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Emblematic Illumination ; 
 
 OR, 
 
 jforms, Colours, an* Cmfclems 
 
 SUITABLE FOR 
 
 ILLUMINATING TEXTS OF HOLY SCRIPTURE 
 IN LARGE STYLE, 
 
 IN OILS OR WATER-COLOURS. 
 
 COLLECTED AND EDITED 
 
 By F. M. R. 
 
 SIXTH EDITION, 
 
 ILontion: 
 
 JOHN B. DAY, LITHOGRAPHER, PRINTER, AND PUBLISHER, 
 3, SAVOY STREET, STRAND. 
 
 Price b$. 
 
CONTENTS. 
 
 PAGE 
 
 Preface .......... 3 
 
 Texts for Illuminating ........ 4 
 
 Forms, Outlines, &c. ........ 5 
 
 Illuminating in Water- Colours and Gold . . . . . 9 
 
 Do. Oils Do. ■. 11 
 
 Symbolism of Colours . . . . . . . 1 3 
 
 Emblems . . . . . . . . . .16 
 
 Sacred Monograms . % . . . . .21 
 
 Defcription of Initiial Letters and Suitable Texts . . .22 
 Conclufion .......... 24 
 
 Selecled Lift of Materials, with Prices . . . . .24 
 
 Plates 25 
 
Preface. 
 
 THE Editor of the following pages has no defire to offer them in competition with the 
 numerous and ufeful Handbooks on Illumination already publiftied. All thofe that 
 the writer has met with — fome eight or ten — have been almoft exclufively directed to the 
 ftudy of MifTal Painting and Illuminating on the moft minute fcale. The exceptions to this 
 rule are a few occafional remarks, merely hinting at the larger and more popular ftyle. 
 
 The principal omiffion, however, which this little book is defigned to fupply, is the 
 emblematic branch of the fubjecT:. Amateurs moft generally confine themfelves to illuminating 
 texts of Holy Scripture on a large fcale, to aflift in which numerous printed outlines are 
 now publiftied. But, from complete ignorance of the rules of ecclefiaftical colouring, the 
 amateur not only becomes hopeleflly bewildered as to what colour to felect for particular 
 words, but, in falling back upon his own tafte for guidance, commits errors which deftroy 
 the emblematic beauty of his work. The fignificance of colour is greater than is generally 
 fuppofed, and will be found a fubjecT: of much intereft. 
 
 Such facred fymbols as could eafily be introduced into illuminated fcrolls have been 
 defcribed, in the hope that, by their afliftance, a tafte for ftricTly appropriate ornamentation 
 may be more largely cultivated, to the exclufion of thofe unmeaning and tawdry decorations 
 which offend the eye. 
 
 Inftead of furniftiing copies of antique capitals, of which fo many excellent collections 
 now abound, it has been thought more ufeful to fupply the reader with fome fpecimens of 
 emblematic letters (which may fuggeft other fimilar defigns), fuitable for particular texts, 
 feveral of which are alfo fubjoined. 
 
 The inftrucTions for the mechanical part of the work are given on the authority of 
 experience, while the fignifications of colours and emblems have been carefully collected 
 from larger and ftandard publications. 
 
 F. M. R. 
 
TEXTS FOR ILLUMINATING. 
 
 Emblematic Scrolls : Texts 
 
 " Emblematic Illumination.'" 
 
 of Holy Scripture Outlined for Illumination. By F. M. R., Author of 
 
 One Shilling each. 
 
 1. Fear not, I will help thee. 
 
 2. Look unto Me, and be yeTaved. 
 
 3. My Peace I give unto you. 
 4 The Lord will provide. 
 
 5. Be clothed with humility. 
 
 9. In Coelo Quies (In Heaven is Reft). 
 
 12. Little children, Love one another. Speak gently. Be patient. 
 
 13. Bring forth therefore Fruits meet for Repentance. 
 
 One Shilling and Sixpence each. 
 
 6. He fhall give His Angels charge over thee. 
 
 7. Unto you is born a Saviour, which is Chrift the Lord. 
 10. I am come that ye might have life. 
 
 14. Chrift is rifen. Alleluia ! 
 
 15. Thine eyes fhall fee the King in His beauty, they fhall behold the Land 
 
 that is very far off. 
 
 16. For Advent— The Day of the Lord cometh ! Repent ye. Watch and Pray 
 
 17. *or Chnftmas— Thou fhalt call His name Jesus, for He fhall fave His 
 
 people from their sins. 
 
 18. The Day-fpring from on high hath vifited us. 
 
 19. For Lent — Whofo confeffeth and forfaketh his fins fhall have mercy. 
 
 20. For the tranfgreffion of My people was He ftricken. 
 
 21. For Eafter — I am the Refurreclion and the Life. 
 
 22. For Afcenfion — I go to prepare a place for you. 
 
 23. He will guide you into all truth. 
 
 24. For Trinity — There are Three that bear Record in Heaven ; the Father, 
 
 the Word, and the Holy Ghoft ; and thefe Three are One. 
 
 25. My prefence fhall go with Thee, and I will give thee Reft. 
 
 30. I will truft and not be afraid. 
 
 31. With Chrift, which is far better. 
 
 Two Shillings each. 
 8. Glory to God in the Higheft, on Earth Peace, Goodwill towards men . 
 11. Be thou faithful unto Death, and I will give thee a crown of Life. 
 
 26. Of fuch is the Kingdom of Heaven. 
 29 Speak, Lord, for Thy fervant heareth. 
 
 27. O my people, what have I done, &c. 
 
 28. Behold, thy King cometh unto thee. 
 
 The Lord's Prayer, by H. S. Baker. 
 
 Note. — Thefe Scrolls cannot be forwarded through the Poft unlefs, in addition to the price, 6d. be fent, if one Scroll is ordered, 
 
 and if more than one, zd. for each extra Scroll. 
 
 Scripture Texts for Churches, 
 Architects, Liverpool. 
 
 Schools, ParfonageSj Dwelling- Houfes. By W. and G. Audsley, 
 
 List of Texts. 
 
 103. 
 104 
 105. 
 106. 
 107. 
 108 
 109. 
 
 I am the Way, the Truth, and the Life.* 
 
 Bleffed are the merciful.* 
 
 Chrift fuffered for us, leaving us an example. 
 
 God is our refuge and ftrength.* 
 
 Fight the good fight of Faith.* 
 
 Keep yourfelves from idols.* 
 
 Lay hold on Eternal Life.* 
 
 Bleffed are the pure in heart.* 
 
 He that loveth not knoweth not God.* 
 
 Feed My fheep. 
 
 God is Love. 
 
 God is Light. 
 
 Rejoice in the Lord alway.* 
 
 114. Bleffed are they that mourn, for they fhall be comforted. 
 
 115. Enter ye in at the ftrait gate.* 
 
 116. Do juftly, love mercy, and walk humbly with thy God.* 
 117 Bleffed are the meek, for they fhall inherit the earth.* 
 
 118. Quench not the Spirit. 
 
 1 19. The blood of Jefus Chrift cleanfeth from all fin. 
 
 120. Pray without ceafing. 
 
 121. Love not the World 
 
 122. I am the Bread of Life.* 
 
 123. Grace and Truth came by Jefus Chrift. 
 
 124. Add to your Faith Virtue. 
 
 125. Bleffed are the Peacemakers.* 
 
 The Outlines are printed 
 The latter marked * above. 
 
 fine drawing cardboard : fome, of the fize 21 1 in. by 9} in., 2j. each ; others, 28 in. by io| in. 3*. each. 
 
 Twenty-five Texts, as above, fully Illuminated, reduced into Cards. Price 5*. the fet. Thefe ferve as 
 
 guides for illuminating the large outlines, or as book-markers, or to fix in albums ; and may be had feparately at 6d. each. 
 
 The " Te Deum." Beautifully Illuminated, 15 x 20. Price 5*, 
 
 Faith, Hope, and Charity. Three beautifully Illuminated Subjecls, from thd Original Drawings, by the 
 late Mr. F. G. Delamotte. Price, for the fet of Three, \l. is. 
 
 Faith, Hope, and Charity. In Outline, for Illuminating. Js. 6d. the fet of Three. 
 
 Cards for Holy Chrijlmas, Chrijlmas Greetings, arranged in appropriate Illuminated Borders, by W. R. 
 
 Tymms. Four cards, each with different cards and defign, 6d each ; or the four port-free on receipt of 26 (lamps. 
 
 Chrijlmas Decorations, Fancy Letters, in Two Colours, on paper, all Capitals, height three inches, yd. per 
 
 dozen, poft fiee ; or lertcrs five inches high, is. per dozen, poft free ; afforted to the requirements of the px.chafer. 
 
FORMS. 
 
 Drawing, 
 
 
 
 Ecci ^ ix. 10. 
 
 To begin with the purely mechanical part of our work, let us enumerate the materials required for 
 drawing the outlines: — 
 
 3 Pencils — F, HB, and BB. 2d. each * 
 A piece of Indian-rubber. 
 
 Red fable brufhes ; the fizes fold at \d. t 6d., and Sd. each: alfo 2 fmall fizes of the beft Camel's 
 
 hair, 2d. each, neceffary for Beflemer's gold paint. 
 Large fized London or Briftol board, 6d. per meet, and upwards. This is a glazed (hot-prefTed) 
 
 cardboard. 
 
 " Mounting-board " is rather cheaper, coding 6d. and upwards for a large meet, but, not having fo 
 
 fine a furface, will not fo eafily bear rubbing out. It takes colour well. 
 Pale-tinted cardboard, grey, brown, &c, is fold in large meets, at about Sd. per meet. 
 Vellum-paper, a good imitation of vellum, is fold at Is. per meet. 
 
