CSV fru» ww* tcbal ftrt of ailuminatton as applteti to Lincoln's <&ettpsburg &ttoress All-But-Lost New Disciple of lllumh Complete Lincoln! By Ralf Had it not been for the depression of 1929 you and I today might not have the privilege of looking upon the exquisite illuminating work of Ed- ward Gentile. For it took the deprivations and the discouragements of the economic slump to send this gifted son of Italian immigrants out searching for two things — a new source of livelihood, and an escape from the gloomy realism of the art which arose out of the period. In his own in- genious adaptation of the all-but-lost art of illuminating he found both. This one-time railroad call boy and telegraph operator has, however, given something to the world as well. He has revived, and proved that in this age of sur- realism there is a place and appreciation for, an ancient mode of expressing beauty. Illuminating must not be confused with engrossing, which many insist is an art in itself. The engrosser copies legal docu- ments, diplomas, awards and such things in a "fair, large hand." (Thus en gros!) He embellishes his work with sweeping nourishes, usually working with ink, in one color, using' a special 'engrosser's pen. And while the engrosser is credited with keeping alive the profession of free- hand writing and printing as a sort of commercial adaptation of the ancient served, examples of the art have tt theological background. Of the 32 pieci which Mr. Gentile has completed, 19 ha^ religious subjects, a field especially w< adapted for the graceful beauty of ilium nation where illustration at all is suitab] Before the depression Mr. Gentile w a commercial artist. The slump little 1 little removed this means of liveliho and the family had a pretty difficult tii of it for a while. An antique shop and job as supervisor of a WPA art proj< helped things along. It was here that 1 Gentile revealed that he had the heart a true artist. Seeing no market for sucl thing, but repelled by the ugliness of I art inspired by the disturbed condit of the times, he turned to illuminati He had not studied it, in fact had ne studied color, and color is most import in illumination. But Mr. Gentile w ahead, keeping out enough money to 1 materials and paints, and gold leaf, wl is an expensive item. He chose as his subjects Bibli patriotic, and inspirational themes. Pa takingly printing out the texts, he v, around them intricate designs pro with scrolls, symbolical figures, apprc ate landscapes, arabesques, and ej birds and flowers. &5SE> All-But-Lost Art Revived | jtfffiS 36 « New; Disciple of Illuminating Took Six Months to Complete Lincoln's Gettysburg Address By Ralph W. Cessna h; m looKwg upon the exquisite illuminating work of Ed- ward Gentile. For it took the deprivations and the discouragements of the economic slump to send this gifted son of Italian immigrants out searching for two things — a new source of livelihood, and an escape from the gloomy realism of the art which arose out of the period. In his own in- genious adaptation of the all-but-lost art of illuminating he found both. This one-time railroad call boy and telegraph operator has, however, given something to the world as well. He has revived, and proved that in this age of sur- realism there is a place and appreciation for, an ancient mode of expressing beauty. t not be confused with g, which many insist is an art in itself. The engrosser copies legal docu- ments, diplomas, awards and such things large hand." (Thus en oros?) nbellishes sweeping flourishes, usually working with ink, one color, using - a special 'engrosser's i And while the engrosser is credited v keeping alive the profession of fr hand writing and printing as a sort commercial adaptation of the anci illuminator's ar •., it ii Illumination, according to the Encyclo- paedia Britannica, is "the embellishment of written or printed text or design with colors or gold." In ancient times the printer of the text and the decorator or illuminator were often one person. But sometimes as many as five or six worked on one manuscript, one doing the letter- ing, another the elaborately decorated capitals, another the scrolls, another the accessories, From the first known examples of illumination in the fourth century, up until a hundred years or so after the dis- covery of printing, the art developed a refinement, but also a narrow standardiza- tion. And here is where Mr. Gentile comes in. Instead of simply doing what the old illuminators did, instead of trying to apply their traditional themes and figures to modern ideas, Mr. Gentile used or created modern designs to fit the need. The theme of the text is carried into the scenes and figures, even into the scrollwork. Whereas the old illuminators came to rely on a standard set of designs and figures, Mr. Gentile uses what the text calls for. The result is that when ex- semble that of the ancient illuminators only in the quaint formality and exuber- ance of the embellishment. Illumination is associated in the popular mind with religious subjects, probably because before the discovery of printing about the only literature was the Bible and theological manuscripts, and these were printed and illuminated by hand largely by monks. Ancient illumination appeared in connection with