f . DP.>C RjBJJfG A NEW |$JF AST VI ttyJOD Of Bl IMlTA%^ TH^ IflUM MATED QlLEtWGSOF , ■& TO WHICH IS ADDED A SERIES OF PLATES BY t.oARNAftD PRICE ONE S H I LU N ( HINTS ON ILLUMINATING WITH AN ESSAY ON THE ART OF ©rraurcntiitg in <©alb or Metals DESCRIBING A NEW AND EASY METHOD OF BRIL- LIANTLY AND DURABLY IMITATING THE ILLUMINATED GILDING OF THE MIDDLE AGES BY HENRY MONTANELL LUCIEN SEVENTH EDITION REVISED TO WHICH IS ADDED A SERIES OF PLATES BY F. C. WOOD LONDON J. BARNARD AND SON 339 OXFORD STREET Wholesale Department : 115, GT, TITCHFIELD STREET CDA ] S 3 3 ! o v /£7Q LON DON : CHARLES FREDERICK ADAMS, PRINT**, BARTHOLOMEW CLOSE, E.C. THE GETTY CENTER LIBRARY / PREFACE. In the following pages the author has confined himfelf to an (outline of the indifpenfables for fuccefsfully illuminating, with tthe exception of the Eflay on Gold Ornamentation, which enters fully into the fubject, and contains much original and exclufive information. The hints on defigning and colouring are but fuggeftions as to the how and the why ; and to the tafteful ftudent who pursues his work con amore they are quite as valuable as, and mo~e readable than, lengthy treatifes. The aim of the real artist fhould be rather to adapt and work out hints, than to merely copy detailed verbal directions. The prefent edition is much enlarged and improved, and feveral new plates and a table of contents are added. CONTENTS CHAPTER L Illumination . . • • Outlines tor Commencement . . . Copying ..... Original Defigns, Principles to be followed . Initials . « • Borders . . . • • Backgrounds .... Figures. Groups, Drapery • • • Relative Sizes (or Scales) ... Colouring . . . . . Theory of Colour ...» Oblervations on Conftruftion . . • Recapitulation . . » • CHAPTER II. Choice of Materials ... Paper and Vellum . • » . Tracing .... Brufhes and Pens . . • • Colours . Peculiarities and Combinations of Colours . Table of Colours and Tints . PARS 9 ib. 1 1 it ib. *3 ib. 14 ib. ib. 17 ib. 20 ib. 22 ib. 23 2 5 3 1 Contents. CHAPTER HI. Metallic Ornamentation . . . Return^ of Difficulties . . . , Directions for Gilding, Silvering, Burnishing Leaf Gilding, Silvering, etc. Aluminum and Platinum Leaf . . . CHAPTER IV. Defcripcion and Explanation of the Illuftrjtions . PAGE. 35 . 36 37 . 42 47 • 5 ° HINTS ON ILLUMINATING. ETC. CHAPTER I. ILLUMINATION. The tafte for artiftically ftudying the illumina- tions of the middle ages is rapidly increafing. The revival of the Art of Illuminating is to he hailed as a fign of the times. That we begin at laft to appreciate the exquifite models handed down to us by our fore- fathers fhows a decided ftep in public tafte ; indeed, the fine arts generally have fprung prominently for- ward within the laft few years. In the feventeenth century the art of illuminating difappeared; its death-blow was the general introduflion of the printing-prefs. From the RenaifTance period till very lately, there has been a fteady decay of the fine arts; so fhamefully, indeed, has beauty been defpifed and rejefted, that but a few years back illuminated manufcripts were deftroyed and cut to pieces for commercial purpofes, fuch as gold.- beating. This modern Vandalifm has, we are happy 8 Hints on Illuminating. to feel, at length given way, the fine arts are now very highly cultivated, and they are obtaining a ftronger and stronger hold on the affections of refined minds. The following hints point out, like a fign-poft, with the utmoft brevity, the neceffary direftions on the high road of illuminating; the beauties of the bye-ways we mull; leave to the writers of more lengthy treatifes, amongft which may be mentioned Jewitt’s “ Manual,” Warren’s “Guide to Beginners,” and the fplendid works of Randle Harrifon, (“ Suggeftions for Illuminating,”) Digby Wyatt, and Noel Humphreys. Our “Hints” merely exhibit the belt way of fetting to work, and give a definite idea of what has to be be done, by which we avoid the errors of inexperience, and much needless trouble. To become a proficient, the amateur mull have a real love for his art ; he mud do more than coquette with it becaufe it is a fafhion ; he mull make it at once his fludy and his pleafure; and, above all, he mull be patient. He mull not be difheartened at a few failures, nor expefl to Hand at the top of the hill without toiling up the afcent. He can only avoid doing wrong by careful exami- nation of what he has done wrong, and by avoiding the error in future. Hints on Illuminating. 9 Young illuminators would do well to begin with some outlines, which may be purchased partly coloured by hand, to be completed as an exercise. They teach well the different modes of producing effects with colour; the author has seen some well adapted to the purpose, by Albert Ludovici, and by Victor Touche : they can be had plain, colouring commenced, and finished. The novice had better commence with a set of scroll designs, because, should one or two be spoilt at first, they can be thrown aside without much loss. He may next proceed to Warren’s “Promises of our Saviour.”* The advanced artist will find the “ Beatitudes,” by Ludovici, and the outlines that accompany Milton’s “Hymn of the Nativity,”* more suitable. After the practice obtained by colouring the out- lines referred to, beginners should copy good models, choosing at first those of an early period, as the se- venth century. They are easy to copy, as they re- quire no knowledge of figure drawing or of drapery anatomy : but require great neatness of execution. In copying, the outline fhould be drawn in with as light a touch as poffible, efpeciallyr* where vellum is employed. The following dire&iorra may affifl the lefs practised artift in obtaining * Now out of print, but many new subjects, the Ci Parables of our Lord,” by Victor Touche, and the “Miracles,” by the same artist, are somewhat similar. io Hints on Illuminating. an accurate copy : firft, meafure the fize of the page to be copied, and rule lines to enclofe a fimilar fpace ; then meafure the fize and distances of the margin, text lines, border, miniatures, and fo forth, as the cafe may be, and rule them in very lightly. Where a page contains more than a few words, the text fhould be got in very neatly, firft in pencil, and the lines gone over with a lithogra- phic pen charged with indelible brown. In copying the illuminated work, the eafieft way is to fix the eye on fome prominent point of the initial, border, etc., as the cafe may be, and to mark a corre- fponding place on the vellum with a pencil dot, repeating the procefs with the next prominent point, and fo on, till all the moll important parts are fixed in their relative places. - Having con- nefted thefe with fine pencil lines, fill in the details. Here much afliftance is obtained by ruling a few very fine diagonal lines and tying a thread of filk acrofs the correfponding parts of the ori- ginal. Lastly, if not fatisfied with the copy, take a tracing from it, and teft its accuracy by placing it over the original. By this means errors may be cor- refted which would otherwife remain undifcovered. In this way, tolerable corre&nefs of eye and command of hand may be attained. But there is no royal road to thefe ; they can only be attained Hints on Illuminating. 