 Some meets of white tiiTue and tranfparent tracing-paper ; the latter for preferving copies in outline. 
 2 Rulers (flat) ; one of wood, about two feet long, another of bone, 6 inches ; 6d. each (ivory, 2f.). 
 A T- ruler is very ufeful ; is. and upwards. 
 
 A portfolio, 2 feet by 10 inches, to hold the fcrolls, would be ufeful in preferving them from 
 
 injury ; coft, at the drawing-mops, y. 6d. 
 A lift of the neceffary paints will be given in the directions for colouring, page 9. 
 
 Pencils. 
 
 Indian-rubber. 
 
 Brufhes. 
 
 Cardboards. 
 
 Vellum-paper. 
 Tiflue and 
 Tracing-paper. 
 Rulers. 
 Portfolio. 
 
 The beginner mould endeavour to obtain one or two fheets of alphabets (capitals) in black and Alphahets 
 
 white, of the full fize required, fay about two inches high. (capitals). 
 
 An alphabet of " lower-cafe," or fmall letters, is fubjoined, which will be found to harmonife well Lower-cafe 
 
 with almoft any capitals, and is in proportion to thofe of two or two and a half inches high. (fmall letters). 
 
 But although the beginner will do well to copy or trace letters of the exact fize required, he cannot Enlarging or 
 
 too foon commence the practice of enlarging or reducing the copy, otherwife many very beautiful ^ du . cln 8 
 
 initial letters will be loft to him. The great art in copying on a different fcale is to obferve carefully apl a s " 
 the proportions of the original : keep every branch of the letter equal in thicknefs, if the original be fo : 
 
 * N.B. The prices of materials vaiy fo much, that only a general idea can be given of them, as fome guide to beginners. 
 
6 
 
 Emblematic Illumination. 
 
 or if copying, for example, a capital A, and one fide of the arch be twice the width of the other, let 
 the copy preferve the fame proportion. In the letter B, obferve if the two bows be of equal fize ; the 
 lower is generally the larger of the two. In an equal-fided letter, like M or O, obferve what 
 ornamental parts are oppofite to each other. 
 
 In drawing (or copying) fmall letters, be careful to make the ftems of equal width or thicknefs, and 
 thofe which pafs above or below the line of equal and proportionate height or length. The tops of 
 t's Ihould always be lower than thofe of the other long letters, as in writing, and the dots of the i's in a 
 line with the tops of the t's. 
 
 There is a fmall book of mediaeval alphabets, publifhed by Matters, price 2s., fuited to beginners. 
 The Book of Ornamental Alphabets, Ancient and Mediaeval, collected and engraved by F. Delamotte 
 (publifhed by E. & F. N. Spon, 1 6 Bucklerfbury, London), is valuable to thofe who can enlarge while 
 copying; it contains upwards of forty alphabets, beginning with thofe of the 8th century, alfo feveral 
 initial letters, and a page of monograms, croffes, &c. — molt of the alphabets are one inch in height — 
 price 4/. The beft and moft recent collection of letters that I have met with is The Handbook of 
 Alphabets, Initials, and Monograms, engraved by William Gibbs, publifhed by Houltton & Wright, 
 65 Paternofter Row, London, price 5;. 
 
 In arranging for the outline of a text, firft felect the neceffary capitals. The initial (or firft letter) 
 mutt be the handfomeft of all, as being the introduction and dedication of the work to The Bleffed 
 Trinity. Capitals are generally employed throughout the Sacred Names ; the firft letter may be the 
 largeft, the following of the fame height as the fmall letters. 
 
 They are alfo prefixed to fuch words as we wifh efpecially to emphafize, as in the following 
 examples : — 
 
 Be clothed with Humility. My times are in Thy Hand. Watch and Pray. 
 
 Theemphafis of colour will be given in the proper place (pp. 14, &c). 
 DiftincYion of It is advifable, if poffible, to felect the capitals from the fame alphabet; but if all that you require 
 
 Style, Date, and f or the text do not fuit your tafte, there is no abfolute objection to the introduction of others, fubject 
 Country. tQ certam conditions. On no account mix the letters of different countries ; the Italian, for inftance, 
 
 with the Saxon ; they would be utterly incongruous. Alfo, as a writer amufingly obferves, " Avoid 
 letting your work appear as though it had been begun in the tenth century, and only completed in the 
 fixteenth, or, as I have once or twice feen, vice verfd."* 
 Legibility But although rules of ftyle, date, and country, are important, they mould never, in my opinion, be 
 
 elTeutial. carried out fo rigidly as to make our work either fantaftic or illegible — two very ferious blemifhes. 
 
 Indeed, if we facrifice to ftrict chronological order all pofiibility of reading the letters without an 
 interpreter, our labour, as far as others are concerned, is worfe than ufelefs, tending to bring the whole 
 art into difrepute. 
 
 Important Dif- Capitals with fimple curves mould not be mixed with thofe in which the curves become pointed, 
 tindion. t he ilyles being diftinct. 
 
 Beft Styles. The ftyles which prevailed from the nth to the 14th century are confidered the beft, the later 
 
 ones in particular. After that date the art of illuminating gradually decayed. 
 Firft Sketch on In proceeding to draw the outline of a text, it is a moft ufeful practice to fketch it out roughly on 
 Tiflue-paper. tiflue-paper, in order to afcertain what fpace it will occupy. This plan will prevent much difappoint- 
 ment (and rubbing out, which fhould be carefully avoided), as, even after long practice, we are often 
 miftaken in the fuppofed length of a printed fentence : nothing can look worfe than one-half of the 
 letters fpread widely over the fcroll, and the reft all crowded together, to make up for the room wafted 
 at the beginning. 
 
 Rules for Draw- Having decided on the fize of the initialf and capital letters, allow a fufHcient fpace above and 
 ing the Outline, below them, and cut out the ftrip of cardboard by a ruled line, meafured accurately at each end, fo 
 
 Enlarging or 
 reducing 
 Small Letters. 
 
 Books of 
 Alphabets, &c. 
 
 Value and ufe 
 of Capitals. 
 
 Dedication. 
 Emphafis. 
 
 * What Illuminating Jhould be, and Hoiv it may be PraETijed, by M. Digby Wyatt, B.A. &c, Illuftrated by W. R. 
 Tymms. Price is. 6d. 
 
 f The initial letter is often much larger than the other capitals. 
 
Forms. 
 
 7 
 
 that the width throughout fhall be equal.* The fpaces left above and below the capitals may be 
 equal (if for one line only), but rather lefs below than otherwife ; i| to 2 inchesf is a fair proportion. 
 In ruling for two lines of letters, be careful to leave fufficient room between them, or the y's and g's 
 of the upper line may interfere with the d's and h's of the lower, as alfo with the capitals. 
 
 Now, with the HB, rule two lines for the fmall letters, as lightly as poffible, confidently with 
 clearnefs, as thefe are afterwards to be rubbed out. There is no occalion to draw an upper line for 
 the capitals, as they mould be traced in : unlefs the hand be a very practifed one, this method is 
 neceffary, to avoid much disfigurement of the cardboard from corrections. 
 
 To trace the capitals : cut out a piece of tracing-paper, an inch or two larger every way than the To trace Capitals, 
 letter to be copied ; rule a line on which to reft the letter, as it will be wanted afterwards ; place 
 this over the pattern (with the ruled line clofe beneath it), and trace every line fteadily with the HB. 
 This done, remove the tracing-paper, turn it over (right lide downwards), and blacken all the lines with 
 the BB pencil. Now place the letter, right fide upwards, on the fpace you intend it to occupy on the 
 cardboard, letting the ruled line correfpond exactly with the lower line ruled on the fcroll : this will 
 enfure the capital being quite upright in its proper pofition. Hold the tracing-paper down firmly with 
 the left hand, never Jbifting it until the whole letter be completed, and with the F pencil trace (/. e. go 
 over) every line of the copy, prefTing firmly, but not fo hard as to cut through the thin paper. It 
 may then be withdrawn, and, if correctly done, the letter will be found legibly traced on the cardboard. 
 It is right to finifli the outline firmly (but not too dark) with the HB, as clearnefs is of great importance 
 when you are colouring. 
 
 Some initial letters, fuch as O, T, &c. admit of the infertion of a fmall photograph of a facred 
 fubject, feveral of which can now be procured, even at one penny each. Among others may be felected 
 the " Ecce Homo," " The Saviour bearing the Oofs," " Blehmg little Children," &c. 
 
 So little practice is required to draw the fmall letters correctly, that it is fcarcely worth while to Small Letters, 
 attempt tracing them ; indeed the difficulty of keeping a large piece of dime-paper fteady interferes 
 greatly with the chances of fuccefs. In drawing thefe letters (with the HB), be careful to make all the 
 Items of equal thicknefs, and let them be in due proportion, of .height and width, to the accompanying 
 capitals. The letters fhould be placed as near to each other as is confiftent with clearnefs, and about half Diftances be- 
 an inch may be left between each word : let thefe diftances be kept uniform throughout the work. Study tween^Letters 
 to draw the letters perfectly ftraight and upright, to enfure which is the ufe of the ivory ruler, thus : — and or b ' 
 
 Having fketched in all the fmall letters as well as pofTible, turn the ftrip of cardboard with its end Teft of Correct 
 towards you, and I fear you will be fhecked to fee how many of the letters are out of the perpendicular. Outline. 
 If, however, they have not been too heavily drawn, they may now be readily corrected by the little 
 ruler, keeping the fcroll ftill in the fame pofition. The advantage of this method is, that a line which, 
 to an unpractifed eye, will appear quite perpendicular, when turned into a horizontal pofition inrtantly 
 betrays its deviations. It may be objected that the ufe of a ruler encourages idle and carelefs habits, 
 but this is only the cafe when it is employed to draw by, and not, as it mould be, only for correction. 
 