other than religious subjects, but much of the pre- examples of the the theological background. Of the ! which Mr. Gentile has completed, 19 have religious subjects, a field especially well adapted for the graceful beauty of illumi- nation where illustration at all is suitable. Before the depression Mr. Gentile was a commercial artist. The slump little by little removed this means of livelihood and the family had a pretty difficult time of it for a while. An antique shop and a job as supervisor of a WPA art project helped things along. It was here that Mr. Gentile revealed that he had the heart of a true artist. Seeing no market for such a thing, but repelled by the ugliness of the art inspired by the disturbed condition of the times, he turned to illumination. He had not studied it, in fact had never studied color, and color is most important in illumination. But Mr. Gentile went ahead, keeping out enough money to buy materials and paints, and gold leaf, which is an expensive item. He chose as his subjects Biblical, patriotic, and inspirational themes. Pains- takingly printing out the texts, he wove around them intricate designs profuse with scrolls, symbolical figures, appropri- ate landscapes, arabesques, and exotic birds and flowers. Besides the gold leaf he used six colors, delicate pastel shades and emerald green, red, and blue. It is notable that in spite of his lack of special color training he is able to take such an ordinarily vivid color as the red in the American flag and pro- duce a whole, containing pastel greens and blues, without a jarring color note. Asked how he does it, he says he doesn't know; technically, he "just does it." Except for an occasional circle or square, Mr. Gentile uses no drafting instruments, the letters being done with a pen, and the embellishment by a special brush.. completed each letter with a single stroke, Mr. Gentile often works at each letter as if it were a separate portrait. Where it took the ancient scribe hours to do a page, it takes Mr Gentile many days to complete just a line or two of textual matter. It required four months to do the Concord Hymn, he says, and six months to complete Lincoln's Gettysburg Ad- "What appeared as a misfortune," says Mr. Gentile, referring to the depression, ^has proved a blessing in disguise. In this revival of an ancient art I feel that I have found myself." Meanwhile his work has not been gathering dust on the shelves at home. He has refused no request to exhibit for worthy causes, frequently in connection with Wac recruiting campaigns and War Bond sales. Once a work based on the Joyce Kilmer poem "Trees" was ex- hibited in connection with the film "The Fighting 69th," in which the poet was depicted as one of the chief characters. This picture hung for some time in the lobby of a Chicago theater, and the man- agement was flooded with requests for reprints, which were not then avail- Among his illuminations of religious subjects is "The Daily Prayer," by Mary Baker Eddy, Discoverer and Founder of Christian Science. It was a kind word of encouragement from the late Robert B. Harshe, director of the Art Institute, upon seeing his illumination of "The 121st Psalm," which Mr. Gentile says gave him the inspiration to continue in what he saw as ing path, unlikely for some tin to bring much material return. It seems, though, that his da ?*mrv'- (^ lion i »n ninmu'u ,iuo sti fieoi ■ I in LlHUl niiilUT . C :*"»j| ^s S l -niV"t":i"iui.-r 1 !. , ;r.i"i ■ " \j« . ;.,l,wn'H>n iiu.u] Ctr..u if -■"■'. . I: IMIHVf luw ii- a„ W nMU'V,l Li.mIhu, 4 !&*&*&:'■ > gg« Si'S lull itwn'nmT' 1 ' 1 ' T lor iw lo In' Mm 1 Oiimi in u n hi i!'' ; 'i:'il' i .i| : | h m 11,: i r; '^!| l ,,r ''*' ^ in skill urn li.ni'iiiai in • f ft T iiiIkii ibisn.iimininiHT- A.'T'*> Movie Star Praises Painting »!d * Wa "\ & i ?°> ;m ° n ' f f mou , s m ° tlon P !cture s | a , r ' on his recent visit to Chicago to aid the sale of defense sav.ngs bonds was greeted by Edward Gentle (left), 109 North THE CHRISTIAN SCIENCE MONITOR, FEBRUARY 16, 1946 Turns Down $35,000 For Two of His Works , „„„„ , B y P»ul T. Gilbert. A FTER having lost his home, his business and his life I \ savings in the depression, and after having worked at wages of $90 a month as a director of a WPA art proj° ect, Edward Gentile of 109 Oak Park av„ Oak Park re Edward Gentile. cently refused an offer of $35,000 for two of his paintings and the copyrights thereto. And there are few, even among the top-flight Ameri- can artists, who can command a price like that. Up to five years ago Gentile had never studied color. i the all-but-lost medie- icate pastel shades and gold. He became interested, however, val art of illumination— the dec oration of old manuscripts a: perfected by painstaking monks working in their cells by candle- light. Gentile's workshop was as bar- ren as any monastery cell. It con- sisted of a back room in a dingy store building, where he and his made their home. From his terials— gold leaf was the pression art, with its depiction of factory and slum scenes, he de- veloped a new, yet old, inlcipre- tation of beauty. He chose for his subjects Bibli- cal, patriotic: and inspu -;\\ innal themes— Washington's Inaugural Prayer; Lincoln's Gettysburg Ad- " Hymn; lade from the late Robert B. she, director of the Art Insti- , and with this encouragement ompleted others. He now has llection of more than 30, and the exception of two, which jainted to order, he has re- ng them, he says, He Emerson's Conco mine eyes unto the hills." Around these literary gems he wove intricate designs abounding in scrolls, arabesques, symbolical figures, exotic birds and flowers, SEVERAL of his patriot!.