11 by pra&ice ; by careful pra&ice in copying good models. The fwift pencil mull at firft be flow, or flovenlinefs is the certain refult. When the ftudent is well acquainted with a ftyle, he may adapt it to original defigns ; omitting or foftening the defefts of each period, but always retaining the principles on which the combination has been founded. Intricate original defigns fhould not, in our opinion, be attempted without fome knowledge of the rudiments of perfpective, — a knowledge of what is neceflary in portraying the flowing outlines and the harmonious curves on which the beauty of illuminated work fo much depends. In original defigns, feleft a period or a ftyle, and do not mix it. If its leading features are not adhered to, the harmony of the compofition will be deftroyed, and the finifhed work may look as though it had been begun in the nineteenth century, and brought to an end in the twelfth. In the fame way do not mix conventional forms and natural ones. Each has its charms, but they are incompatible. Avoid copying conventional forms for quaintnefs’ fake, or efchewing them be- caufe they are quaint. Quaint and impoflible as are the foliage and animals of the middle ages, yet they have an adaptation to their purpofe, and a 12 Hints on Illuminating. form and expreflion, which fuit them to the place they occupy. We have no room to enter into a defence of conventionalifm here ; fuffice it to fay, that true illumination is the ornamentation of letters; and letters being but conventional forms of iounds, have, as it were, a fort of right to be conventionally decorated. In defigning initials, the firft confideration is legibility. However elaborately they may be de- corated, they mull read at the firft glance. In coloured letters the legibility is beft infured by keeping to a decided and prominent colour for the body of the letter, which fhould contrail ftrongly with the prominent colours of the ornamentation. The fillings in of initials are endlefs in their variety; good outlines may exprefs the vigour of the drawing, and the elegance and harmony of the defign ; but for the thorough undemanding of the delicacy of finifh of details, and the charm of well- developed colour in illuminating, the originals muft themfelves be confulted. In defigning borders, we muft firft be well acquainted with the period followed. It would require a volume to dilate on various borders ; whether we take the feventh century, with its endlefs interlacements, or the tenth, with its fquare, heavy foliage, or the thirteenth, with the graceful fweep Hints on Illuminating. 13 of its waving and curling Hems, Several bits of borders, mere ideas, are given in our plates, and may, occafionally, be found ufeful for adaptation. In illuminated work of the thirteenth and four- teenth centuries (the period to which we more efpecially direft attention,) the backgrounds are either raifed and burnilhed gold or diaper work. Several fpecimens of diaper work are given in our plates, accompanied by inftru&ions for colouring. Diapers, to be effe&ive, rnuft be very carefully drawn. Sometimes the background is checkered with square, fometimes with diamond (lozenge) Ihaped checks, coloured and gilt alternately, and re-outlined in black. The coloured checks are moftly enriched with white dots or patterns, as the fleur-de-lis. In defigning figures, groups, and drapery, a thorough knowledge of drawing, in the higheft fenfe of the word is required. It is impoflible, in this fhort epitome, to enter into the fubject of figure drawing. We may hint, however, at the care that is required in the produ£lion of heads, hands, and feet, and the tendernefs required in colouring flelh. If thefe are not fcrupuloufly ftudied, no amount of care bellowed on the reft of the figure will make it look well. On the other hand, clever and careful extremities and faces will hide a multitude of fins. *4 Hints on Illuminating. The fize of the initial letters and of the minia- tures fhould have reference to the fize of the page and to the importance of the fubject; the fize of the fmall text fhould have reference to the quantity of the fubject matter, always leaving a large margin, which fhews off the work to advantage. No precife rule can be given for harmonifmg details, ornaments, etc. : it is entirely a matter of tafte and judgment. The fhape of the page muft be confidered. The page is almoft always rectangular; the lines of the writing muft therefore be kept fquare and parallel to each other, and fome of the dominant ornamental lines and borders muft be kept parallel to the Tides of the page, or we fhall get a ftraggling, untidy appearance. The moft difficult part in defigning is the ar- rangement of colours; it requires the greateft judgment, experience, and tafte. The beauty of many of the old illuminations depends on th e wonderful eye for colour enjoyed by the artifts of the period. This point is fo important that, at the rifk of being thought too elementary, we imuft devote a paragraph to confidering the harmonuous relations of colour. It is well known that there are three prinnary colours, fo called becaufe they cannot be produced by combination, viz., yellow, red, and blue. Se- Hints on Illuminating. *5 condary colours are produced by mixing two pri- maries; the fecondaries being, orange (red and yellow), green (blue and yellow), and purple (red and blue). Tertiary colours are produced by mixing two fecondaries ; the tertiaries are citrine, (orange and green), olive (green and purple), and ruflet (orange and purple). The hues of all colours may be lightened into tints by the addition of white, and deepened into Jhades by black. It muft be underftood that this is the theory of colour, and applies to abfolute colours. As the colours we ufe are not nearly abfolute colours, we muft prac- tically proceed as our imperfect means allow. Thus, abfolute red would be deepened into (hade by abfolute black ; but vermilion and lamp-black would make red mud, neither being abfolute; and in practice we (hade with browns, etc. The prefence of all three primary colours, pure or in combina- tion, is necelfary to fatisfy the eye, and to produce harmony. To produce perfeft harmony they muft be in certain faturating proportions, which for ab- folute colour are three of yellow to five of red and eight of blue. Since red harmonifes with green, green is faid to be complementary to red, and fo on ; purple is complementary to yellow, and orange to blue. In the fame way any two fecondaries har- monife with their third. In hue, yellow is moft i6 Hints on Illuminating. allied to light, purple to dark ; yellow and its com- plementary contrail as to light and dark. Red is moll exciting and positive ; green is grateful and Toothing. Red, then, and its complementary, con- trail as to power of colour and of exciting the eye. Blue, again is the moll cold and retiring, and it contrails with its complementary, orange, which is warm and advancing. ' The union of the primaries neutralifes colour, hence tertiary hues are fre- quently called neutral. By mixture of any two primaries, in any degree, beauty is correfpondingly loll; and to harmonife and rellore the equilibrium, the remaining primary mull predominate in the harmonious complementary. Thus, the true com- plementary of fcarlet (which is an orange red) mull incline to blue and be a blue green. Thefe remarks fuppofe that we are dealing with pure colour, as that of the rainbow. But in arti- ficial colouring conliderable licenfe mull be allowed to what, for want of a founder explanation, is called talle. In the prefent Hate of fcience, no one can fay what is, or what is not, correft in colour. A certain boldnefs (or departure from rule) in colouring is often productive of a pleafing effefl, juft as difcords are agreeable in mufic. As a rule, whatever looks right is right, without reference to fcientific formulae. For example, gold har- Hints on Illuminating . 17 monifes with all colours, and yellow with but few. Laftly, in conftrufting any design, always have a good reafon for introducing any ornaments. Let there be a general purpofe and a meaning in every detail; an endeavour to carryout fome idea; con- fidering, firlt, what is to be conveyed, and, fecond, how to convey it. Thus, the defign will acquire unity and completenefs, which will be wanting in one worked out at random, or only becaufe it looks pretty. Unmeaning prettinefs is the rock on w hich moil modern illuminators founder* RECAPITULATION. We will now fum up the method to be followed, the chief points to be kept in mind,, and add a few general obfervationss 1. Praflife colouring and become familiar with its harmonies by filling up printed outlines. 