 The ornamental ftop — or perhaps a Greek crofs — and any other intended additions, fhould be traced Stops and Oma- 
 now. When the hand and eye are a little practifed, fprays of trefoil and fimilar decorations will look ments - 
 more natural and eafy, if drawn frefhly upon the fcroll. Triplets of leaves and berries have a graceful 
 and fuitable effect, and thefe, in illuminations, may be drawn conventionally, rather than naturally. 
 A clever writer \ fays, "Rigidly avoid contralting natural with conventional foliage. Adopt which 
 you like, for by either beautiful effects may be produced ; but mix them, and the charm of both is 
 gone. Natural foliage may be fuccefsfully combined with any other varieties of conventional ornament, 
 excepting thofe bafed upon natural foliage." 
 
 The Vine, Paffion-flower, Ivy, or any trefoils, have a beautiful effect, if gracefully twined about, 
 or drooping from the in*.::*! letter. 
 
 The introduction of fmall photographs (of facred fubjects) either into the initial letter, or placed Photographs in 
 Sefore it, with a fimple border in gold, edged with blue, has often a beautiful fignificance and effect. ^ 1,tial Lcttcrs > 
 
 * Various forms of fcroll will be alluded to in fp»aking of " Borders," omitted here for the fike of clearnefs. 
 f Thefe and fimibr meafurements are given, as being in proportion to the fmall alphabet and capitals fubjoined. 
 t M D'.gby Wyatt, B.A. 
 
8 
 
 Emblematic Illumination. 
 
 Care fhould, however, be taken in the fele&ion, that the pi&ure and the facred words fubjoined have a 
 real connexion with each other. For example, the Magdalene at the foot of the crofs is not fuitable 
 in illuftration of the text, " Lord, remember me when Thou comeft into Thy kingdom." A fquare 
 picture may have the lines of the border prolonged fo as to crofs at the corners and finifh about half 
 an inch from the principal line. An arch may be furmounted with a crofs. 
 
 Bord< 
 
 Borders. 
 
 Plain. 
 
 Ornamental. 
 
 Reverfe Side of 
 Scrolls. 
 
 Firmnefs eflen- 
 tial. 
 
 To thofe who prefer concentrating all poffible beauty of decoration on the facred words of a text 
 the molt approved border will be that refembling *« a riband of blue," which is moll fimple in execu- 
 tion. Rule a line rather lefs than a quarter of an inch from the edge of the cardboard, and fill it in 
 carefully and fleadily with colour. The ruled line is indifpenfable to the prefervation of a neat and 
 uniform edge. If blue already predominate in the fcroll, red can be fubflituted in the border; gold, 
 without a coloured outline on each fide, always looks indiflincl:. Lines of colour may be drawn within 
 the edge, ufing a reed pen (or large foft quill), and the long ruler. 
 
 A triple trefoil in each corner, coloured, with gold edge, has a good effecT:, if the letters are very 
 plain: thefe fhould, however, be in addition to a plain coloured edge or border. — Ornamental borders 
 mould confifl of fuitable fprays wound round a thick bar, which gives an appearance of folidity, the 
 grace of curved lines being much enhanced by contrail with the perpendicular or horizontal. 
 
 If the fcroll is meant to reprefent a riband curled at the ends, or folded, the reverfe fide may be 
 ornamented with gold ftars, or foliage. Plainly fhaded blue, with perhaps a narrow gold edge, will, 
 however, be found moll fuitable ; if prominent colours are gaudily ufed for the reverfe fide of the riband, 
 it will appear to come forward, leaving the text in the background. 
 
 Specimens of differently fhaped fcrolls are affixed to each of our chapters. 
 
 In conclufion, it cannot be too flri&ly enforced, that every line, llraight or curved, fhould be firmly 
 drawn, and the edges, in painting, be kept perfectly neat and clear. Whether from unfleadinefs in 
 outline, or from a fhaking hand when painting (efpecially in gold), nine-tenths of the amateur illuminations 
 produced have a quivering ruggednefs about them which could well be difpenfed with. In ornamental 
 finifh, alfo, this unfleadinefs is almofl univerfal, fo that the points of fmall leaves, or fieurs-de-/ys, inflead 
 of being fharply defined, moll frequently degenerate into unfightly loops, fimilar to the following 
 example. 
 
 -V 1 
 
 As it mould be. 
 
 As it generally ;s. 
 
9 
 
 COLOURS. 
 
 Painting. 
 
 The materials required are as follows : — 
 
 1. Blue (intenfe). German (or French) blue, in powder, at 6d. per ounce. It is at firft rather 
 troublefome to ufe, requiring to be mixed with plenty of gum-water, to prevent rubbing. 
 
 Smalt, 5/. ; or French blue, 3/.* Thefe are prepared as moift colours in covered pans. 
 The German blue, however, is the moft economical, and very ufeful. 
 
 2. Red. What is called "Carmine" powder, at is. per oz., will be found very ufeful, but the 
 genuine colour is much more expenfive. Vermilion, ditto, 6d. per oz. Both of thefe are necefTary. 
 
 3. Purple (violet). For the colour ready prepared, " violet carmine," moift cake, zs. To 
 compofe the colour, crimfon lake, a little to be mixed with cobalt blue. This is very rarely ufed. 
 
 4. White. Chinefe white, in a tin tube, is. This is little ufed except on tinted cardboard. 
 
 5. Green (emerald). Moift colour, is. 
 
 6. Black (lamp). Ditto. 
 
 7. Grey. For bright grey, fmalt mixed with Chinefe white ; for a duller tint add a very little 
 brown madder. This is a colour feldom ufed in illuminating large fcrolls, and only fuitable for 
 grounding. 
 
 A cake of neutral tint (to mix with cobalt) for fhading white flowers, or a white dove. 
 
 Gold. For beginners, " Beflemer's Gold Paint." f This includes two bottles, one of gold powder, 
 the other of oil; price is. 6d. The powder always outlafts the oil, but the latter can be bought 
 feparately, 6d. per bottle. Very little of the powder and oil muft be mixed at a time, as it dries up 
 very quickly, requiring the occafional addition of a drop of the oil. If too much oil is added, the gold 
 will look thin and poor, leaving greafy edges on the cardboard. It is a good plan to employ two 
 little faucers, placing the powder in one and oil in the other. 
 
 A fmall quantity of fpirits of turpentine is required, with which the brufh and faucer muft be 
 warned perfectly clean, immediately after ufe ; wipe them dry with a piece of rag or foft paper. If 
 this rule be neglecled, the gold hardens, and brufh and faucer become ufelefs. 
 
 Shell gold (with which water only is employed) is not fuitable for large works. 
 
 Chinefe metallic ink, or liquid gold is, per bottle, is an excellent preparation. When thoroughly 
 mixed by fhaking, pour a little into a fmall faucer, ftirring it up each time the brum is filled. At firft, 
 great care is requifite to prevent blots. It works moft eafily when nearly dry, by the addition of a 
 little water in the brufh. 
 
 Leaf-gold is confidered the moft durable, is beautifully bright, and repays the trouble of its 
 application. A " book" containing 25 leaves cofts is. 6d., or 100 leaves for 41. Water-gold 
 fixe feems to be the fimpleft preparation, if. 6d. per box. This fize is ufed like a moift colour, with 
 water. Paint the furface to be gilded, fmoothly and rather thickly, carefully preferving the edges 
 
 * Half-cakes of all the colours are fold equally good. 
 
 f This gold will difcolour in time, but with care in keeping the bru/h and faucer quite clean, it will retain its brightncfs 
 at leaft a year. 
 
 Materials for 
 
 Colouring. 
 
 Blue. 
 
 Red. 
 
 Purple. 
 
 White. 
 Green. 
 Black. 
 Grey. 
 
 Neutral Tint. 
 Gold. 
 
 Belfemer's Gold 
 Paint. 
 
 Spirits of Tur- 
 pentine. 
 
 Shell Gold. 
 Liquid Gold. 
 
 Water-gold 
 Size. 
 
 t 
 
IO 
 
 Emblematic Illumination. 
 
 clear and fharp. Let it ftand until, on touching the fize lightly with the finger, it is found to be fticky, 
 but not moijiy fo as to fmear. While the fize is drying, take a piece of common writing-paper (not too 
 highly glazed), rub it over flightly and brifkly with a piece of white wax (in two or three ftrokes), lay 
 it on a leaf of gold which will adhere to the paper.* With a large, Jbarp pair of fciffors, cut both 
 paper and gold-leaf into a piece rather larger than the furface to be gilded, and the fize being juft fticky, 
 lay the gold down upon it, keeping the paper ltill in its place ; prefs it very gently and fmoothly all 
 over with a ball of cotton-wool, as if you were parting it down : breathe on the paper, then remove 
 it, and let the gold remain undifturbed about half an hour, or longer. Then, with a large, dry 
 brum, in light, fharp touches, brum away the fuperfluous gold, and the work is completed. 
 
 There are other methods of applying gold-leaf, but this is given as the limpleft. A gilder's tip (a 
 flat brufh) is generally ufed, but requires Ikill in handling, which remark applies alfo to the gilder's 
 palette and knife. 
 
 Any corners to which the gold has not adhered may be retouched with the fize, and gilded as 
 before. Be careful not to touch the gold with the fingers, or it will be quite fpoilt. If the leaf curls 
 up upon the paper, it can be blown down with a gentle breath. 
 
 There is an " Illuminating Raifing Preparation" at is. 6d. per bottle, which may be found ufeful, 
 and may be painted over with Beffemer's, or water-gold ; it would, however, add to the difficulty of 
 applying gold-leaf, unlefs the hand were previoufly well praftifed. 
 