- point- ings, however, were loaned to the Wac recruiting station in For- Park and to the Treasury De- partment for the promotion of ar bond sales, Gentile's talents as a draughts- York stock market what appeared as a misfortune the time has proved a blessing j Roosevelt asted t £ a, ^ Dear Ur. Entile: Among coy Chicago notes I find one marked Llnooln Day painting, whl to tell you h yoor painting, wishes, believe wag Impressed by with all good J>A.w F TREASURY DEPARTMET Kr.Edward 109 No. Oa Oak Park, 111. *" Dear Sin unveiling it «at Of V : mj Carson Pirie Scott a Co. Mr. Edward Gentile 109 N. Oak Park Avenue Oek Park, Illinois The staff of the book section of Carson Pirie Gcott A. wish to express their appreciation of the beautiful illuminated parchment yo made of the Gettysburg Address with th portrait of Abraham Lincoln. Many oust CENTURY GALLERY April the twenty-seventh. ie&r Hr. Jent ] 1 Mandel Brothers Si«tetoWJ».k.iAUi.o.St. Cnicago 109 N. Oak Park , Illinois the LOUIS ALUS co I LWAUK EE 7. WIS. Hay 5. 1944 Dear Sir: A oouple days ago I stopped and read with great The Fai, Ckic-o The Plimpton Press Norwood lE) Mass USA KROCHS BOOKSTORES. INC. Up: BOOKSELLERS and STATIONERS \-~ ™==u3 TELEPHOKES KWDOLPH Si .ILLINOIS -l THE PAN AMERICAN COUNCIL M EAST RANDOLPH STREET THE ART INSTITUTE OF CHICAGO Mr. Edward F. Gentile 103 North Oak Park Avenue Oak Park, Illinois My dear Ur. Gentila: "any thinks for showing me your recent beeutlful Illuminations. They are very perfec in design and color, and I hope you will find publisher sufficiently gifted to reproduce the dear Mr. Gentle: inspiration for the Holy Week of the visitors, I understand. possibilities of purchasing [ wouldn't have missed seeing this exhlbl or anything, and I want to extend to you sincere congratulation's upon the display INCOLN \&/ NATIONAL LIFE FOUNDATION Oak Park, Illinole eucceoaful In aecurlni forward to receiving i print and will ] fj^A-uoTCL *-aJ Mr. Edward Gentile 109 Worth Oak Park Avenue Oak Park, Illinois Dear Ur. Gentile: Please accept nry sincere gratitude for your kindness in permitting us to display your beautiful illuminated paintings. We were proud to show thetn in our window and received many favorable comments. MISSIONS COUNCIL CONGREGATIONAL ( 109 Ho.Oak Park J Oak Park.Ul. Uy dear Ur.OaaUl Thank you vary anon for firing ate th- privilege r my fin* painting of Abraham Llaelon'e Oattyabuxf Lt the result of your loacpelnetaklnc efforta. Tba >o thla la flrat ola«a In d*«l 4 n .oolortn* and finished qnnbolltm to Udloate the e^iot Besides the gold leaf he used six colors, delicate pastel shades and emerald green, red, and blue. It is notable that in spite of his lack of special color training he is able to take such an ordinarily vivid color as the red in the American flag and pro- duce a whole, containing pastel greens and blues, without a jarring color note. Asked how he does it, he says he doesn't know; technically, he "just does it." Except for an occasional circle or square, Mr. Gentile uses no drafting instruments, the letters being done with a pen, and the embellishment by a special bruslj. Whereas the old-time illuminator, work- ing often with a whole book before him, completed each letter with a single stroke, Mr. Gentile often works at each letter as if it were a separate portrait. Where it took the ancient scribe hours to do a page, it takes Mr. Gentile many days to complete just a line or two of textual matter. It required four months to do the Concord Hymn, he says, and six months to complete Lincoln's Gettysburg Ad- dress. "What appeared as a misfortune," says Mr. Gentile, referring to the depression, "has proved a blessing in disguise. In this revival of an ancient art I feel that I have found myself." Meanwhile his work has not been gathering dust on the shelves at home. He has refused no request to exhibit for worthy causes, frequently in connection with Wac recruiting campaigns and War Bond sales. Once a work based on the Joyce -Kilmer poem "Trees" was ex- hibited in connection with the film *The Fighting 69th," in which the poet was depicted as one of the chief characters. This picture hung for some time in the lobby of a Chicago theater, and the man- agement was flooded with requests for reprints, which were not then avail- able. Among his illuminations of religious subjects is "The Daily Prayer," by Mary Baker Eddy, Discoverer and Founder of Christian Science. It was a kind word of encouragement from the late Robert B. Harshe, director of the Art Institute, upon seeing his illumination of "The 121st Psalm," which Mr. Gentile says gave him the inspiration to continue in what he saw as a pioneer-* ing path, unlikely for some time at least to bring much material return. It seems, though, that his day is about to come. jfanecmxmi Ij™*i* t --'**.