2'. In the fame way, praftise drawing by copying the belt acceffible models ; and when up in a ftyle, endeavour to adapt it to original compofitions. Although in the periods of pure illumination we have mere furface decoration, without any attempt at imitating folidity by means of call lhadows, yet a knowledge of perfpe£live is a great help. In original defigns, never work at random, but try to have a reafon for every ornament. C Hints on Illuminating . 18 3. Outlines mull be drawn with the utmost care and delicacy, keeping in view the graceful and harmonious fweeps of the longer curves, the vigour and decifion of the fhorter ones, and the crifp- nefs and frefhnefs of every, even the fmalleft detail. 4. The parts to be gilt are to be prepared and finilhed before laying on any colour, except in the cafe of illuminations of a late period, where ftreaks of gold are found painted over the colour. This however, is not gilding; it is painting with gold. 5. Backgrounds, in the beft period of illumina- ting art, are flat diapers or raifed burnifhed gold ; the pattern, if any, on gold, being drawn with a bold and fearlefs hand, and the diapering being moft carefully drawn in white, on the flat ground, with a very fmall brufh. 6. The Items of double-lined ornaments fliould always be tinted. This is effe&ed by laying on the colour flat, and, when dry, going over, wit'ji the fame colour lowered with white, thofe parts on which white lines or patterns are finally to be drawn. 7. Drapery, borders, foliage, details, etc., end- lefs in their variety and treatment, mult be ftudied from the MSS. themfelves. It is only by a ftudy of the originals that we can underftand what is meant Hints on Illuminating. *9 by delicacy offinifh and well-developed colouring; the harmonies of curves and details ; and the re- lative fizes (or fcales) of the various ornaments. 8. Re-outlining, or putting on the black outline after the gold and colours are finifhed, requires a firm and fteady touch. The finifhed appearance of the painting depends much on the care taken with thefe lines. 9. Colours mull be kept as pure in tint as pof- fible, and mull be arranged harmonioufly ; but the ftri£l canons of theory are not to be flavifhly fol- lowed to the exclufion of individual tafte. 10. Laflly, we mull love our art; we muft pra&ife patience and felf-denial, thoughtfulnefs and delicacy ; we mull be prepared for failures and mifhaps; but we muft not be difheartened ; we muft return ngain and again to the conteft, and we fhall eventually rife triumphant above onr difeom- fitures. Our reward will be in the contemplation of pages of our own handiwork, refplendent with gold and colours — the cynofures of our libraries or of our drawing rooms so Hints on Illuminating \ .y CHAPTER II. MATERIALS. We have now to confider the pra&ical part of our fubjeft: the choice of materials to work on and with, and how to ufe them. The beft furface for illuminating on is vellum. Vellum is very durable, and it enriches the work by its charming colour and texture. It is more coftly than paper, and requires much more carfe in handling, as the flighted fpeck of dirt (hows, and is not eafily removed. Vellum, too, has a flight greafinefs, and to the novice, is not very eafy to colour on ; but this difficulty may be entirely re- moved by wafhing the furface with very dilute liquid colourlefs ox-gall. In ufing vellum, the defign ffiould be firft got out on paper, and the outline be very lightly touched-in on the vellum with an HB pencil cut to a very fine point. The Iketching-in requires great care, for it is almoft impoffible to remove pencil-marks from vellum. India-rubber ffiould never be ufed. Bread, not too new, may be fparingly employed. Marks may Hints on Illuminating, 81 be got out with very fine glafs paper, or be painted over with Illuminating Body White or body colour, where the fubjeft admits of ift The folid blocks of vellum fold by artifts’ colourmen are convenient, as they fave the trouble of mounting, but they will not do for burnifhing on. In mounting vellum, it fhould not be wetted much, but juft damped by laying it in a damp cloth. The yellowish hue of vellum requires that white furfaces should be coated with Illuminating Body White, and the ground tints should be moftly mixed with white, to give body and folidity. The exceptions are mentioned in our memoranda of hues. We recommend beginners to make their trials on paper. Papers properly prepared for taking water colours are to be got at all the colourmen's shops: the clofer the texture of the paper is, the better. We have feen a very clofe-grained paper with a vellum furface that has only juft been brought forward. We can recommend this Vellum Paper ftrongly. Paper is very good for learning and pra&ifing on, but important efforts should have the advantage in tone and effeff that vellum alone can give. We venture to affirm that thofe who once fucceed on vellum, or vellum paper, will dif- card drawing paper and Briftol board for ever. All vellum or paper once mounted should be capped 22 Hints on Illuminating . with a paper cover fitting the drawing-board, and having a hole cut where required for working. Vellum efpecially should be uncovered as little as p nibble. In tracing, only the neceffary or guiding lines should be drawn on the tranfparent tracing paper, otherwife much confufion ensues; befides, no end is achieved by marking the pofition of lines which can be put in with a brush and colour at once by the eye — but rather harm, as often a black mark is transferred which is found afterwards to mar the effect of the finished painting. In ufing the black- lead paper, never prefs the finger on it, but cover it with a card, on which fteady the hand. The beft brushes are made of fable hair, — the brown hair being preferred. Thofe which are mounted in metallic ferrules are the bell for all delicate work, as they are firmer in ufe ; they are not more expenfive than the quill brushes, for they laft fo much longer. Numbers i to 8 are fuf- ficient — one large one in quill, and two good camel-hairs both pretty large, with one flat brush for washing large furfaces with ox-gall, body- white, etc. It is a good plan to have brushes for each fet of colours, — one or two for reds, one or two for blues, etc. It faves much needlefs washing, which, after all, must be more or less imperfectly Hints on Illuminating. 