 Silver is fold in fhells ; a water-colour, but it quickly tarnifhes. 
 
 Aluminium is fold in fhells (a water-colour), and is a good fubftitute for filver; although not equal 
 in beauty, it is faid not to tarnifh. Being a recent difcovery, it has not yet had the teft of long experi- 
 ence. Aluminium is ufed in touches upon white flowers, or the emblem of the dove, previoufly foftly 
 fhaded with neutral tint. Thefe fhell metals coft about 6d. and upwards. 
 
 Saucers^ 2 inches in diameter, fhould be procured for the red and blue powder colours. A fmaller 
 faucer, 1 inch in diameter, for Beffemer's gold, will prevent much wafte, and another for Chinefe 
 white would be ufeful. Price id. each, or lefs. 
 
 In proceeding to illuminate the fcroll, place a little vermilion-powder, and quite twice as much 
 carmine, in a faucer, with a drop or two of thick gum-water ; mix it well with a brufh, adding water 
 as required.f Stir the paint up now and then during ufe, as the vermilion has a tendency to fink. 
 
 German blue, as already mentioned, muft be mixed with a good proportion of gum- water, ftirred 
 well into the powder : it is beft to mix a little at a time, fay half a teafpoonful of the powder, as it 
 hardens, and becomes more troublefome to ufe. This blue, prepared as a moift colour, would be moll 
 valuable for illuminating, if it did not lofe its opacity. 
 
 Paint all the black in the fcroll firft, the red next, and, if German blue, blue laft, as, with every 
 precaution, it is apt to rub — in which cafe, remove the blemifhes with crumbs of bread. If the text 
 mould confift of two lines, finifh the upper one firft (all but the gold), to prevent injury to the lower 
 one by rubbing. Frefh water fhould be provided for each colour, in order to preferve its brightnefs. 
 
 Beffemer's gold paint may be applied laft of all, but leaf-gold fhould be laid on before any 
 colour. 
 
 The following remarks on the fubjecl of ancient illuminations are valuable, having been made by 
 Mr. Rufkin at a meeting of the Society of Antiquaries, held on the 6th of June, 1861. He obferved 
 that the beft defigns were contrived fo as to give the greateft effect to arrangements of pure and beautiful 
 colour. He explained the excellence of the beft fpecimens as arifing from fimplicity of defign and 
 colour — the latter being left wholly unclouded by Jhade. He did not deny the high excellence of the 
 naturaliftic treatments in the illuminations of the 15th and 16th centuries and later — but he viewed 
 illumination in this condition as fallen into decay, and by the introduction of Jhading was effected the 
 final deftruclion of what had conftituted its effential principles and glory in the 13th century. 
 
 * Another method is to pafs the piece of writing-paper fliarply and brifkly over your hair, two or three times, which, 
 charging it flightly with electricity, will make the paper adhefive, fo that the gold-leaf will be taken up by it. 
 -J- One or two drops of ammonia improves the carmine. 
 
Colours. 
 
 Scrolls can be very fuitably mounted in frames of plain oak — " Oxford frames" — which coft Frames. 
 3J. 6d. each, glafs included, the fize being about 22 by 6 or 7 inches. 
 
 For tranfmiffion by railway, &c. cardboard fcrolls muft be protected either by a thin piece of wood Dire&ions for 
 of the fame fize, or by two pieces of ftout millboard, well wrapped round with paper. Even a dozen Packing, 
 large fcrolls packed together have been ruined for want of thefe precautions. 
 
 Illuminating in Oil-Colours on Zinc for Churches, 
 
 The following materials are required: — 
 
 Zinc, in ftrips, average price lod. per fquare foot. 
 Oil-paints, in tubes. 
 
 Vermilion, 6d. 1 , r , • 1 
 
 a • r 1 1 j } thefe may be mixed. 
 Cnmlon lake, \d. J J 
 
 French ultramarine, is. 
 
 Blue black, \d. 
 
 Emerald green, \d. 
 
 Ivory white, \d. This cream-coloured white has the richeft and beft effedt. 
 
 I Bottle of pale drying oil, 6d. 
 
 1 Bottle of fpirits of turpentine, 6d. 
 
 Brumes — Red fable, various fizes, from \d. to is. 2d. each. 
 
 A wooden palette, is. 6d. 
 
 A palette-knife, is. 6d. 
 
 Tailor's chalk, or " pipe-clay," 2d. 
 
 A carpenter's 2-foot rule, is. or is. 6d. 
 
 Ifa. Ix. 13. 
 
 Materials. 
 Zinc. 
 
 Oil paints, &c. 
 
 Brumes. 
 Palette, &c. 
 
 Zinc. 
 
 In churches where the walls are damp, or otherwife unfuited for receiving colour, it is found that 
 zinc is an excellent material for illuminating texts from Holy Scripture, to be fixed to the wall when 
 completed. This method is much lefs expenfive than painting in frefco. 
 
 Zinc can be procured of any ordinary plumber, at an average price of lod. per fquare foot; it Foundation Coac 
 requires no particular preparation for illuminating, excepting a foundation-colour (or ground), which of " ^ aint « 
 can be laid on by any houfe-painter far better than by the amateur. This lhould be done at the work- 
 mop, as the fmell of fo large a body of paint would be very injurious to thofe unaccuftomed to it. 
 
 The foundation-colour mould either match the tint of the wall to which the fcroll will be affixed, Tints to match 
 or prefent a decided contrail. Care muft be taken in matching the colour of a plaftered wall, that the or contraft. 
 paint mould be lighter in tint, as it has a tendency to darken, while the plafter is likely to become 
 rather lighter, efpecially in new buildings. 
 
 Foundation-colours, &c. fuitable to particular feafons of the Church will be enumerated at the end 
 of this article. 
 
 The fize, fhape, and length of a fcroll muft, of courfe, vary with the pofition it is intended to Size of Letters, 
 occupy. In a text compofed entirely of capitals, the lize of the letters fhould be about half the depth 
 of the zinc : the latter being 6 inches, including the border, the capitals would be 3 inches high. Small 
 letters would bear, of courfe, their ufual proportion, as in other illuminations. It is quite a miftaVen Diftindtnefs. 
 idea that the larger the printing, the plainer will be the text ; clearnefs is rather attained by keeping 
 the letters clofe to each other, and leaving a fufficient fpace between each word. It will be found an a 
 
Emblematic Illumination. 
 
 Outlines to be 
 traced. 
 
 Chalk-tracing. 
 
 Dry Foundation- 
 Colours. 
 
 To paint the 
 Letters. 
 
 Corrections. 
 
 Gold-leaf. 
 
 Number*of 
 Coats of Paint. 
 
 Beft Colours for 
 Effect. 
 
 general rule, that, with the exception of the letter I, all capitals are contained in a fquare — if 3 
 inches high, 3 wide. It is very ufeful to bear this in mind in calculating the number of words 
 to be printed in a given fpace, efpecially when it is difficult to judge of the effect till complete. Texts 
 for large churches, to be placed round arches, or at any great height, are generally printed in capitals. 
 
 Outlines mould not be drawn upon the zinc in the firft inftance, but upon a ftrip of paper (which 
 may be feveral Iheets palled together at the edges), wider than the fcroll, fo that it may be folded firmly 
 over it, and the letters traced, as alreidy explained (page 7). Any thin common paper anfwers for this 
 purpofe: tiffue would be too thin. Tracing is recommended, becaufe the procefs of erafing pencil- 
 marks, although eafily effected with fpirits of turpentine, is apt to leave a fmear, and fpoils the fmooth 
 clearnefs of the foundation-colour. 
 
 On a dark-coloured ground the following method is purfued. Draw the text, as ufual, on common 
 cartridge-paper (3 or 4 inches wider than the zinc, fo that the edges may be turned down firmly over 
 it); with pointed fciffors cut the letters out and put them afide, as they are not required: lay the 
 remaining paper-groundwork on the zinc, and with red or white tailor's pipe-clay trace carefully 
 round the outlines of the fpaces which form the letters. When all are traced, remove the paper, 
 and with a handkerchief brum away, very lightly, the fuperfluous chalk. 
 
 Special care muft be taken not to begin the lettering until the foundation-colour be perfectly 
 hardened, otherwife the preffure of the pencil will make indented lines which cannot be removed, 
 mould correction be neceffary. In cold, damp weather, the paint dries and hardens very flowly, fo 
 that the foundations mould be prepared at leaft a week before they are required for illuminating. 
 
 In proceeding to paint the letters, fqueeze out a fmall quantity of the colour on to the wooden 
 palette, and with the flexible palette-knife mix it with a little of the pale drying oil, and a very little 
 fpirits of turpentine. The latter can be difpenfed with, if the fmell of it be found injurious ; otherwife 
 it contributes to brighten the colours, and makes them dry more quickly. In painting keep the brum 
 full, laying on the colour in long fteady fweeps, not in mort, hafty touches, which would leave irregu- 
 larities of furface. 
 
 Spirits of turpentine, ufed alone, will ferve to remove the colour, if correction be neceffary; but care 
 muft be taken not to apply enough to remove the foundation-colour at the fame time. If a wrong 
 colour be accidentally applied, another can be painted over it, but, of courfe, this mould be avoided if 
 poffible. 
 
 Gold-leaf is applied in the manner already explained (page 9), but with oil gold-fize. Plain ver- 
 milion, ufed in the fame way as fize, is faid to anfwer the purpofe equally well. Beffemer's gold paint 
 only anfwers for a time, as it foon becomes difcoloured on metal. 
 
 Letters painted in white will require three coats of colour ; in blue and green, at leaft two ; in 
 black, two coats.* Vermilion is generally brighter if laid on in fufficient quantity at once, without 
 retouching. 
 
 The writer has occafionally had the colours mixed for ufe by a village-painter, but this would only 
 be done«on an emergency. 
 