™— r Digitized by the Internet Archive in 2012 with funding from University of Illinois Urbana-Champaign http://archive.org/details/medievalartofillOOfine The Medieval Art of ILLUMINATION as applied to LINCOLN'S GETTYSBURG ADDRESS 3ft " The Medieval Art of ILLUMINATION as applied to LINCOLN'S GETTYSBURG ADDRESS iVl uch has been written about the "Dark Ages" and its adverse effect upon the advancement of civilization. Yet, little is known of those brilliant medieval minds who chose to guard what marks of civilizaton remained, and, whenever opportunity afforded, added to its noble store in that period which followed the epic incursion of the Mongol hordes from Asia, and its inevitable historical aftermath. Perhaps no other branch of the arts contributed quite so much and so consistently to the advancement of culture during this almost negative period of history as that of the craftsmen who labored to produce the Illuminated Manuscripts. In the realm of art, this technique is known as Illumination, and is applied to the embellishment of written (and later of printed) text or design with colours of gold and (though rarely) silver. Illumination in art received its first impetus with the introduction of Parchment. Parchment, as a receiving medium, had distinct advantages over the earlier form of Papyrus, being less brittle at the edges, and withstanding corrections and expunging better. Moreover, Parchment had a freer surface and thus proved to be the spark of life that gave birth to Illumination in manuscript. The first great period in the history of Illumination reaches back to about the fourth century A.D. During the 1200 years in which it flourished it provided an important medium through which much of the world's knowledge was safeguarded and maintained. Its golden age parallels the tremulous poverty and ignorance of the Dark Ages. At the few seats of culture in the Mediterranean area, Byzantium, Asia Minor and western Europe, medieval scholars, patrons composed of segments of far-seeing roy- alty and knighthood, and penitent, hard-working monks in their monasteries, captured the history of their times and dug into the history of the past to set down their findings in Latin, Sanskrit and Coptic characters in melting black lines and columns upon the soft tones of Parchment, embordered with prosaic designs in beautiful colours and hues, with bold patches of gold for emphasis, enlivened with pictures and miniatures of those characters who dominated their texts, or patrons who made them possible. The Illuminated Manuscript of ancient times was in effect a symposium, a collaboration, a united work executed jointly by as many as six separate artisans or craftsmen, each a specialist in his own field. The first of these, the scribe, commenced the work by running down the sides of each page a wheel armed with teeth at equal distances, an instrument still in use among law stationers as late as the 19th century. From these point marks left on the Parchment, very delicate lines in red or brown were ruled across the page. Within these lines were written his text, with spaces left open for capital letters, miniatures or other decorations. The scribe in turn was fol- lowed by the calligrapher whose task it was to place the capital letters and coloured ornamental accessories in their proper places. Then came the miniaturist who gave his measure of life and breath to the work, followed in his turn by the Illuminator whose strokes left patches of gold here and there upon the surface of the Manuscript for all to marvel at. Later, Her- aldry introduced its own peculiar art to such Manuscript as was commissioned by some knight or royal personage. These specialists came to be known collectively as " Enlumineurs" , Illuminatores or Illuminators. Each seat of culture contributed some technique or decorative scheme indigenous of its own. For example, among magnificent Greek Manuscript of medieval times, some were written in gold upon purple-stained skins. Perhaps no other book has been quite so personal in its appeal as 11 The Little Hours of the Virgin". These books of hours were made on commission for important personages and each carried thru it some charac- teristic suggestion of its patron owner. It offered the scribe a relatively short text and the Illuminator a charming series of subjects and show more and more response to the laymans desire for show and splendor. It is difficult to think how this desire could be better gratified than by the glowing blue of powdered lapis that shone on the Virgin's cloak in painted miniatures; by the glint of gold-leaf in the marginal lines, raised by sizing, the better to catch the light; by the rubrications of pure vermilion (now become so rare in art and generally synthetisized) interspersed among the lines of text. A book like this might well be treasured by a queen. It was a unique and intensely personal work of art. One of the most pretentious and successful books of all times is the "Book of Kells" y a book of the Gospels produced in Ireland in the 7th century. On seeing the curiously sophisticated and intricate embellishments of this Manuscript, one realizes that the "Sfark of Civilization" , almost extinguished at that time, was well guarded in the Irish monasteries from whence it came. This Irish sacred book with its somewhat rigid perfection, influenced work in the