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ſilissal painting. *
W., & G. AUDSLEY, ARCHITECTs.
. . . *g, wºu a ject- - g-
WITH -
EIGHT PAGES OF LITHogRAPHIC ILLUSTRATIONs.
: FouarEENTH EDITION.
£g than :
GEORGE ROWNEY AND CO., *
- MANufacturing ARTISTs, colourMEN, * - .
29, oxFORD STREET; AND 52, RATHBONE PLACE,”W.
MDocol.xviii.
The right of Translation is reserved.
LONDON:
HENDERSON, RAIT, AND FENTON, GENERAL PRINTERs,
23, BERNERs STREET, Oxford STREET.
PREFACE.
OWING to the rapidly increasing love for the
beautiful Art of Illumination, and the devotion
with which it is being studied throughout the
length and breadth of our land, no apology is
required for the appearance of this little volume.
We have endeavoured to write it throughout
in a simple and connected manner, in order to
save, as much as possible, confusion and doubt
in the minds of our readers; and we trust it will
be found of practicable value to the Student and
Amateur.
Having had considerable experience in all
branches of the Illuminator's Art, and being at
the present.time engaged upon the most extensive
modern original illuminated work” that has ever
* “The Sermon on the Mount,” large folio; Day & sos, London.
iv PREFACE.
been offered to the public, we can, with assurance,
lay before our readers our few remarks on mate-
rials and the manipulative processes. sº f
With the able assistance of the publishers, We
have introduced a more complete series of illustra-
tions than has ever before been offered, even in
works of five times the price of the present.
W. & G. A.
Liverpool, October, 1867.
Guibe
(Lipt 3rt of 3:lluminating
.AND
faissal painting.
INTRODUCTION,
WE are living in the nineteenth century, an age destined
to be rendered glorious in the page of history. Great
indeed is our birthright, for we are children of the
brightest day that has ever dawned upon the world, with
tools forged by our forefathers at our hand, wherewith we
may carve for ourselves an immortal name.
W. and vast are the resources of our time, and
truly astounding are the discoveries and inventions which
have been made, and are being made every day; but it is
not to these alone we will owe our golden throne in
history—it is not in these alone we are singular from those
centuries which have rolled along the pathway of time
into the limitless past: Art, the expression of mán's lofty
soul, the poetry of mind, will be the pen which shall
illuminate our glory on that immortal scroll. *=
Art may be said to be on its revival, being awakened
from a sleep of nearly three centuries, and who dare say
that its renewed light will not outshine in glory that
which has gone before ? -
* Never, we may say, have the Fine Arts stood on so firm
a basis as they . at the present time; never has painting
been so universally and liberally encouraged; music and
poetry so enthusiastically sought after; and never has
6 / INTRODUCTION.
architecture proved such a subject of general interest,
and been so liberally studied. &
In the art-world, amongst the most brilliant achieve-
ments of the present century, is the revival of Gothic
Architecture, with its attendant train of decorative arts.
It would be difficult, indeed, to say where the usefulness
of thät revival will end; already has it worked wonders
in nearly all departments of ornamental art, and yet it
is evident that its career has but begun.
One great handmaid of architecture has already burst
before the world, and we may look forward with almost
certain hope to behold its revival producing works more
brilliant than those which marked its brightest eras. I.
allude to the Art of Illumination.
Numerous are the treasures scattered amongst our
many national and public libraries, from which modern
illuminators may derive inspiration in their glorious art
Yet to beginners such sumptuous monuments of the
labours of the Early Fathers act but as checks to zeal,
for even to the master it appears vain to endeavour to
rival or approach them in beauty of design and execution.
We must not forget, however, that mortal hands and
heads gave them birth, and that mortal hands and heads
can do now what they could not do in former times.
To the uninitiated, works of a more elementary cha-
racter, based on the schools of the Middle Ages, must be
supplied, educationary in style and in directions, with
regard to the manipulatory processes in connection with
the practice of the art, and encouraging in their tendency,
until the beginner becomes the student, and the student
in turn the master and teacher.
That public taste is improving, we can have no doubt,
for every day we may observe a marked advancement in
articles of utility and luxury, but in no department is the
improvement we speak of more manifest than in works of
Gothic or Ecclesiastical Art. -
The aesthetical principles and feelings which may be
observed to pervade all the remains of the labours of the
INTRODUCTION. 7
early Gothic Masters, and that master-spirit, or sym-
pathy, which seems to form the great connecting link
between the several departments of their works, is becom-
ing every hour better understood, and more inwardly felt
amongst the students of the mediaeval schools of art.
This is much to be desired, for unless the poetry of in-
ventive genius, the freemasonry of mind be breathed into
material things, it is but little they can be expected to
express in sympathy to the educated eye and taste.