 For effect, it is beft not to employ many colours ; red and black, with a little blue or green, inva- 
 riably look beft at a diftance. 
 
 guatrefoil Border. 
 
 Borders. Elaborate borders on zinc fcrolls are quite unfuitable ; an edge of quatrefoil (three-quarters of an 
 
 inch in depth), or fomething equally Ample, having by far the beft effect ; this alfo muft not be placed 
 
 * Each coat muft be allowed to dry before another is laid on. The time will vary according to damp or dry weather. 
 
Colours. 1 3 
 
 too near the letters, or it will interfere with the diftindtnefs of the text. The border mould be drawn 
 at the edge of the zinc, unlefs the ground-colour contrail with the wall, in which cafe a narrow margin 
 may be left. 
 
 The palette and brumes mull be warned quite clean after daily ufe, with fpirits of turpentine. If To clean Palette 
 the paint is allowed to harden (as it will in a few hours), it cannot be removed. and Bruflles - 
 
 For the prefervation of health, this defcription of illuminating mould, in fummer, be carried on with Health, 
 widely-opened windows, and in winter befide a large fire, which purifies the air of the room, and 
 prevents the fmell of the turpentine, &c. from being injurious to delicate perfons 
 
 Colours for Special Seafons. 
 
 For the feafon of Advent, violet ground, with red and white letters. Advent. 
 
 For Lent, a warm or pinkilh-grey ground, letters all white, with black edges. Lent. 
 
 Long fcrolls for feftivals have the beft effeft with white ground. Short fcrolls look very handfome Feftivals. 
 with gold letters upon red or blue ground. 
 
 The tint of the ground-colours mull, in a great meafure, depend upon the light in which they will Ground Tints, 
 be feen. In fome cafes crimfon is preferable to fcarlet, and the blue or violet, if placed in a dark part 
 of the church, would require to be much paler than ufual. 
 
 Symbolifm of Colours. 
 
 §cjj0lir, | totfl fan % %tom$ foxtfr fait tahmx*. 
 
 Ifa. liv. 1 1. 
 
 I have ventured to prefix thefe facred words to this part of my fubje£l, in order to point out 
 how manifeftly the emblematic fignificance of colour has its foundation and authority in • the. Holy 
 Scriptures. The facT: is firft brought to our notice in the infpired account of the making of the 
 Tabernacle, under the Divine commands, and fubfequently in the building of the Temple. The colours, 
 numbers, and many other particulars of the Mofaic difpenfation, were fymbolical types — " a Ihadow Heb. x. i, 
 of good things to come," long fince fulfilled ; but the fymbolical application of colours and. other types ' 
 of " heavenly things" is not therefore ended, inafmuch as they are largely fo employed throughout the 
 New Teftament. Thefe combined fads furnilh an argument to my own mind moll convincing, that 
 we may, with all reverence, continue to regard colours fymbolically, as types of heavenly /ttributes 
 and virtues. 
 
 Mrs. Jamefon* fays, " In very early art we find colours ufed in a fymbolical or myftic'fenfe, and 
 until the ancient principles and traditions were wholly worn out of memory, or fet afide byythe later 
 painters, certain colours were appropriate to certain fubjecls and perfonages, and could not arbitrarily be 
 
 * In The Toetrj/ if Sacred and Legendary <Art. 
 
Emblematic Illumination 
 
 applied or mifapplied. In the old fpecimens of ftained glafs, we find thefe fignifications fcrupuloufly 
 attended to." 
 
 The precife tints of the colours mentioned in the Holy Scriptures mull ever be a fubject of doubt, 
 but enough can be gathered from ancient writings to bring them within certain degrees of probability. 
 In an interefting article in Dr. Kitto's Cyclopaedia of Biblical Literature, we read: — "Jofephus 
 evidently takes the Hebrew word," tranflated " blue," " to mean ' fky-colour,' for, in explaining the 
 colours of the vail of the Temple, and referring to the blue (Exod. xxvi. 31), he fays that it reprefented 
 the air or fky." We muft not, however, be led away by our own modern term " fky-blue," which 
 reprefents a pale colour, but recollect that (to quote again from Dr. Kitto) "in proportion as the fky 
 is clear and ferene, it affumes a dark appearance, which is ftill more obfervable in an eaftern climate." 
 
 The blue of ecclefiaftical colouring is always dark and intenfe. 
 
 Purple is the term of moll, doubtful figniflcation, being frequently applied to crimfon, fcarlet, and 
 blue. The famous "Tyrian purple" was manufactured from the juice of fhell-fim, — principally the 
 Murex trunculus of Linnaeus and Lamarck, — and was compared by Pliny to " the rich, frem, and 
 bright colour of deep-red purple rofes." The fame writer obferves, that "violet, purple, and fcarlet, 
 were nowhere dyed fo well as at Tyre, whofe mores abounded with the beft kinds of purples." It 
 feems, to my judgment, reafonable to fuppofe that the "purple" employed in the curtains of the 
 Tabernacle, &c. was " violet," as that colour would beft unite with " fcarlet" and " blue," which are 
 feparately enumerated. It is interefting alfo to read that Pliny defcribes "red" as diftinguiftied from 
 " purple," and calls it " a gay, lively bright, approaching the colour of fire." 
 
 But this is a long digreflion ; to refume : — In the Divine commands relative to the making of the 
 Tabernacle in the wildernefs, this verfe occurs (Exod. xxviii. 5), " And they mail take gold, and blue, 
 and fcarlet, and purple, and fine linen" — that is, white. The fymbolical meaning which may be 
 gathered from thefe words is very ftriking and beautiful. There are three colours mentioned (white is 
 not a colour) ; of thefe, two are primary — that is, original, not formed by any combination — red and 
 blue. Purple (or violet) is made by a combination, proceeding from thefe two ; and fo in thefe foundation- 
 colours of the Tabernacle, I would reverently fee a fymbolical reprefentation of the Three Moft Holy 
 Perfons of the Godhead. To complete the fymbol, we have alfo white, fignifying perfect righteoufnefs, 
 the emblem and colour of light ; and gold, typifying glory. Thus, in the firft and higheft fenfe, are 
 colours fymbolical. 
 
 Emph ifis by t apply the fubject to the art of illumination. It has been already remarked that the emphafis of 
 
 Colour. a text | s eX p re fj* ec j j n two wavs — by prefixing capital letters to the principal words, and alfo by 
 
 diftinclion of colour. On the due attention to a few fimple rules reflecting the value of certain colours, 
 and their juft application, much of the beauty of an illuminated work depends. 
 Gold. Gold is of the higheft value. It mould be employed only for the letters forming the names of The 
 
 Holy Trinity, or Their attributes. For the fake of diftinctnefs, however, the gold muft be either 
 edged with blue or red, or the whole word may be placed on a tablet of colour. Sprays of 
 fieurs-de-lys, &c. in red, twining between, but not over the letters, will alfo aftift in making them 
 diftinct and marked. 
 
 In words referring to Heaven or Angels, gold ftars or dots fprinkled over the letters are 
 appropriate. 
 
 Capitals fhould be edged entirely, or grounded, with gold. The fmall letters are fometimes edged 
 only on one fide, which gives them a raifed appearance : it Ihould be the fide neareft the right hand. 
 
 Trefoils, and fimilar leaves, are generally painted in gold. 
 Blue. Blue (intenfe, fapphire) is of firft value in colours, when ufed alone, but red is of equal value if 
 
 ufed in appofition.* It is pre-eminently a colour of remembrance. The children of Ifrael were com- 
 manded to wear on their garments fringes, and on the fringes " a riband of blue," that when they 
 looked upon it they might " remember all the commandments of the Lord, and do them," J and " be 
 
 * For example, " As thy days, lo mall thy ftrength be," the word days might be red, while Jirength might be in blue ; 
 the colours would then be equal in value ; but in fuch a text as M My times are in Thy Hand," times being in red 
 and Hand in blue, the latter colour would be of the higher value. 
 
 \ See Numbers, xv. 38-41. 
 
Colours. 
 
 »5 
 
 holy" unto their God. This colour being worn by exprefs command, " fignified that the wearer was 
 God's own," — typifying, therefore, adoption, fonfhip ; further, being the colour of the Iky, it " reminded 
 Ifrael of his home in Heaven : fo likewife in the curtains of the Tabernacle, the blue fignified that hope 
 of Heaven which belongs to the true tabernacles of the living God, that is, to holy hearts wherein 
 God dwelleth."* 
 
 Blue may be employed to reprefent Heaven and holy Angels ; heavenly hope ; heavenly reft ; 
 holinefs ; confecration ; truth ; remembrance ; adoption ; peace ; fidelity ; conftancy 
 
 Red (fcarlet, crimfon, or ruby, the colour of fire) was anciently employed to typify the Holy R e d. 
 Spirit, or the Creative Power. It is thus the fymbol of Divine Love : including help, protection, 
 zeal, and fimilar holy attributes. As the colour of blood, it typifies redemption and forgivenefs. 
 
 Mrs. Jamefon informs us, that anciently our Saviour and the Blefled Virgin were reprefented in 
 " the red tunic and blue mantle, as fignifying heavenly love and heavenly truth. The fame colours 
 were given to St. John the Evangelift, with this difference, that he wore the blue tunic and the red 
 mantle." 
 
 Purple was anciently employed in religious worftiip both by Jews and Gentiles. So early as in the Purple or Violet. 
 Book of Judges (viii. 26), we read of it as forming the attire of kings; and many texts of Holy Scrip- 
 ture might be adduced Ihewing it to be almoft exclufively devoted to royalty. We read, in the 
 Cyclopaedia already quoted, that Pliny records a fimilar ufe of it among the Romans ; and Homer 
 fpeaks of purple as if it were almoft peculiar to kings. Suetonius relates that Julius Caefar prohibited 
 its ufe by Roman fubjecls, except on certain days, and that Nero forbade it altogether, on pain of death. 
 