English school from 664 A.D. onward. Charlemagne, singular regal product of the Dark Ages called upon artisans and craftsmen of his time to produce the so-called "Carolingian Miniscule", evolving within it great lightness and crispness, due to the sim- plicity of the letters used, producing in turn a freer style of Illumination. The bold outstanding initial letters (which brightly painted served as a useful pointer in finding passages) comes into closer relation to the text; vines descend from it until they cover the margin and finally a whole illus- trative scene is incorporated within a large initial. Thus thru the ages, step by step, the Illuminator created and produced his work, spreading much of the intellectual light of his time. Illuminated Manuscripts, hand-done in every detail permitted a wide latitude for the imagination of the medieval artist-creator. Much of their technique was borrowed by painters in oils as Renaissance canvases in our museums today will testify; or loaned to the sculptor's craft, in the design of church doors or tablets, examples of which can be seen in the old centers of culture on the continent. The books of today are the results of certain laws and rules first set down by the early Illuminator and other forms of literature and art too, are not without their influence of lluminated Art forms. With the first bright light of the Renaissance came the printing press and the death knell of Illuminated Art was sounded in the squeak of the first printers screw press. For a century, Illuminators continued to embellish the printed works and go beyond the capacities of movable type and mechanical limitations, but the mass educational movement spreading rapidly over the continent cried out for more books, cheaply printed and produced and the art of Illumination was stifled. The earliest printed books, by imitating closely every artistic rule of the calligrapher and the scribe, profited by twelve centuries of previous experi- ment. Type-founders, while they could not equal the nervous fineness of the best writing certainly attained a new consistency and clarity of letter design. The lover of books done in the style of Illuminated Manuscripts, fine hand-tooled bindings and original painted illustrations may quite rightly maintain that such original pieces are works of art, not of reproduction. However beautiful a piece of typography is, (and it has unique and subtle beauties of its own) it is in its very nature a replica, a thing produced by a machine. Collectors and rich patrons however, could still add a hand-tooled or inlaid binding and make it an individual work of art to that extent. And so Illuminators , too, continued to work on the printed page but only to a limited extent. The surflike surges of the past dozen centuries became calm and placid and within a century after the introduction of printing, llluminuated Manuscripts took their rightful place among the relics and products of Antiquity. * * * From time to time, since the Renaissance, Illumination in art has been executed by various artists, but generally speaking it has never been given a rebirth of spirit. If this is done in our day it will doubtless be thru the impetus given such a rebirth by Edward Gentile. Edward Gentile is a product of the city of Chicago, being born there on July 20, 1890. After a normal boyhood he enrolled as a student in the Art Institute of Chicago, receiving formal instruction there in commercial art during 1911-1912. Feeling as many other commercial artists felt, that an easier success was assured in the east, he worked in Philadelphia and New York City in the years before World War I. During this stage in his career, Mr. Gentile had begun to perfect a technique in design that was enjoying a certain vogue at the time. This technique was actually his first steps toward becom- ing an Illuminator although perhaps he himself did not realize it then. With the declaration of war, he enlisted and served as a panoramic draftsman in the Balloon Corps with the A.E.F. Home from the war, he came back to his native Chicago and re-entered the commercial field as a free lance artist. In Chicago, Mr. Gentile widened his experience and within a few years his work was much sought after. In April of 1925, The Inland Printer featured ten examples of his "Decorative Design and Lettering', devoting eight full pages to the feature. This article evoked high praise among the leaders of the commercial art world at the time. In those pages one can easily see that Mr. Gentile was experiencing a transition from commercial to fine art. Edward Gentile -present day exponent of the art of illumination. m^>'- j . ,^^1 (§?> ^B *^^ : Z : f? ' ^ft' DELIVERED AT GETTYSBURG ty aw imr fatferg hrouqni '* ^t Wrth an (hig pnntittEma $neiu nation corujc^eti m/lto ^ f erttf ano ueotateb to the urn* Mpolitioa that all men ate tfl&jf ateu equal ;3|im:ne ate moageo in a great civil mar.tegtinfj - ->>-- ufowier that nation nr arm » lion goinmmvcb anb go wot eaten can lon.q etttmtT. C "e » a^mct im a great hattletielki ut thai tear e hav* some tP beMeate appim pttitaitiw ag ailnaTttgtmg jrtace fniv:^ tlioge u:l\o iiete gave tteir Eve? that that nation mk) W , live ' i \$ altogetelUttug and:, proper mat am- gfinutb tm t\\\% ut in a larger: : - ' uie cannot tiehlcate xm earatcrt congcccate . m cannot ttatloyu t mbr ' ' tteln oeab^ uibo gtntgafctt - . uvi mmmmm it fat above outt t ~ f ; : :%■-: >J ->«&!