Of all the arts which flourished during the Middle
Ages, that of Illumination may be said to be the most
glorious; this cannot be wondered at when we consider
to what purpose it was mainly applied, namely, the
decoration of the Scriptures, the revered Word of the
Deity to the creature.
It is not necessary for us to enter at all upon the
question of the utility of the study of illuminations, as we
find them during the ages of their birth and growth, for
the purpose of art-education, or into the question of the
vast light such a study throws upon the subject of the
knowledge of the ornamental and pictorial arts of design,
as practised during the periods of their execution. No
one will, we venture to say, be bold enough to deny
either. is '
We have remains in Italy of ancient wall paintings,
frescoes, and mosaics, but in Western Europe we have
only perfect guides in the form of Illuminated MSS.,
with the partial exception in favour of sculptured works,
which are, however, fast disappearing, crumbling away
before the rough winds of time.
Ere we proceed to treat of the subject which forms the
first portion of our manual, viz., the History of the Art
of Illuminating during the Middle Ages, let us say a
word to those who read these pages, and to all who may
be filled with the laudable ambition to aid by their indi-
vidual labours the revival of our national arts—that the
fabric to be reared, to be worthy and permanent, must bo
built upon the foundation stones of old.

PART FIRST.
** (ſt 3rt húring fºr girl 3|{3.
However interesting to a general reader, and in an
archaeological point of view it might be to trace the rise
and progress of the calligraphic art from its first struggles
for existence, and comment on the various rude materials
used in connection with it, anterior to the important in-
troduction of parchment and vellum, it would be out of
place in such a neccessarily circumscribed work as the
present. Nor is it required for the progress of this
treatise, to allude to the art of writing in any way save a
sketchy manner.
It is almost needless to tell you that an illuminated
manuscript is one in which decorative material is intro-
duced as an adjunct to the writing. This ornamental
matter is sometimes found in the form of paintings, or
miniatures, illustrative of the text, sometimes in the form
of partial, or complete borders, forming a frame-work to
the writing, in which the fancy of the illuminators has
been indulged by the introduction of animals, birds,
insects, &c., amongst the scroll-work and foliage; how-
ever, it was in the initial letters that the illuminators of
old delighted and excelled. Of all these we shall have to
speak more fully hereafter.
That the Art of Illuminating or decorating manuscripts
was known at very early times, we have conclusive evidence.
The Romans are said to have had the practice of decorat-
ing their books with portraits and imaginary subjects; but
the only proof we have is from the writings of the classical
authors themselves. We can have but little doubt that
THE ART DURING THE MIDIDLE AGES. 9
Greece, Egypt, and the nations of the East nursed the art
prior to its introduction into Rome in the second century.
However, with these remote times we have but little to
do ; it is to the centuries between the fifth and sixteenth
that the true Art of Illumination belongs.
Of the Saxon era we have some valuable and beautiful
manuscripts preserved to us, all of which we may safely
say are calculated to astonish those who may gaze upon
their time-worn pages. -
It is an acknowledged fact that civilization and
Christianity reigned long in Ireland, before either was
fully introduced into England; it is natural, therefore,
that we should first look to Ireland for the art of
illuminating, nor do we look in vain; we find it flourish-
ing there long before it was known with us.
Speaking of the state of Art in Ireland, Professor
Westwood, in his “Palaeographia Sacra Pictoria,” says
“that at a period when the Fine Arts may be said to have
been almost extinct in Italy and other parts of the Con-
tinent—namely, from the fifth to the end of the eighth
century—a style of art had been established and culti-
vated in Ireland, absolutely distinct from that of all other
parts of the civilized world. There is abundant evidence
to prove that in the sixth and seventh centuries the art
of ornamenting manuscripts of the Sacred Scriptures, and
especially of the Gospels, had attained a perfection in
Ireland almost marvellous, and which in after ages
was adopted and initiated by the Continental Schools
visited by the Irish missionaries.” -
The most beautiful and wonderful of the Irish, or


Hibernian illuminations, is the “Book of Kells,” pre-,
served in the Library of Trinity College, Dublin. This
valuable manuscript was executed during the sixth cen-
tury. Few persons can gaze upon its wondrous richness
and intricate detail without astonishment, and we can
fully enter into those feelings which prompted Westwood
to exclaim, “Ireland may justly be proud of the “Book
of Kells.” For an interesting and complete description
10 - | THE ART DURING
of this great specimen of early Celtic art, we must refer
our readers to his able article in his “Palaeographia,
Sacra Pictoria.” -
The English illuminations which sprang from the Irish
School may be best represented by the “Durham Book,”
the finest specimen of Anglo-Hibernian illumination in
existence. This splendid MS. was illuminated on the
Island of Lindisfarne, about the year A.D. 700. In it
we may observe a decided improvement in figure draw-
ing, and in the decorative portions an advance in the
direction of harmony, and in connectedness and com-
pleteness of style and design.