 Purple (violet, or amethyft) fignifies, therefore, firft, royalty. It was alfo the ancient fymbol of 
 love and truth, or paflion and fuffering ; " hence it was the colour often worn by the martyrs : in 
 the Spaniih fchools, the colour of our Saviour's mantle is generally a rich deep violet. In fome 
 inftances, our Saviour, after His refurreclion, is habited in a violet inftead of a blue mantle. This 
 would, doubtlefs, refer to its royal, victorious fignification. The Blefled Virgin is reprefented in 
 "violet, after the crucifixion" — of courfe in token of deepeft mourning. "Mary Magdalene, 
 who, as patron faint, wears the red robe, as penitent wears violet and blue, the colours of forrow 
 and conftancy." 
 
 We may now eafily underftand why purple has been accepted as the Church's mourning colour. 
 Although fo beautiful when reprefented in the clearnefs of ftained glafs, purple is but little ufed in large 
 illuminations, excepting fometimes as a ground-colour ; chiefly, perhaps, becaufe fo difficult to produce 
 in a fufficiently bright, pure tint, as compared to the red and blue. 
 
 White is eflentially the emblem of light and faintly purity. Of the firft, becaufe the fineft light is White, 
 white; of the fecond, I need hardly quote the reafon, — "And to her was granted that flie fhould Rev. xix. 8. 
 be arrayed in fine linen, clean and white : for the fine linen is the righteoufnefs of the faints." 
 
 Typical, alfo, of forgivenefs: "Though your fins be as fcarlet, they fhall be as white as fnow." if a . i. 18. 
 " Wafh me, and I fhall be whiter than fnow." pf. ii. 7. 
 
 The fymbol alfo of wifdom, innocence, faith, joy, integrity, humility : of glory, perfection, and 
 regeneration ; for white contains all colours. Solomon fays, " Let your garments be always white." Ecclef. ix. 8. 
 
 Thus I have enumerated the colours more efpecially devoted to the Church. 
 
 Emerald Green has been latterly introduced ; and though, from its inferior richnefs when contrafted Emerald Gretn. 
 with other colours, it fhould be fparingly employed in illuminations, it may occafionally afiift in producing 
 a very pleafing effect, efpecially in floriations and ornamental flops. 
 
 Beautiful emblematic meanings are attached to this colour, — namely, hope in immortality, eternity, 
 victory. This laft, becaufe green is the colour of laurel and palm. 
 
 Grey, the colour of allies, anciently fignified mourning, humility, and innocence accufed. This Grey, 
 colour is fometimes employed in ground-work, not for letters. 
 
 Black is, of courfe, employed only as being ufeful and diftinct, without fymbolifm. It is adapted to Black, 
 all words of minor importance, and to intermediate Hops ; alfo, of courfe, for the ftalks and veins 
 of leaves, and ftems of branches, &c. 
 
 * Sermon on Church Colouring, by the Rev. R. J. Spranger, M.A. Publifhed by M.iftcrs and Co., price 
 
i6 
 
 Emblematic Illumination. 
 
 It may not be confide red irrelevant to the fubjee~t, if I fubjoin an explanation of the colours 
 employed in the fervices of the Church, taken from Purchas's Direclorium Anglic anum : — 
 
 White. — From the evening of Chriftmas Eve to the Octave of Epiphany, inclufive, except Feafts 
 of St. Stephen and the Holy Innocents. From the evening of Eafter Eve to the Vigil of Pentecoil ; 
 on Trinity Sunday, Purification, Converfion of St. Paul, the Annunciation, St. John Baptift, St. 
 Michael, St. Luke, and All Saints. 
 
 Red. — Vigil of Pentecoft to the next Saturday ; Holy Innocents (if on a Sunday), and all other 
 Feafts. 
 
 Violet. — Alh-Wednefday to Eafter Eve ; Advent to Chriftmas Eve; Ember Weeks in September; 
 Rogation Days ; Holy Innocents, unlefs on Sunday ; on Septuagefima, Sexagefima, and Quinquagefima 
 Sundays. 
 
 Black. — On Good Friday, and funerals, and on public fafts. 
 Green. — On all other days. 
 
 Cloth-of-Gold is faid to fupply all other colours. It feems poffible that this is with reference to 
 Pfalm xlv. 9, 13. 
 
 EMBLEMS. 
 
 St. John, xv. 5. 
 
 It is hardly neceffary to obferve that the only ornamentation fui table to a text from Hoiy Scripture 
 is that which conveys to the mind fome religious thought ; and fuch thoughts are naturally fuggefted 
 by forms that figuratively reprefent fome holy attribute or virtue. 
 
 The ftrft and moil obvious of Chriftian emblems is the Crofs, that blefled form which muft and 
 mould always remind us of the ineftimable price of our redemption. As fuch a remembrance^ it has 
 been received from the earlieft ages of Chrillianity ; * and moft dear may it always prove to thole who 
 love their Saviour's Name! 
 
 The almoft infinitely varying forms of this facred fymbol are divided into two clalTes, the Latin 
 
 * "It was not till the fixth century that the crofs became a crucifix, no longer an emblem, but an image." — Sacred and 
 
 Leger.daiy sJirt* 
 
Emblems, 
 
 ' 7 
 
 and the Greek; which diftinftion originated in the feparation of the Eaftern and Weflern Churches. The 
 Latin forms moft nearly refemble the true crofs, i.e. having the lower limb elongated — this, of courfe, 
 is received as the emblem of the Atonement : the Greek, having each of the four limbs equal in length, 
 is confidered fymbolical of the Chriftian religion, extending its bleffed influence through all the four 
 quarters of the world. On this diftin&ion of the two forms, it has been well obferved that '* the Latins, 
 who were more material in fentiment than the Greeks, preferred the actual form ; the Greeks, more 
 fpiritual than the Latins, idealifed the reality." 
 
 The Weftern Church has generally retained the Latin form, while the Greek is more peculiar to 
 the Eaftern branch. In all the earlier examples we read that this diftinction feems to have been very 
 fcrupuloufly obferved.* 
 
 Of Latin crofTes, the principal are thefe : — 
 
 eft. 
 
 The plain form (called in heraldry the PafTion 
 Crofs) refembling, as is generally believed, that 
 on which our BlefTed Lord died for us. Some- 
 times, when intended efpecially to fymbolife for- 
 row and fufFering, the three upper arms are fharp- 
 pointed. The fimple crofs, raifed on three fteps, 
 is called the Crofs Calvary, the fteps being faid 
 to typify the three Chriftian graces, Faith, Hope, 
 and Charity. 
 
 The Tau Crofs, refembling in fhape the Greek 
 letter T (tau) ; it is alfo called the Egyptian Crofs, 
 and, in heraldry, the Crofs Potent, which is the 
 old Englifh word for crutch. 
 
 The Crofs Crofllet, of this form, on our title- 
 page, is taken from the feal of the Latin Convent 
 of St. Salvador, at Jerufalem, but the riband and 
 motto are adopted for the prefent occafion. 
 
 St. Philip is fometimes reprefented with this 
 crofs,— on which, indeed, he is believed to have 
 fufFered martyrdom, — and St. Anthony fo gene- 
 rally, that it is often called after his name. 
 
 Some old writers on fymbolifm faw in the 
 Tau Crofs the ideal precursor of the real crofs — 
 anticipatory, typical — the crofs of the Old Tef- 
 tament. It is reprefented alfo in religious art as 
 that on which the brazen ferpent was hung. 
 
 St. Andrew's Crofs is an emblem of humility 
 as well as of fufFering, the Apoftle being faid to 
 have declared himfelf unworthy, even in death, 
 to approach the image of his Master's fufferings, 
 and therefore to have entreated that the inftru- 
 ment of his martyrdom might be of a different 
 form. The heraldic term for this crofs is faltire. 
 
 The Patriarchal Crofs, formerly borne by Pa- 
 triarchs and Archbifliops ; retained now in the 
 Church of Rome, and worn on the robes of Car- 
 dinals. This crofs is very common In Spain. 
 
 * See Tenny TcJ}, vol. 
 
 857. 
 
i8 
 
 Emblematic Illumination. 
 
 The Greek croffes are fo infinite in variety, that I can only attempt to portray a very fmall number 
 of them, feledting fome of the raoft admired. 
 
 The moll familiar to Englifh eyes is the Crofs 
 of St. George, firft impaled by Charles I. ; to 
 this was afterwards added (on the national flag) 
 the white St. Andrew's, on the union with Scot- 
 land ; and later ftill (1801) on the union with 
 Ireland, St. Patrick's "red faltire." And thus 
 the croffes of the " patron faints " peculiar to 
 each kingdom became united in our national flag. 
 
 One of the bed known among Greek croffes 
 is the Maltefe, borne by the Knights of Malta. 
 It is often confounded with the following — 
 
 Crofs Pattee : if the outer lines are curved 
 inwardly, it is called a "Pattee concave;" if 
 outwardly (a pretty form), "Pattee convex." 
 This crofs is found prefixed to old writings in- 
 ftead of the words " In Chrifii Nomine." 
 
 Crofs Boutonnee (like buds), or Trefflee (trefoil) 
 
 [A 
 
 N 
 
 zb tlx 
 
 7- 
 
 Crofllet Pattee. The term crofllet means a 
 little crofs, and alfo a crofs crofllet, i.e. a crofs 
 with a ftiort bar tranfverflng each of the arms : 
 thefe are even fometimes again crofled. 
 
 Crofs Pommellee (from pomme, an apple). 
 