& (*'A ^__^. Monotone reproduction of the illumination of Linco)C j: - a NOVEMBER !9~^ mm*Ms&£ poor mjuiin* to afrit) prtirttact luuuoiw tmll little miter : im Imtix ratiemter tuhat we &u lu#au{titrauawr Runlet tvhat thet oituie-re .~l later us th* ii.Vinq. rather to hebi&icateb.te to the utitta tefaft ttiorfuuluelithey who touglxthenh ar $a Bomvabvanceblt isratiw? tor ug to be Iw bippatetj to iciofc lore us, that front itiepc hem oreb iicob iuc take ituTeoBCU ftuvotumto t txgejtprj u.hietUUei, nave the last mil ' measure I i ; iw- liere htqhli, r that thejac beao ^MFjiot have bteb in. • Utxat this nation untjer - ulv. ! -w i3 ncirlnnh ot % Ireebi it government pt ittejrcapte irthc 7 peopfcpWt iwtjenjh itom ft 'dp III II! [iipiij- Gettysburg Address {actual size 18 1/2" x 26") Portion of illumination of Lincoln s Gettysburg Address reproduced in monotone full si%e showing intricateness of detail. Within the next few years Mr. Gentile was a frequent exhibitor in Chicago galleries. In 1926 his first attempts at Illuminated Manuscripts were exhibited in the All-Illinois Society Exhibit at the Galleries of the Carson Pirie Scott and Company. Others followed in the Chicago and Vicinity Shows, Exhibit of the Renaissance Society of the University of Chicago, the Art Institute, Marshall Field Galleries, Century Galleries and the Stevens Hotel Art Corridor. His first pieces were relatively simple measured against his more recent productions. Also, his earlier works are religious in character, since these subjects lent themselves to Illumination so readily. In the later 1920's the commercial art technique which Mr. Gentile had perfected, gave way in popularity to the modern trends which were then sweeping the country. With this turn of events Mr. Gentile decided to devote his entire time to Illumination in Art. In effect, Mr. Gentile is a singular product of Illumination in Art. In the days that the art flourished it must be remembered that each step in the execution of a Manuscript was undertaken and completed by a specialist; the scribe, the calligrapher, the designer, the miniaturist, the Illumi?iator ; the heraldic artisan, etc., Mr. Gentile is all of these combined into one. It is significant that all phases of Illuminated Art are handled by him without any of them suffering by comparison with the other. His lettering is beyond criticism, his design is so intricate and colourful that it is beyond description, his use of allegory is provocative, his miniatures are as finely executed and colourful as any to be found, his dominant subject matter is handled in such a way that only praise can result, while the Illumination itself demonstrates the result of profound study. As his experience in Illumination widened, so too did his scope of sub- ject matter. In his search for appropriate material, Mr. Gentile came upon literary themes utilizing Joyce Kilmer's "Trees" and Emily Taylor's "A Mother's Love", even Shakespeare. Exploring literature further he brought the literary theme into conjunction with history by using Francis Scott Key's "The Star Sf angled Banner", Washington's "Inaugural Prayer", Emerson's "Concord Hymn", and finally, Lincoln's "Gettysburg Address", As these were completed they were shown and given wide publicity. The historical themes with their appeal to patriotism were extensively used by the Treasury Department at its many bond rallies, and as window dis- plays in bond campaigns. In this way the Illuminated Manuscrifts of Mr. Gentile were viewed by hundreds of thousands of people. There soon arose a demand for reproductions. The persistency of this popular demand prompted the artist to investigate the possibility, rather one should say the probability of reproductions. With this thought in mind Mr. Gentile decided to place his works into competent hands for technical graphic study, since it was his profound desire to see his works reproduced as faithfully by mechanical processes as he himself executed them so pain- stakingly by hand. * * * In selecting the first of Mr. Gentile's Illuminated Manuscripts to be reproduced, artist, publishers and sponsors heartily agreed that it should be the Illuminated Manuscript of Lincoln's Gettysburg Address. Mr. Gentile himself always favored this subject over the two-score Illuminated Manu- scripts he has executed to this writing. In fact, all who view the Illuminated Manuscript of Lincoln's Gettysburg Address are united in praise of it. The Illuminated Manuscript of Lincoln's Gettysburg Address is truly a work of the highest art obtainable, inspiring in its beauty, subtle in its spirit. The work measures 18^2x26 inches with a mat of 4 inches surrounding it. The striking center of attraction is a portrait of Abraham Lincoln, three- quarters life size. The artist availed himself of the famous photograph of Lincoln taken by the photographer, Alexander Gardner, as his chief pictorial reference. It was shortly after the battle of Gettysburg, in the summer of 1863, that President Lincoln sat for several photographs in the studio of Alexander Gardner, in Washington. For reasons of his own President Lincoln was not