23 performed. One or two of Gillott’s architectural and lithographic pens will be found ufeful in drawing fine lines. In choofing colours, thofe only should be ufed which are permanent, and they should be purchafed of a firft-clafs houfe. An ordinary box of colours, if good, will do very well ; but as more depends on the quality of the colours than on any other featnre, we recommend you to get the moift colours prepared expreflly for Illuminating by Meflrs. Barnard & Son, of Oxford Street. They are certainly the bell; for they have a brightnefs of tint, and a freedom in ufe, which we have not found in thofe of any other makers ; they alfo give out a great volume of colour, and adhere tena- cioufly to the paper or vellum. In thefe few pages we fhall attempt to give but the broadeft idea of the ufes of various colours. The author has found that book direttions refpecting colours are feldom fatisfactory, and he advises the beginner to mix and mix till he hits the required hue ; the molt pleafing and fuitable being noted for future ufe. It is a little troublefome, but it is the only way for the individual to fucceed well. Beginners mull not expeft to match the colours exaflly at once. Unmixed colours are always the brighteft (for reafons, fee our obfervations on the 2 4 Hints on Illuminating . / harmonious relations of colour), and it follows that the fewer the number of colours mixed to obtain a tint, the brighter it will be. Rich, deep, compound colour is bell produced by mixing tranfparent and opaque ; two tranf- parents generally mixing with a weak tone; two opaques with a heavy one. Opaque colours are thofe which, when painted over another colour, hide it completely; fuch are vermilion, emerald green, and yellow ochre. Tranfparent (or as they are fometimes called, glazing colours), when painted over other colours, Ihew the firft tint through, and produce a mixed tint; fuch are carmine, the madders, and Vandyke brown. Some colours are only tranfparent when ufed in very thin coats ; thefe are called femi- transparent; fuch are Indian yellow, light cadmium, yellow, and cobalt. Ail transparent colours can be rendered opaque by mixing them with Illumin- ating Body White. Except for glazing, all colours are ufed opaque in Illuminating; the colour being laid on flat, and the lights and fhades afterwards introduced. Colours Ihould not be applied thick at firft, or they will not dry evenly ; they Ihould be applied thinly, and the furface gone over feveral times. To enfure clearnefs and brilliancy of tints, they Hints on Illuminating. 2 5 Ihould be re-touched as little as poflible ; above all, they Ihould never be re-touched or correffed while drying, as they thus become ftreaky and muddy, which is fatal to the purity of colour for which illumination is famed. In painting different tints over each other (glazing), water-colour megilp is very ufeful ; it fixes the colour fo that it may be walhed over freely, and it increafes the depth and brilliancy of the colours, fo neceffary for illuminating effect, without glazing them fo highly a's gum. Water-colour megilp is alfo very ufeful for cafing fugitive colours. We ufe fugitive colours as little as poflible ; but where we can find no fubftitute we mull employ them. If they are coated when dry with the water-colour megilp their durability is much increafed. When mixed colours are employed, be careful to mix up as much as may be required for the work in hand ; for, if a fecond quantity has to be made, it will differ in tone from the firft, and produce a patchy appearance in the work. And here, perhaps, is the proper place to notice the more important colours and fome of their peculiarities and combinations. Indian Yellow is a bright yellow, light in tone, femi-tranfparent, and ufeful for glazing. It fhould be ufed inftead of gamboge, being more permanent ; Hints on Illuminating. 2 6 mixed with white it gives a vivid, opaque, primrofe yellow. Cadmium Yellow is a femi-opaque, rich, glowing yellow. It is prepared in two forms, cadmium yellow and light cadmium yellow (the primrofe). The primrofe light cadmium quite fuperfedes lemon yellow. Cadmium yellow tones well with white. With carmine it forms a rich, glowing, warm orange ; with a little cobalt or French ultramarine it gives a high-toned, femi-tranfparent green ; with excess of cobalt or French ultramarine it gives a low- toned green. These greens are only effective when made with the light cadmium yellow (prim- rofe). With a fmall quantity of purple madder, or of Indian red, the cadmium yellow makes a fine, rich, warm yellow-brown, and with a very little burnt carmine it gives a buff-yellow Yellow Ochre is a dull, opaque yellow, not ealy to work with. It may be very sparingly mixed with fhell gold to produce the effect of the old illuminated dull gold. Ochre, if ufed as a yellow, does not mix well with white ; the mixture pro- duces a ftone-coloured drab. Carmine is a rich, deep-toned, glowing, tranf parent fcarlet crimfon. Its brilliancy is much im- creafed by laying it over aground of Indian yellow. If the carmine is thinly applied as thus directed, it Hints on Illuminating. 27 obtains a very brilliant orange-red appearance It is beft to interpose a layer of water-colour megilp. Carmine and lake are not abfolutely per- manent colours ; but we have no subftitute for' them. Lake is faid to be the more permanent, but, we think, if the carmine is really good, incor- rectly ; lake has a purplifh tinge. Most pink reds are obtained with carmine or lake, paled with Illu- minating Body White, or diluted with water. With French ultramarine and carmine we get a rich warm purple. Crimfon Lake may be fometimes fubftituted for carmine. It has a bluer tint, and is, erroneoufly, as we believe, faid to be more permanent. Vermilion is a denfe, deep-toned, opaque red. Royal Scarlet is very brilliant and powerful It will not keep moift in tubes, and care mull be taken that it does not touch metal. It muft, there- fore, be ufed with a quill brufh. This colour fhould be little used, as it is fugitive. Indeed it only deferves notice on account of its brilliancy and purity, and becaufe we do not know any real fcarlet which is permanent. If well cafed in water- colour megilp, it may be made to preferve its colour for many years. Cobalt is a light-toned, femi-tranfparent, bright azure blue ; it wants the fulnefs of body of French 9 . 8 Hints on Illuminating. ultramarine. Cobalt mixes in almoft any propor- tion with white, which of courfe renders it opaque; with rofe madder or with purple madder it makes a rich cold purple, or a rich warm purple, if the madder is in excefs. With madder brown it gives a grey lilac. French Ultramarine wants the delicacy of genuine ultramarine, but equals it in mod other respe&s. It is very deep and rich, and mixes with white. The addition of a very little indigo or Indian ink renders it deep and denfe. With rofe madder and white, or with burnt carmine, it makes a rich purple; a cold purple if the blue predomi- nates; a warm one if the madder or carmine is in excefs. In mixing purples the required change is often produced by adding a very little red to a blue, or vice versa. French ultramarine makes a high-toned femi-tranfparent green with Indian yellow. Deep Cadmium is a fine, permanent opaque orange, and is a better fubftitute for the red lead of the old illuminations than any other colour ; though orange chrome which is not permanent, is preferred by fome. Indian Red is an opaque, rich, deep-toned purplilh red. With carmine it gives a ufeful ruffet red; with a little cadmium it produces a yellow Hints on Illuminating, 2 9 brown. With white it gives a rich, opaque, pinki/h red. It is quite permanent. Raw Sienna is a rich yellow brown. Burnt Sienna is a reddifh brown, approaching deep orange. Dragon’s blood is a fimilar colour, but redder and brighter. Burnt Carmine is a rich, deep-toned, warm marone. It is very ufeful in (hading gold. Emerald Green is extremely vivid and high- toned. It mull be mixed with white to produce fome of the effe&s in old illuminated work. Vandyke Brown is a deep, rich, pure, tranf- parent brown, luminous and clear in tint . it is the mod useful illuminating brown. Mixed with car- mine it makes a chocolate red ; with a little burnt carmine or madder brown, it makes a rich warm brown. With a glazing of Indian yellow, we get a warm brown. With white, it gives a (tone drab. Madder Brown is alfo a deep, rich brown, ufed in veining, Ihading, and deepening parts that re- quire relief. Purple Madder is a rich warm purple. Rofe Madder is a bright, tranfparent pink. We f ibftitute this, or madder lake, for carmine, when- ever pra&icable, as, in common with all the mad- ders, it is quite permanent. Raw Umber is a cold dirty brown ; much diluted. 