 Some examples of both the Latin and the Greek crofs are elaborately and beautifully ornamented. 
 It is a remark quoted on good authority, in the Magazine already referred to, that during the Middle 
 Ages, in the Weftern Church a plain crofs was confidered as a crofs of fhame, and an ornamental one 
 as a crofs of glory. 
 
Emblems. 
 
 '9 
 
 The Ample Latin crofs and St. Andrew's are moft fuitable for introduction into capital letters. 
 The Greek is more generally placed at the conclufion of a text, fometimes alfo as an intermediate flop, 
 or rather as a renewed dedication.* Two crofles are, in general, quite fufficient for the fame text ; 
 one as a part of the dedication, the other as a conclufion. 
 
 The Dove is the well-known fymbol of the Holy Spirit. When thus employed, the head mould The Dove, 
 be encircled with a Divine glory. With the olive-branch, it is the emblem of peace. The dove has 
 alfo been employed to reprefent fimplicity and purity of heart, and in ancient times was thought an 
 emblem of the foul. 
 
 The Dove refting on the crofs is a modern but beautiful combination of emblems, probably 
 originating in the following lines : — 
 
 # # * # 
 
 " Shouldft thou not need lbme mighty charm 
 To win thee to thy Saviour's fide, 
 Though He hath deigned with thee to bide ? 
 The Spirit muft ftir the darkling deep, 
 
 The dove muft fettle on the crofs, 
 Elfe we fhould all fin on or fleep 
 
 With Chriftin fight, turning our gain to lofs." 
 
 Cbrijiian Tear (4th Sunday after Eafter.) 
 
 The Triangle (equilateral), trefoil, three circles, or triple triangle, are the emblems of the Holy Triangle, Tre- 
 Trinity. foUs, &c. 
 
 Of the trefoil, which is in fadl the fhamrock, it is faid that St. Patrick, when endeavouring to 
 explain the doctrine of the Holy Trinity in Unity to the heathen in Ireland, fuddenly call his eye on 
 the green leaves at his feet, and plucking one of them, conveyed an idea of his meaning in this fimple 
 form. 
 
 The Plain Circle, without beginning and without end, was the early fymbol of eternity ; united Circle, 
 with the crofs, it typifies eternal life : enclofing a triangle, Three in One. 
 
 The ferpent, with its tail in its mouth, has been juftly considered an emblem of eternal punilhment. Serpents. 
 The ferpent, or dragon, being always the emblem of all wickednefs, is to me quite unaccountably a 
 favourite fubjecl for illumination. It has, however, an obvious meaning, reprefented as flying from 
 the facred words. 
 
 The Lamb is the obvious (and very ancient) type of our Bleffed Saviour. It is reprefented with The Lamb, 
 a ni?nbus, or glory, containing four rays, one of which is concealed by the head. If each ray contains 
 a crofs, it is called a cruciferous nimbus. The rays are the efpecial mark of a Divine glory, the 
 circlets, or glories, furrounding heads of faints and martyrs never including them. 
 
 The Lamb bearing a banner, the token of victory, is an emblem of the refurreclion. 
 
 The Pelican wounding her own breaft to feed her young ones was an ancient fymbol of the Great Pelican. 
 Sacrifice. One or both of thefe laft-named emblems are frequently met with in ancient crofTes or 
 crucifixes, the lamb at the foot, and the pelican at the top of the crofs. 
 
 The Good Shepherd, carrying a fheep, is alfo an ancient emblem. 
 
 The Sword is an emblem varying in fignification according to the fharpnefs of its point. That Swords, 
 with an acute point is the fword ofjuftice; with the point obtufe, the fword of religion ; with no 
 point, the fword of mercy. The flaming fword typifies Divine vengeance. 
 
 The Fish is one of the very earlieft fymbols of our Divine Lord. The five letters of the Greek Fifti. 
 word for a fim (IX0YE) make the initials (in Greek) of the following fentence — Jesus Christ, God's 
 Son, the Saviour (U<rovs X^ia-rog <s)iov Ttog 2a»t>^). " In this fenfe," Mrs. Jamefon informs us, " we 
 find the fiih as a general fymbol of the Chrifhian faith upon the farcophagi of early Chriilians ; on the 
 tombs of the martyrs in the catacombs ; on rings, coins, lamps, &c. ; and as an ornament in early 
 
 * It is irreverent to regard or to employ this facred fymbol as a Jiop. The ancient illuminators generally placed it at the 
 commencement, and not at the clofe of their fubject. 
 
20 
 
 Emblematic Illumination. 
 
 Fliining Heart. 
 Anchor. 
 
 Lc'mp. 
 
 Lilies. 
 
 Fleur-de-lys. 
 
 Paffion-flower. 
 
 Pomegranate. 
 
 Phoenix. 
 Palm. 
 
 Olive Branch. 
 Crown. 
 
 Chriftian architecture." It was alfo thought an appropriate emblem of the Chriftian in the waters of 
 baptifm, and in allufion to the promife, "Ye mall become filhers of men." 
 The Flaming Heart exprefles fervent piety and love. 
 
 The Anchor is an ancient Chriftian emblem of firmnefs, hope, and patience. It is found in l he 
 catacombs and ancient Chriftian gems. 
 
 The Lamp, lantern, or taper, is the old emblem of piety, celeftial light, or wifdom. " For Zion's 
 fake will I not hold my peace, and for Jerufalem's fake I will not reft, until the righteoufnefs thereof go 
 forth as brightnefs, and the falvation thereof as a lamp that burnetii." (Ifa. lxii. I.) " Let your lipht 
 lb Ihine before men." (St. Matt. v. 16 ) 
 
 The Lily is the emblem of the incarnation, and of purity, always placed in the hand of the angel 
 Gabriel, and often in the hand of the infant Saviour and the BlefTed Virgin; fometimes in that of St. 
 Jofeph. Lilies of the Valley feem to be peculiarly fitted to reprefent purity and meeknefs combined. 
 Violets are a modern emblem of modefty. 
 
 The Fleur-de-Lys is confidered the conventional form of the lily, and was in the Middle Ages 
 adopted as the emblem of the BlefTed Virgin. Some fee in the Mother of our Lord a type of the 
 Church on earth — fee St. Matt. xii. 49, 50 — which gives her emblem a much enlarged fignificance. 
 
 The Passion-flower prefents in itfelf a crowd of emblems, fuggeftive of the moft folemn thoughts, 
 on which we can hardly dwell with fufficient reverence. The PaJJiflora carulea (common blue Paflion- 
 flower) is thus defcribed: — It was difcovered in the Brazils, and its wonders were foon proclaimed to 
 Chriftendom as reprefenting the Paflion of our Lord, whence its prefent appellation. Its leaves are faid 
 exactly to refemble the fpear that pierced our Saviour's fide, while the five points remind us of the five 
 wounds which He endured the tendrils, the cords that bound, or the whips that fcourged, Him ; the 
 ten petals, the Apoftles, Judas having betrayed, and Peter denied, Him ; the pillar in the centre was the 
 crofs or tree ; the ftamens, the hammers ; the ftyles, the nails ; the inner circle about the central pillar, 
 the crown of thorns ; the radiance, the glory ; the white tint, the emblem of purity ; and the blue, the 
 type of heaven. On one of the fpecies, the Pajfifiora alata, red fpots are feen on the crofs or tree. 
 The flower keeps open three days, and then difappears, denoting the refurreclion. As a whole, the 
 paffion-flower is an emblem of faith. 
 
 The Pomegranate, burfting open, and the feeds vifible, was confidered (in early art) as an emblem 
 of the future — of hope in immortality. 
 
 The Phoznix is an ancient fymbol of immortality. 
 
 The Palm is the well-known fymbol of victory after fuffering, and of heavenly blifs. Mrs. Jamefon 
 remarks that it was the ancient claffical fymbol of victory and triumph, and was early aflumed by the 
 Chriftians as the univerfal fymbol of martyrdom. 
 
 The Olive Branch and the palm were very early emblems of immortality. 
 
 The Crown is a Scriptural emblem of the Church. u Thou fhalt alfo be a crown of glory in the 
 hand of the Lord, and a royal diadem in the hand of thy God. (Ifa. lxii. 3. See alfo Zech. ix. 16.) 
 This fymbol, placed above the initial letter of a Holy Name, gives it a beautiful and marked fignificance.* 
 It may be appropriately blended with the crofs ; alfo with the palm and the lily. 
 
 The emblems of the four Evangelifts are thefe : — St. Matthew, a winged man {not an angel) ; 
 St. Mark, a winged lion ; St. Luke, a winged ox, or calf ; St. John, an eagle. Thefe fymbols are 
 taken from the vifion of Ezekiel, and from that of St. John in the Revelation. f 
 
 * A crown having the points furmounted by ftars, is called in heraldry the "crown celeftial." 
 
 \ An interefting Lefture on SymboIifm y by Charles Brown, Efq. is publilhed by Matters and Co. Price is. 
 
Emblems. 
 
 21 
 
 Sacred Monograms, 
 
 uwlqvc$ mm, foljmbg must be saixcfr. 
 
 Ads, iv. 12. 
 
 It is furprifing how much the real meaning of the letters IHS, or IHC, has been loft fight of, em- 
 blazoned as it is on the pulpit-coverings, altar-cloths, and windows of our Churches. The interpretation 
 has been gueffed at, or fuppofed to fignify the initial letters of the following fentences : — " Jefus 
 Hominum Salvator" — Jefus, Saviour of men. " Infpiration (of the) Holy Spirit /" or, " Jefus Humani- 
 tatis Confo/ator" — Jefus, Comforter of mankind. None of thefe interpretations are correct. 
 