pleased with the results and so he revisited Gardner's studio on November 15, 1863, just a few days before delivering his immortal Gettysburg Address. Among the photos taken on this date was the one used by Mr. Gentile as his main guide in painting the President as he looked at the time of the Gettysburg Address. This photograph is regarded as perhaps the best ever taken of Lincoln while he was President. The lifelike tones of colour in Mr. Gentile's portrait, together with colours and treat- ment of the background and surrounding portal are in themselves a rare work. On either side of the portrait standing out boldly in melting black clois- ter type is the Gettysburg Address, word for word, as Lincoln spoke it, the artist availing himself of poetic license on only a few occasions, namely, the numeral seven and the use of the ampersand, a circumstance that adds rather than detracts from its poetic effect. As capital letters appear, they are enhanced into rich swash characters in numerous colours. Spaces to fill out sentences and between words are rich in gold embellishments. Framing the portrait in the center and the address on either side are intricate designs, decorations and miniatures, and allegorical designs symbol- izing the character and nature of Abraham Lincoln. The combination of these units appear totem-like at first, but on closer inspection are found to be unbelievably well worked out patterns of decoration, geometrically and symbolically perfect. Inserted in these decorations that form within themselves a natural border are miniatures of landmarks and personalities made famous by the Gettysburg meeting. In the upper part of the Illuminated Manuscript of Lincoln's Gettysburg Address is pictured the White House, home of the presidents, as it appeared in Lincoln's day; the Capitol, seat of legislative power of the United States and symbol of Constitutional Government. In the lower part are miniatures of Edward Everett, who gave the oration of the day at the Gettysburg dedication, his address being two hours in length compared with Lincoln's two or three minute effort. However, Everett's oration is nearly forgotten, while Lincoln's gains new converts annually. Everett was seventy-one years of age at the time and his speech at Gettysburg proved to be his last great oration. Beside Everett, is a miniature of Andrew Gregg Curtin, Civil War governor of Pennsylvania and host to those at Gettysburg. On either side of the Everett and Curtin miniatures are pictures of the David Will's House and the Lincoln Speech Memorial that marks the location of the Gettysburg dedication. David Wills lived on the "Dia- mond", Gettysburg's city square and was the first person to suggest a National Cemetery at Gettysburg. When Lincoln arrived in town, he was entertained at the Wills House, which still stands today in the heart of Gettysburg. The old Western Maryland Railway Depot, where Lincoln alighted from the train and first set foot on Gettysburg soil, is pictured on one side of the Illuminated Manuscript of Lincoln's Gettysburg Address, while on the opposite side is the Lincoln Memorial in Washington, D.C., where Lincoln's memory is properly enshrined in the hearts of his countrymen for all time. Study of the Illuminated Manuscript of Lincoln's Gettysburg Address by engravers and craftsmen printers uncovered a variety of technical problems all of which offered barriers in reproducing Illuminated Manuscripts. The numerous technical difficulties which would be encountered in reproducing art of this type would demand such a large expenditure that it would make the sale price of such reproductions, prohibitive. Two years of consultation and graphic study finally bore fruit. Most printing houses were indifferent to the project since their plants were busy and the cheap rapid type of their work would not allow for projects that must be treated with every possible show of esteem and respect. Here was indeed a project to test the patience and skill of the best technicians that the graphic arts had to offer. Thought and enterprise must predominate in the conscientious approach to the many problems offered in the reproduction of Illuminated Manuscripts. Intensive study of the original works of Mr. Gentile by the directors of the Fine Arts Print Guild and research into the existing practices in modern engraving and printing were carried out. Suggestions were made from time to time of an experimental nature, some of a revolutionary nature. An insight into a few of the problems will show even the casual reader that the use of the word revolutionary is not out of place here. For ordinary reproductions of art-work, such as is seen in the numerous prints which are on the market and in the finer magazines, it is necessary only to use what is known as four-color process printing, utilizing four different colors of ink and 57,600 halftone units per square inch. The resulting combination producing a close resemblance to the original. To acquire a better understanding of the halftone unit, one may inspect a one color newspaper picture under a magnifying glass. The average newspaper uses 4,225 units per square inch. In reproducing Mr. Gentile's Illuminated Manuscrift of Lincoln's Gettysburg Address , it will be necessary to use what is known