3 ° Hints on Illuminating. it may be ufed as a wafti for tinting mediaeval flefh; a very fmall quantity of cobalt renders it more pleafing. Indian Ink is really a fepia ; an intenfely dark brown, approaching to black. The cheap Indian inks are worthlefs ; that which has a fepia tint is the belt. Indelible Brown has a fimilar tone, and flows very freely from the pen. It can only be obtained in the liquid Hate. It will be found of great value for drawing-in delicate outlines, as it can be reduced to any tint with water, but when once dry it is unaffefted by washing. Ivory Black and Lamp Black are quite free from any fhade of brown or grey. The addition of a little indigo renders them, as alfo Indian ink, more intenfe. Re-outlining should be executed with one of these blacks. Ivory black is the richeft. lamp black is the pleasenteft to work with. They require to be worked with thin gum-water, to give the blacks a brilliancy like that of the old MSS. Illuminating Body White is ufed for toning down and for tinting. It quite fuperfedes Chinese White and Conftant White ; it is lefs cloggy, and is better for producing clear, fine, white lines, or patterns on coloured grounds. It alfo renders colours opaque, and capable of giving a clear, folid appearance. It is fold only in bottles, and as there Hints on Illuminating. 3 1 are many other preparations, it is important to get this particular White. It Ihould he diluted for ufe with pure water, and left for a few minutes before ufing. Greys are obtained by mixing Indian ink and Illuminating Body White. For pearly greys, a little cobalt may be added ; for flate greys, a little Indian red and cobalt may be added; for filvery greys, a little cobalt and rose madder. Payne’s Grey is a ufeful dark neutral tint ; ultramarine afh is a light blue grey. Let us now tabulate our colours and tints, for convenience of reference. TABLE OF COLOURS AND TINTS. YELLOWS. Bright and semi-transparent . — Indian yellow. Vivid, opaque, primrose yellow . — Indian yellow with white. Rich, glowing yellow. — (Light) Cadmium yellow, No. 1. Rich, glowing yellow, with tinge of orange . — Cadmium, No. 2, or deeper, No. 3. Dull, opaque yellow . — Yellow ochre. Buff yellow . — Cadmium Yellow, with a touch of Burnt Carmine. REDS. Rich, deep , glowing, transparent scarlet crimson. — Carmine. 3 2 Hints on Illuminating . Deep, dense, opaque red. — Vermilion. Bright , transparent pink. — Rofe Madder ; Rof; Madder with a little Carmine. Bright opaque pink. — As above, with additioi of White. Chocolate red. — Vandyke Brown with Carmine, Opaque , rich , deep purplish red. — Indian Red. Russet red. — Indian Red with Carmine. Rich, opaque , pinkish red. — Either of the lat two, much paled with White. BLUES. Light , semi-transparent , bright azure. — Cobalt. Light, opaque , bright azure. — Cobalt with i little White. Deep, rich blue. — Ultramarine ; French Ultra- marine ; either may be ufed, with or without White. Deep, dense blue. — Ultramarine, with a little Indian Ink or Indigo. ORANGES. Rich, warm, glowing, opaque yellow orange . — Deep Cadmium. Very brilliant, transparent red orange. — Carmine,, over an Indian Yellow ground. Rich, glowing, warm, semi -transparent orange . — Cadmium Yellow with Carmine. Brilliant and powerful scarlet. — Royal Scarlet i Pale Vermilion. Hints on Illuminating. 33 PURPLES. Rich, cold violet , or lavender purples. — Cobalt, with a little Rofe Madder, or with a little Purple Madder; Ultramarine, with White and a little Rofe Madder ; Ultramarine, with a little Burnt Carmine. Rich, warm puce , or mar one purples. — Purple Madder ; Burnt Carmine ; Ultramarine, with Car- mine or with Burnt Carmine ; Rofe Madder with a little Ultramarine, or with a little Cobalt. Greyish lilac. — Cobalt and Brown Madder. GREENS. Vivid, high-toned, opaque green. — Emerald Green ; Emerald Green with a little Light Cad- mium Yellow, No. l. High-toned, semi-transparent green. — Light Cad- mium Yellow, No. 1, with a little Cobalt or French Ultramarine ; Indian Yellow, with a little Cobalt, or with a little Ultramarine. Low-toned , semi-transparent green. — As ab»ve, with excefs of blue. Dull, opaque green, — Oxide of Chromium. BROWNS. Deep, rich, pure, transparent ,. dear and luminous hr a — Vandyke Brown, 34 Hints on Illuminating . Rich warm brown. — Vandyke Brown, with a little Burnt Carmine, or Madder Brown. Rich , warm red, or yellow brown. — Indian Red, or Purple Madder with Cadmium Yellow ; either being in excefs, as red or yellow is wished to pre- dominate. Stone drab. — Vandyke Brown or Yellow Ochre, with White. Rich, yellow brown. — Raw Sienna. Rich reddish brown. — Burnt Sienna; Dragon’s Blood. BLACKS. Dense. — Ivory or Lamp-black. Brown black. — Indian Ink (the beft only); in- delible Brown. WHITE Pure. — Illuminating Body White. GREYS. Various proportions of Indian Ink and White. Pearly grey. — The above, with a little Cobalt. Slate grey. — The above, with a little Indian Red and Cobalt. Silvery grey. — The above, with a little Rofe Madder and Cobalt, Hints on Illuminating. 35 CHAPTER III. GILDING. Before any colour is applied, it is requifite to introduce the gold or (liver in early illuminated work. All (olid metallic, and especially burnished furfaces, muftbe begun and finished after the out- line is (ketched in, and before colouring is com- menced. For, in gilding and burnishing, the coloured surface is fure to be damaged. In illu- minations of a late period, there are often touches and (Ireaks of shell gold painted over the colour. The following obfervations are applicable to gilding and metallic ornamentations of all kinds ; they have a fpecial interefi (or the illuminating artilt, whofe gilding operations are befet with pe- culiar difficulties. Indeed this part of illuminating work is lefs underftood than any other ; we are, therefore, fomewhat diffufe in our direftions. Among the Ioffes we have had to deplore is the lofs of the art of durably burniffiing gold on vellum (and paper), and particularly of imitating the raifed gold ornaments which adorn the old illuminated manufcripts. The public has* over and Hints on Illuminating. 3 6 ©ve-r again, called for fome means of adequately reprefenting thefe ancient models. But there has prevailed a unanimous feeling among pra&ical and fcientific men that there is nothing they can re- commend, though artifts’ colourmen do moftly fupply fome preparation which they produce as the bell thing for the purpose. Let us juft fee what are the obftacles to be overcome. Firftly, the dirt, fmell and mefs of ordinary gilding mull be removed, in order to con- vert it into a drawing-room amufement. Secondly the preparations ufed in common gilding very foon fpoil, and a compofition has been wanted that would keep any length of time. Thirdly, illumi - nated work being on a material like paper or vel- lum, is bent about and often roughly handled. A great ftumbling-block has been to find a prepara- tion that will not crack off. Fourthly, the com- pofition mull harden fufficiently to take a good burnilh, and yet be capable of receiving a pattern when indented. Some preparations for railing gold are fold in pots by Meffrs. Ackerman, Barnard, and other artifts’ colourmen ; but the illuminating gold fize, as it is commonly called, will not harden fufficiently to take a burnilh. Fifthly, for general *fe it is highly important that the compofition Jhould give but little trouble on its application. Hints on Illuminating. 