 On the tombs of the early Chriftians, in the Roman catacombs, thefe letters (IHE) were fometimes 
 found (though not ib frequently as the next monogram). They are, in the Greek character, the firft 
 three letters of the facred name of Jefus — IHSOTS. The third letter, figma ) had in early Greek two 
 forms, C and 2 ; hence the apparent variety in what is really one and the fame Monogram. 
 
 The fecond Monogram, now rarely feen, but formerly much employed in memorial infcriptions, 
 is called the Crofs of Conftantine. It confifts of the two Greek characters, X and P. X ftands for, or 
 is equivalent to, our CH ; P, the Greek rho> is tranflated by our letter R : thus we have the equivalent 
 of the firft three letters of the facred name of Christ — in Greek, XPISTOi. 
 
 It is related, on the authority of Eufebius, that the Em- 
 peror Conftantine, while engaged in prayer, fuddenly faw 
 this fign in the fky, and that it was alfo vifible to his whole 
 army ; over the fign was an infcription fignifying *' Conquer 
 by this," or, "In this fign thou fhalt conquer" (In hoc figno 
 vinces). On the fame night the Emperor had a dream — a 
 vifion of the Saviour appearing to him with the fame fign, 
 commanding him thenceforth to bear it on his banner, 
 whereby he fhould always be victorious. In obedience to 
 this revelation, the Emperor immediately caufed fuch a 
 banner to be conilrucTied, and afterwards wore the facred 
 fign upon his helmet. This banner was called a labarum. 
 of which we find the following brief account in Fofbrooke's 
 Encyclopaedia of Antiquities : — 
 
 " The name, but not the thing, commences with Con- 
 ftantine. It is a ftandard, with a crofs-piece, from which 
 hung a piece of fluff. The Romans borrowed it from the 
 Germans, Dacians, &c. ; and upon coins of Auguftus, and 
 the emperors preceding Conftantine, it refers to fome con- 
 quered nation. It had an eagle painted or embroidered, till 
 Conftantine, who added the crofs, monogram of Jefus Chriit, 
 and A and ft" (Alpha and Omega: fee Rev. i. 8). " Some- 
 times, above the flag, was a crown, in the midft of which 
 was the monogram mentioned. From the crofs-piece hung 
 a fquare fluff, upon which Conftantine placed the figures of 
 himfelf and his children in gold." 
 
 The above is an original example of the two Monograms combined, well fuited for illumination. 
 
22 Emblematic Illumination, 
 
 The following is a beautiful illuftration, in a fimple form, of the doctrine of the Holy Trinity 
 in Unity : — 
 
 Read thus :* " Pater non eft Filius. Filius non eft Sanclus Spiritus. Sanctus Spiritus non eft Pater. 
 Pater eft Deus. Filius eft Deus. Sanclus Spiritus eft Deus." 
 
 Emblematic Illumination. 
 
 The accompanying emblematic initial letters are fuitable in illuminating the following (and 
 fimilar) texts of Holy Scripture : — 
 
 j^L With the crofs and lily, 
 
 si)all gibe Hits; Angels charge obev tfjee."— Pf. xci. n. 
 
 With the crofs, heart, and anchor, 
 
 " 8n 8nri)or of ii)t Aral, not!) £urc auto tfttfltfart." — Heb. vi. 19. 
 With St. Andrew's crofs, 
 
 ** 23c j>e also patient."— Jam. v. 8. 
 <Sf With the crofs, 
 
 " Can* up tf)p Cross tiatln."— See St. Luke, ix. 23. 
 
 With the wheat and vine, 
 
 " Bo t!)te in rtmrmbraiue of — St. Luke, xxii. 19. 
 
 With the crofs and trefoil, 
 
 " (Qnttv vt hi at tje Stratt gate."— St. Matt. vii. 13. 
 
 ^El With the fhield of faith, 
 
 "dfear not, * hull fjflp ti)«."— Ifa. xli. 13. 
 "dfaitf) loovntti; hv 3Lobc."— See Gal. v. 6. 
 
 @ With trefoils, 
 
 ,( Pin Ijdp fomcti; of <&<OT."— Pf. vii. 11. 
 
 * The Father is not the Son. The Son is not the Holy Spirit. The Holy Spirit is not the Father, 
 The Father is God. The Son is God. The Holy Spirit is God. 
 
Emblems. a 3 
 
 JjJ With lilies of the valley, 
 
 "33e clotljet* untl; Jumtli'tj)."— 1 Pet. v. 5. 
 3JF With monogram, trefoils, and crown, 
 
 "ft am ti)e 3£U:efurrectton antt tl;e 5Life.** — St. John, xi. 25. 
 
 "ft am tmtf) nou alfoai), ebeu unto t!)e entl of tfje foorltJ." — St. Matt, xxviii. 20. 
 
 Jr With lily, crofs, and trefoils, 
 
 " Pfo $eace ft gtbe unto pou." — St. John, xiv. 27. 
 
 ^£ With the crofs and trefoils, 
 
 " Cijme emsl sfyall see tfje Etitg tn beauty : tije» ^all fec^olU tije EantJ tijat t£{ 
 ben) far off." — Ifa. xxxiii. 17. 
 
 _T%r With lilies of the valley {foundation colour red), 
 
 "£an fjottf on Eternal Etfe."— 1 Tim. vi, 12. 
 Tfer With lilies of the valley {foundation colour blue), 
 
 "jUarn of JHlE, for ft am Ifleeft antt Eofoli) m Ijeart."— St. Matt. xi. 29. 
 Cfi ) With the crofs and crown, 
 
 "JHi) Peace ft gibe unto you." — St. John, xiv. 27. 
 
 Jsfc "€i)e $tgl)t t5 far Spent, tl)e 20an at fjantt."— Rom. xiii. 12. 
 
 <f) With the crofs, 
 
 " <®ccupp tttt ft eome." — St. Luke, xix. 13. 
 
 J§> Witn dove and lilies, 
 
 " peace ft leabe ImtJ) pou." — St. John, xiv. 27. 
 2?t With the cross, 
 
 "Repent ne: for tije BtngtJom of Sleaben xi at f)ano\" — St. Matt. iii. 2. 
 J§ With the holy dove, crofs, and lilies of the valley, 
 
 "buffer tije Itttle C^tlKreu to come unto PllE."— St. Mark, x. 14. 
 With St. Andrew's crofs and crown, 
 
 " £>o run tljat ne man obtain." — 1 Cor. ix. 24. 
 £U With the triangles and crofs, 
 
 "Cfjou <&<&M SeeSt me."— Gen. xvi. 13. 
 With lilies, 
 
 " to pour dfatti), Virtue."— 2 Pet i. 5. 
 y\V With trefoils, 
 
 " OTjat ft tto tf)ou fcnofoeSt not nob) ; fmt tf)ou stfjalt knob) hereafter." 
 ~^Tf With the crofs, St. John, xiii. 7 
 
 "dfeett P[Y &f)eep."--St. John, xxi. 16. 
 
 * The fecond half of this letter forms U. 
 _ f This letter is given in reduced fize, being moft ufeful together with the M ; it will be found to correfpond in 
 height with the alphabet of fmall letters, which are proportioned to any of the foregoing emblematic capitals, excepting the 
 G and T. The pronouns My and Me, when referring to the Deity, mould always be in capitals, the fecond of which 
 uy be of fmaller dimtnfions. 
 
Hon. 
 
 In conclufion, I would fuggeft an anfwer to a queftion Tome times afked — "What is the ufe of thefe 
 fcrolls?" The firft moft obvious reply might be — to place on our walls. The queftioner perlifts — 
 "But why?" Let your anfwer be in the fenfe of thefe words: I hope thus to imprefs more ftrongly on 
 my mind a particular promife or commandment contained in the Holy Scriptures. I alfo hope that the 
 fame effect may fometimes be produced on the hearts of others, who may often, certainly, have read 
 thofe words before, yet poffibly without much thought; having them thus brought fuddenly and in a 
 marked manner before their eyes, deeper reflection may be the profitable refult. A commandment, an 
 injunction from God's Word, thus placed before me, may often, I truft, ferve as a check in moments of 
 temptation. A promife I know to be of ineftimable comfort, as the lick and the dying have teftified. 
 No doubt the law of God mull be pre-eminently written in the hearty* muft abide there as its choiceft 
 treafure, — a well of water fpringing up into eternal life," nourifhing the foul at all times; and we have 
 the precious gift of Him Who " bringeth all things to our remembrance."f Yet fo long as I have 
 eyes through which I may receive holy impreffions, I cannot — dare not — defpife the humbleft means 
 towards fo good an end. To look upon a text of Scripture, engraved with fair colours and emblematic 
 adornments, gives me the fame feeling of elevating happinefs, through the organ of light, that a melodioufly 
 chaunted hymn or anthem conveys through the organ of hearing. " The hearing ear, and the feeing eye, 
 the Lord hath made even both of them."J 
 
 And to the young I would earneftly say, — Cherifli always a feeling of reverence on this fubject of 
 illuminating facred texts. Let it be considered not as a trivial, palhng amufement, but, while in practice, 
 as a grave and fteady occupation — one to which you are in duty bound, if you undertake it at all, to give 
 your very beft attention. No work of yours — nor of any human hand — can be worthy of the fubject; 
 in all humility and lincerity keep this truth before you. Strive to enter as fully as poffible into the mean- 
 ing of the infpired words you are delineating ; endeavour earneftly and with child-like fimplicity to learn 
 the leffon they would teach. 
 
 Laftly, let your work be as perfect as you can poffibly make it, and if the refult be pleafing, render 
 thanks to Him who hath bellowed on you the precious talent, and from Whom all good gifts do come. 
 And fo, " Whatfoever ye do, 
 
 Do ALL TO THE GLORY OF GOD." 
 * 2 Cor. iii. 3. f St. John xiv. 26. J Prov. xx. 12. 
 
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