as nine-color process, a process used so seldom as to make it practically unknown. In this method there will be 202,500 halftone units per square inch. And yet, after this is done it will still require both machine and hand work to put into this reproduction the numerous sections of gold illumination that tends to make this type of art an article of great beauty. The first step in the reproduction of colored artwork is to make what is known as color-separated screen negatives, a very simple procedure in most cases but extremely difficult in the case of Illuminated Art, because flashing rays of light reflecting from the gold illumination creates havoc with the photographic process used in producing the negatives. Due to the foregoing and other production difficulties the possibility of any repro- ductions of this type of art reaching the art loving public has, up to now, been extremely remote. The Fine Arts Print Guild has, thru its research and investigations, finally co-ordinated graphic craftsmen in each of the specialized fields thru which the print must go before faithful reproductions can become a reality. In this process a strange paradox has taken place. In the preceding pages of this brochure, it was pointed out how each of the medieval craftsmen engaged in producing Illuminated Manuscripts had his own specific task to accomp- lish. Now, centuries later, this all but lost art has been revived by Mr. Gentile who has mastered each of the medieval specialists crafts and executes a whole Illuminated Manuscript singlehanded. Moreover, his execution of it is so complex that its reproduction is a challenge to present day printers, descendants of those early printers who sounded the death knell of medieval Illum'mated Manuscripts. Now, each specialized craft of the graphic arts must be called upon to do their specific task before reproduction is accom- plished. The photographer, the engraver, the etcher, the pressman, etc. Only the time tested craftsman will have a hand in this work, so exacting is its execution. With this co-ordination of graphic talent, the Fine Arts Print Guild and those persons sponsoring the First Edition of the Illuminated Manu- script of Lincoln? s Gettysburg Address, it will now be possible to supply faithful reproductions of this beautiful and celebrated piece of art to the public. Three editions of reproductions of the Illuminated Manuscript of Lincoln y s Gettysburg Address are contemplated. They are: FIRST EDITION. A sponsors edition limited to 200 original prints, numbered and signed by Edward Gentile, the artist, and printed on hand-made paper of the finest type available. SECOND EDITION. A collectors edition limited to 500 prints, num- bered and signed by Edward Gentile, the artist, and printed on 100% rag paper. THIRD EDITION. A trade edition, unnumbered and unsigned printed on a very fine quality hard vellum paper. This brochure is published and presented by the Fine Arts Print Guild to foster and further information and knowledge of Illumina- ted Manuscripts in Art today. All further inquiries should be addressed to the Fine Arts Print Guild. 1018 Tine Arts Buildings 410 South Michigan Boulevard , Chicago 5 , Illinois. RESERVATION FOR COLLECTOR'S and / or TRADE EDITION REPRODUCTIONS Date. Fine Arts Print Guild 1018 Fine Arts Building 410 South Michigan Boulevard Chicago 5, Illinois Gentlemen: Reserve for me the following copies of reproductions of the Illuminated Manuscript of Lincoln's Gettysburg Address. .copies of Collector's Edition (Limited to 500 numbered copies, signed by Edward Gentile, the artist, and printed on 100% rag paper) $25.00 each .copies of Trade Edition (Unnumbered, unsigned and printed on a fine quality hard vellum print paper) $10.00 each You may write me when the prints are ready for distribution and I will remit by return mail. Name. Add] City, Zone and State. APPLICATION FOR SPONSORSHIP Date. Fine Arts Print Guild 1018 Fine Arts Building 410 South Michigan Boulevard Chicago 5, Illinois. Gentlemen: To assist in the publication of reproductions of the Illuminated Manuscript of Lincoln' 's Gettysburg Address , I should like to be enrolled as a sponsor. It is my understanding that I will receive a copy of the FIRST (Sponsors) EDITION of the Illuminated Manuscript of Lincoln's Gettysburg Address^ one) of an edition of 200 numbered and signed by Edward Gentile, the artist, and printed on handmade paper. Further, it is my understanding that my name (as it appears in the space below) will be printed on the Sponsors List to be published by the Fine Arts Print Guild and sup- plied with each print of every edition of the Illuminated Manuscript of Lincoln's Gettys- burg Address. In consideration of the above sponsorship priviledges, I herewith enclose my check for $50.00 as payment in full. It is my understanding that I will receive a certificate of my enrollment as sponsor (that will also serve as a receipt) and stating the number of the print I am to receive. (If for reasons of your own you wish to use the name of your business affiliation, a trade style, or some association or institution in the event you are sponsoring the print for their benefit, you are free to do so.) Name. Name (as you wish it to appear on sponsors list) Address. City, Zone and State.