3 ? We believe that thefe difficulties are completely overcome by the Mediaeval Gold Body,* a prepa- ration lately introduced by Meffrs. Barnard. Thf Mediaeval Gold Body has no offenfive fmell, make no dirt, will keep any length of time, will nc\ crack off paper or vellum, when bent or roughly handled ; enriches the gold, whether mat or bur- nished, flat or raifed; will take a pattern and a very brilliant burnish ; and can be very eafily ufed, either with a pen or with a common brush. The Gold Body is made in two forms No. 1, being of a thicker confluence, for raifed ornaments, and No. 2, of a thinner quality, for flat ornaments. The directions now given are founded upon our own praftice. The furface to be gilt should be moderately rough to hold the Gold Body firmly. If, for inftance, hot-preffed paper is ufed, the fur- lace to be coated should first be roughened with a penknife or an ink erafer. The furface should then be coated with the Gold Body by means of a camel hair pencil, in exaCtly the fame way as liquid water- colours are ufed, firft ftirring or shaking the bottle to free from lumps. Thin coats ffiould be croffed indifferent directions over each other, taking care # We find our opinion of the merit of this invention faftalnedby Mr. H. Noel Humphreys (who fays that “ he confiders it fuperior to any other preparation of the kind ”), Mr. Albert H. Warren Mr. Randle Harrifon, and other eminent illuminators. 3 ^ Hints on Illuminating. that each coat is dry before another is applied. For fiat ornaments, one, two, or even three coats of No. 2, fihould be laid on ; for raifed ornaments, as many thin coats of No. 1 as will raife the work fufficiently. The raifed effect in old manufcripts, though due partly to the thicknefs of the body em- ployed, is heightened by the cockling of the vellum. To get a very true raifed furface, lay on first a coat of No. 2, then feveral coats of No. 1, and when dry, rub the furface with a piece of the finefl glafs or emery paper, or fcrape it carefully with a knife, and finish by palling a large, ftiffilh, wet camel-hair brufh feveral times acrofs the furface, which will remove enough of the Gold Body to get out the fine fcratches left on it by the glafs paper, — for burnished gold the furface is now ready, and only requires further wetting if leaf gold is employed [vide directions for leaf gilding). For mat gold, the furface freed from fcratches mult be allowed to dry completely, and mull then be polished with a piece of fine linen covered fmoothly over the finger. ' It is then ready to receive the gold, being firlt wetted, if leaf gold is ufed ( vide direftion*,. If the furface is polifhed before applying the gold, it will not burnifh fo well as that which is left un- polifhed as above directed ; for the burnifhing Hone- bites the furface thus left, whereas it Hides over Hints on Illuminating. 39 a polifhed furface, and does not produce so brilliant a refult. Care muft be taken not to lay on the coats thick, or the furface will honeycomb, and the Gold Body will be liable to crack off. The furface Ihould be lightly and rapidly gone over with the brufh not too full, and the coats muft not be dif- turbed or re-touched while drying, or the beautiful fmoothnefs of the furface will be deftroyed. We attribute the durability and fmoothnefs of the old illuminations to the care that was taken in pre- paring the ground. The Gold Body holds fo firmly that it is difficult to take it off. When applied in error it may be scraped out as cleanly as poffible with a penknife, and the place be covered with Illuminating Body White. If the Gold Body is not in daily ufe, it Ihould be kept tightly corked and inverted. This pre- caution is neceffary, as the compofition dries up very eafily. We would not advife the illuminator to attempt to work up Gold Body after it has be- come dry. It is a pity to run the risk of fpending much labour on a painting, and then to find that the Gold Body peels off, or will not Hand burnilhing, as we have known to be the cafe. As foon as the fpace is prepared, and the com- pofition is thoroughly dry , it may be gilt by painting 4 o Hants on Illuminating. it over with (hell or faucer gold in the ufual way. The ground prepared with the Mediaeval Gold Body gives a rich tone to the gold and economiles it. Indeed, the thinner the gold is painted on, fo as to cover it, the better will be the effeft. For dull gold, one coat of the (hell gold is fufficient ; for burnifhed gold, two thin coats of fhell gold crofled over each other. If a great thicknefs of gold is applied, it will moll likely frizzle in bur- nilhing. When the gold is dry, rub the parts to be bur- nifhed with the flat fide of a claw-shaped burnifhing ftone, placing the vellum or paper at the fame time on fome hard, fmooth furface, fuch as plate glafs. It is a very good plan to mount the vellum or paper by gumming it on the back of a flab of plate glafs, rounded off at the edges. This makes a capital drawing-board, and there will be no occa- fion to remove the drawing for burnishing. The choice of a good burnishing-ftone is all- important, and it is not eafy to meet with one that fulfils every requirement. It should be made of flint, not agate ; it must be quite free from angular facets ; it muft have a round prominent heel, and a flattened point. It should have a broad base, to enable it to bear preflure, and should be fet in a fubftantial handle. The fmall cornelians fold by Hints on Illuminating. 41 most artifts’ colourmen, though very pretty to look at, are for all pra&ical purposes of but little ufe. Their polish is too high, in confequence of which they cling to the gold and ftrip it off. They are abfurdly fmall, and are set in correspondingly fmall handles; and we have examined many, but never found one free from facets or fimilar defefts. Our remarks muft be underftood to apply to claw- shaped ftones, and not to the pointed agates for dotting or drawing lines on the gold. We have explained this matter to Meflrs. Barnard, and, owing to ouj: fuggeftion, they have had some felett burnishing ftones manufactured. The illuminator who is fo fortunate as to have a really good bur- nifhing ftone poflefles ari amulet with which he has already overcome half his gilding difficulties. When filver is ufed, it may be treated in the fame way; but after thoroughly drying (or, if bur- nished, after burnishing), it should be lightly and rapidly covered with a very thin folution of ifin- glafs. The filver is not left quite fo bright when thus treated, but it preferves its colour as long as the varnish remains unbroken ; but if left exposed to the air, it foon tarnishes. In purchafing shell filver, it is necessary to get it quite fresh and before it has begun to tarnish. Platinum and aluminum are ufed as permanent fubftitutes for filver, bu» 42 Hints on Illuminating. their tone is very different. Platinum is the nearell approach, and is quite permanent ; we advife the ufe of platinum, shell or saucer, in preference to filver or aluminum. Aluminum looks very well, but it is not certain that it will {land. There is some little art in burnishing. It is foon acquired ; but, without it, the bell prepared body will fray, or the gold flrip off. Novices in burnishing are recommended to prefsthe forefinger firmly on the flone, to move it very evenly, and only to burnish in one direction. Firm, rather than very hard, preffure is required. After burnishing, patterns may be ruled, drawn, or punftured on the furface without injuring it. The effeft is greatly to enrich the appearance. If the fo-called punftures, which are, in fact, indent- ations, are produced with a pointed burnifher, all the little dots decompofe the light, and fparkle like diamonds, showing the prifmatic colours. The effefl when the gold is freshly pun£lured is incon- ceivably brilliant. Pointed agates are fold for this purpofe. To produce the folid, brilliant effeft of the old illuminations, there is no fubflitute for leaf gold. On comparing shell and leaf-gilt furfaces, the fu- periority of the latter is at once apparent. But leaf-gilding is a troublesome procefs, and cannot Hints on Illuminating. 