK BONNIE, WINNER OF DERBY AND OAKS, 1857. Painted and Lithographed by Alken. Coloured 10s. 6c?. PORTRAIT OF LEAMINGTON, WINNER OF GOODWOOD STAKES, 1857. Painted by Dupries, Engraved by C. Harris. Coloured, price £1 Is. BY LETTERS PATENT. A(SIEI13BMJkW2f <& SUPERFINE PURE LEAD DRAWING PENCILS, Jttanufacturcb bp an cntudp Jlcto process, OF EVERY DEGREE OF HARDNESS. Price 3 d. each, or 24s. per gross. Messrs. A. and Co. can confidently recommend the above to the attention of Artists, Architects, and Engineers, as surpassing any ever yet produced for durability, brilliancy, cheapness, and quality. ACKERMANN CO.’S PURE CUMBERLAND LEAD PENCILS, So well known as to need no further recommendation. Price 6c?. each. Messrs. Ackermann & Co., 106, Strand, beg to inform their Patrons and Friends that they still continue to manufacture their SUPERFINE WATER COLOURS, In Cakes, Half-Cakes, Moist Cakes, and Tubes, as before. Their long experience in the trade will be a guarantee for the superiority of their quality. NEW AND VALUABLE INVENTION. ACKERMANN AND CO.’S INK ERASERS, Price 3d. each. ®®L® & W®@® ©K&WQMS FRAMING, VARNISHING, AND COLOURING PASSE-PAR-TOUTS MADE TO ORDER ON THE SHORTEST NOTICE. lEngrabmg anti printing tn rijerg 33ranc&. ESTIMATES GIVEN TO ANY AMOUNT.