43 be fuccefsfully managed without patience and pra&ice. Perfonal inftruction is the quickeft road to fuccefs. One can hardly expect the public generally to patronife leaf-gilding ; but having profeffed, as far as lay in our power, to exhauft the fubject, we do not feel juftified in leaving it here. For leaf-gilding, then, it is necefsary to procure a gilders’ cufhion, feveral camel-hair tips, a gilding-knife, a faulting pencil, and a book of leaf-gold. Thefe can be obtained at any (hop where gilders’ materials are fold. The ordinary leaf-gold is alloyed with copper and filver, and does not give the pure yellow tone required in illuminating. Owing to our fuggeflion, fine gold, beaten into extra thick leaf, efpecially for illuminated work, can now be obtained. It is ex- penfive, but, in our opinion, is the only gold worth ufing. Take care that the articles above mentioned are kept dry. If the cushion is new, the leather requires preparing by rubbing a lump of ochre acrofs it, or dulling it with plate powder, after- wards turning the cufhion upfide down, and knocking it to remove fuperfluous duff. The gold leaf will not then (lick to the leather. Drop a leaf of gold from the book into the fpace on the cufhion, which is protected from currents of air by a parch- ment border, and with the dry knife tofs the leaf 44 Hints cn Illuminating. gently about on the cufhion till it fettles nearly flat ; then blow (not breathe) gently on the leaf, to flatten it more completely, without moiflening it. Meafure with the eye the fize of the bit of gold leaf required, and cut it on the cufhion with the gilding knife. The gilding knife fhould have a perfectly even edge, and be just sharp enough to cut the leaf without cutting the cushion. If the knife is new, or if it has been lying by for some time, it muff be dreffed by rubbing well with a leather primed with rouge, to enfure the evennefs of the edge. If it is in the leaft notched or un- even, or if the blade is greafy or rufty, it is quite unfit for ufe. Next, the furface prepared with the Gold Body is to have a wet hair pencil run over it. This is a part of the operation which requires some little management, or the gold may rub off in bur- nishing. We will fuppofe that the furface has been prepared by rubbing with emery paper, and has but a few flight fcratches left on it. The wet camel’s hair pencil should be rubbed over it till the fcratches are rubbed out. This raifes enough of the Gold Body to make the water turbid. Then water enough should be added to make it Hand gloffy on the fur- face, or live. While the water is ftill live, with the camel-hair tip lift the bit of gold leaf already cut, and float it very gently on the wetted place. Hints on Illuminating. 45 However uneven the leaf may look, it fhould not be touched or prefled down; it will lay itfelf smooth. Should, however, any portion — fuch as a corner of the leaf — be Handing up, and manifeftly not touching the water, lay it gently towards the water with the dry faulting pencil, but do not prefs it down ; as foon as it touches the water it will lay itself. In lifting the gold leaf with the tip, it is neceffary to pafs it feveral times across the face, which very slightly moiftens the camel’s hair, and at the same time difturbs its electrical equilibrium ; fo that when the tip is placed on the gold leaf it is attraBed to the brufh long enough for laying. If the tip is new, it fhould be placed flat between the face and the palm of the hand, and drawn fmartly through them two or three times. This arranges the hairs evenly, and moiftens and lubricates them fomewhat. It is advifable to have feveral tips, a long flat one for flips of leaf, a femi- circular one, and a very narrow one for lifting little bits of gold. When the gilt furface is dry, duft off the rough edges of gold with the faulting pencil, and, when deflred, burnifh, as above directed. To get the moft brilliant poflible burnish, the gold should be burnished before the body is quite dry and hard.. The exact moment when it is dry enough, fo that the gold will not rub oft, is only to be known by Hints on Illuminating. 4*5 experience. A few experiments will give the knowledge. For common purpofes, it is recom- mended to leave the gold, till quite dry. If any holes show through the gold, either before or after burnishing, wet the furface again, and apply a piece more gold, with a margin larger than the fpace that is wetted. We have been told by feveral illu- minators that they fail to make the gold leaf flick with water alone, and that they ufe very thin gum- water, or diffolve a few shreads of ifinglafs in the water. We can only fay that we do not fail with water alone ; but at the fame time we see no objection to wetting with the above fubftitutes, provided they are ufed fufficiently weak not to interfere with the burnifh. Leaf gilding is an extremely delicate procefs, and the manipulations juft explained require fome dexterity. We meet with many difappointments before acquiring the neceftary expertnefs, and we beg our readers not to throw leaf gilding up in defpair, if they do not fucceed the firft time. The leaf filver of commerce should never be ufed in illuminating. Silver is beaten as fine as gold; it is fold under the name of white gold. The white gold of commerce is, in reality, fine filver leaf. When white gold is ufed, it should be quite fresh and untarnished, and, alter laying, it Hints on Illuminating. 47 fhould be freed from atmofpheric influences, as before advifed. In courfe of time the filver will go, though protefted by its ifinglafs coat. There are two permanent fubftitutes for filver, the merits ot which we will now difcufs. We allude to alumi- num leaf and platinum leaf. Aluminum is a metal which exifts in the earth in large quantities; but owing to its being very ftrongly combined with oxygen, it is only very lately that chemifts have been able (without incur- ring an expenfe which would render the metal unfaleable) to feparate it in any quantity. Alumi- num is now, however, an article of commerce ; and fince the former edition of this work was pub- lished, aluminum, beaten into leaf has been im- ported into London, and can be obtained at artifts’ colour fhops and elfewhere. We have experi- mented with it, and certainly are pleafed with the refult. It lies bell when floated on Illuminating Gold Size — not Gold Body, — thinned with much water, and mixed with a little carmine. In lifting aluminum leaf, the tip muft be well greafed by rubbing it with a tallow candle. It muft be laid in one piece and without wrinkles, for all joins fhow, and the wrinkles will not come oui i and in handling, great care muft be taken Hints on Illuminating . not to tofs the aluminum leaf about more than is ablolutely neceflary, as the metal is very brittle. Burnishing improves the luftre of the metal, but we do not advife attempting to burnish alumi- num leaf. No doubt it will bear a little burnish- ing, from a very skilful hand, but it is so brittle that but few would fucceed. Aluminum has a dull leaden tone ; it is, in this respect, inferior to silver. It is not certain that aluminum will ftand \ time alone can prove this ; our experiments incline us to believe that it will, and such is the general opinion. The filver eftefl is most nearly imitated by platinum leaf, which has the advantage of being abfolutely permanent. The drawback to the ufe of platinum leaf is the coft of it. It is about forty times as dear as leaf filver, and ten times as expen- five as leaf aluminum. Platinum leaf is much tougher and more manageable than aluminum leaf. Platinum leaf will bear burnishing very well but hardly requires it, owing to its natural bril- liancy. The direftions for laying aluminum leaf apply alfo to platinum leaf. We believe that chemically pure tin might be beaten into leaf and ufed as a cheap fubftitute for filver. We have feen tin leaf, but it foon turns black* owing to the lead (?) with which it is alloyed* Hints on Illuminating. 49 We hope at some future time to be able to speak more positively on this point. We have thought it worth mentioning here, that the idea once started may have the opportunity of being ventilated by those who take sufficient interest in the matter. To sum up ; silver should not be used in any illuminated work where permanence is desired, for even if cased in isinglass, it will turn black after a time, though we have seen some which has stood for sixteen years ; besides which, casing the metal damages the extreme lustre and brilliancy which characterises high-class illuminating. Aluminum is a very good substitute for silver, but has a leaden tone, is brittle, and will not stand much burnishing. Plati- num is permanent, and has the requisite lustre, but is very expensive. With this summary of the properties of the white metals, vve leave our readers to choose for themselves, and we hope that they will find as much pleasure in making use of our experience asAve had in collecting it. 5 ° Hints on Illuminating. CHAPTER IV. DESCRIPTION AND EXPLANATION OF THE PLATES, It will be understood by the student that the borders are to be drawn upon (or traced and transferred to) the material upon which he intends to work : the descriptions and instructions which follow will aid him in the colouring. PLATE I. The elegant border surrounding the motto f ‘ Wisdom is better than Strength ” is copied from a service book in the Harleian collection, illuminated in France about the year 1420. The colours employed are Carmine, Carmine and Body White, French Ultramarine, and French Ultramarine and Body White, Indian Ink and Gold. PLATE II. Borders of the twelfth century. — the two upper ones on the plate are well adapted for the sides of pages, placed outside after the text has been surrounded by either of the two small borders at the bottom of the plate. PLATE III. These beautiful borders may be varied in colour. Emerald Green mixed with Body White Hints on Illuminating . 5i may take the place of Purple for the background. In the border at the foot of the page Emerald Green and Body White may with advantage be substituted for the Dark Blue. PLATE IV. Fifteenth-century borders. — In the two blue ones Green or Light Pink (Carmine and Body White)~may be substituted for Light Blue. PLATE V. Portions of illuminated borders from a MS. in the British Museum. The prevailing colours are Pink (Carmine), Blue (Cobalt or French Ultramarine), Red (Vermilion), and Green (Eme- rald) ; Body White being used with all of them except the Red. PLATE VI. These borders exhibit that very elegant style prevalent in the Saxon MSS., written in the latter part of the tenth century. Very splendid examples may be seen in the illuminations of the Duke of Devonshire’s Benedictional, engraved at the expense of the Society of Antiquaries. The colours generally employed are Pink, Blue, Red, and Green ; the grounding Gold, outlined with Black. PLATE VII. The examples on this plate are from a beautiful psalter illuminated about the close of 5 2 Hints on Illuminating. the thirteenth century. The ground should be Gold, outlined with Black. 'PLATE VIII. The ornament at the top of this page is from a MS. of the middle of the fifteenth century in the Harleian library, illuminated in Italy, where, at this period, there existed a school for writing and illumination. The lower ornament is a portion of a border from a psalter of the fifteenth century ; a superb example of the period, the relative pro- portion of solid and open work producing an exquisite effect of richness and variety, each feature growing out of the other, producing a completeness of design seldom met with in more modern works, and forming an excellent study for the ornamental designer. It is a style developed in England during the latter part of the reign of Henry VI. and is common in works of that period, when a great taste for enriched books of devotion existed. PLATE IX. This style of ornament is found in works of the fifteenth century ; conventional ornament inter- mingled with natural flowers arranged in a fragmentary manner is its prevailing characteristic, continuity of design being abandoned. Hints on Illuminating. 53 PLATE X. This design is arranged after the style of the very highest class of Parisian art of the early fourteenth century. The primary point to be attended to in colouring this outline is to contrast the colour of each illuminated letter with that of the one next it, both as regards the colour of the letter itself and of its ornament. For the bodies of the initials we cannot do better than Red and Blue, the ever-used colours of the old illuminators. Suppose, then, the body of the D is coloured in Madder Lake, or Crimson Lake and White, one of these being use din preference to Vermilion, which in large quantity on a small page would be too staring; the Madder Lake or Crimson Lake may run up the whole of the curling stem above, and continue in the stem below till it enlarges, when the branch may become Blue ; say Ultramarine, or French Ultra- marine with White. The oblong compartment to the left of the upright of the D may be the same Blue, stopping short at the stem below, but above running on to the right as far as the first leaf, beyond which it changes to raised burnished Gold, and so on, Blue and Gold alternately in each compartment surrounding the outer leaves ; the 54 Hints on Illuminating. number of the spaces being such that the small triangular space above and to the right of the upright stroke of the D shall be reached by a Blue, which will thus seem to fall naturally into that place. The spaces within the inner lines of the curling stems above to the left of the D should be raised and burnished Gold. The two large triangular spaces to the extreme right of the D, above and below, should be Blue, as also the small triangular space to the left below, corre- sponding with the one above, as far as the first leaflet, where the Blue is continued down the thorn-like border outside the stem, which it will be remembered is to be red as far as the enlarge- ment but the Blue is not continued into the space within the curling stem ; here its place is taken by Gold, similarly to the circles above the D ; and to the extreme left the alternate Blue and Gold arrangement holds also, reflecting that of the outer spaces above. Within the D the stem is Blue, and the ground raised and burnished Gold. The leaves in and about all the letters, as well as those at the extremities of the finials, are Ultramarine, Deep Cadmium, Madder Lake, and Emerald Green ; the colours being harmoniously disposed by alternations of each. The extreme outer bar which surrounds the letters is raised burnished Gold. Lastly, the whole is to be re- Hints on Illuminating. 55 outlined in Black; and fine White lines on a ground previously tinted with White are to be drawn close within the Black outlines of the principal leaves along the middle of the stems, and whatever Black patterns occur on the grounds in our outline. The O should be coloured on the same principle, but with the colours reversed ; the body of the letter being Blue, the surrounding triangles and the principal centre stem Red. It may have in addition to the Gold border, Gold semicircles in its corner-spaces, or the semicircles may be coloured Blue, if preferred. The A is to be coloured on the same principle as the D ; the long straight border being Blue to the right, and Red carried down from the first stroke of the A along the left. In the finials, spaces in the thorn-like borders outside the circlets may be alternated with Blue, Red, and Gold. The small letters may be filled in with Vermilion or Sepia, according to taste. LONDON : 0. F. ADAMS. PRINTER, BARTHOLOMEW CLOSB, WBST 8M1THFXKLD. * --- ■ ■ - - » i •• . \ ' .. ' ‘ ' ~ • • ' ' . • - • . ** “• **