In the illuminations of both the Irish and Anglo-
Irish Schools we may observe the following features or
peculiarities.
The general tone throughout is that of laboured
intricacy, with a decided want of repose and artistic
simplicity. The initial letters are often large and rich,
filled in with intricate ribbon-work, mostly in white on
black grounds (see Plate 1, Fig. 1), though colours are
sometimes introduced. -
Complex masses of a rather confused style of decora-
tion, which is peculiar to Celtic ornament, generally
occupies the open spaces of the letters. This decora-
tive material is chiefly formed by two or more, opening-
spiral lines starting from a point, and sweeping into
minor volutes formed by other lines, the interstices being
filled in with colour.
Panels within the letters, and often the initials them-
selves, are formed or filled up with a great variety of
lacertine animals, reptiles, and birds, attenuated in a
hideous manner, with their tails and tongues extended
into long ribbons, and twined among their legs and
bodies. Intricate and beautifully executed spiral lines
and animals' heads terminate projecting parts.
Borders of this period are mostly executed in the
interlacing ribbon-work, shown in Fig. 1.
Diaper patterns are found, formed of intertwining

THE MIDDLE AGES. *11
animals or birds, several times repeated. The human
figure is sometimes introduced into the illuminations,
treated after the manner of those monsters. ſº
Around the initials, borders, and the texts, are placed a
countless number of small red dots; and the text itself,
contiguous to the great capitals, is often rendered decora-
tive by being grounded with colour and ornamented with
animals, birds, and ribbons. It is worthy of remark that
natural flowers and foliage are almost entirely omitted in
works of Celtic art. g .
A style of illumination which arose about the fourth
century was in full vigour during the eighth. Its principal
peculiarity consists in the vellum on which the illuminations
were executed; it being stained (or in later times painted)
with different shades of violet, purple, or rose; the illu-
minations and text were usually entirely executed in gold
and silver, though colours were sometimes introduced.
We have some valuable early examples of this regal
school of illumination preserved to us; fine specimens
may be seen, in a manuscript copy of the Gospels, in
the Cottonian Library, British Museum (Tit. C. 15.),
while there are others in the Libraries of Vienna,
Munich, and Stockholm. - m
Perhaps the most interesting and ancient of the stained
vellum manuscripts in the “Codex Argentus,” or Silver
book of Uphilas, now in the Royal Library at Upsala; it
is nearly a complete copy of the Gospels, written in silver
and gold letters on violet coloured vellum. Its date, is
about the fourth century. g -
Speaking of a purple MS. of the Anglo-Saxon School,
Professor Westwood remarks: “The Royal Manuscript
preserved in the British Museum (marked 1 E 6) must
be esteemed one of the most precious monuments of early
Anglo-Saxon calligraphy and illumination which have come
down to our times. .
“Its noble size (18 inches by 14), the clearness of the
writing, united with the circumstance that several of its
leaves are stained with a very dark purple colour, might
12 THE ART DURING
lead almost to the presumption that this was the identical
copy of the Gospels which St. Wilfred presented, to the
Church of York, and which his biographer, Eddius,
described as a thing almost miraculous. From an in-
scription on the fly-leaf, in a hand about 500 years old,
the volume appears to have belonged to the Monastery
of St. Augustin, at Canterbury.” -
We may remark that in, the valuable MS. alluded to,
colour is largely introduced on the purple grounds, with a
truly wonderful effect. r . -
Plate 1, Fig. 2, contains three letters from this manu-
script, which are curious, showing the manner in which
letters were entwined during the reign of the Anglo-
Saxon school of calligraphy. The letters in question are
QUI, the first half of the latin work, QUIDEM.
A very magnificent Psalter, written throughout in
golden letters upon purple wellum (if it may not be con-
sidered the finest specimen in England), is now preserved
in the Bodleian Library. -
Writing in gold was not confined to purple manu-
Scripts, however, as we have several examples of it on
white vellum. There is a fine specimen in the Harleian
Collection, No. 3788. - s - -
On the Continent, during the reign of the greatest
patron of the illuminator's art, Charlemagne, and under
his fostering care, illuminating rapidly advanced. In the
works of his school we may observe traces of classic
treatment; it may therefore be inferred that the love
for Roman art, which could not have altogether died
out, must have led to its partial study as a model.
Hence it comes that we find the acanthus (or rather a
conventional treatment of it), liberally introduced in the
manuscripts of the period. All traces of Hibernian art
disappear, while the ornaments and capital letters assume
a simpler and more massive character. .
About the time of Alfred, considerable intercourse took
place with the Continent; this, as might be expected, had
the effect of introducing into the Anglo-Saxon Scriptoria
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THE MIDDLE AGES - 13
features of the above-mentioned Frankish school; not,
however, to the exclusion of the peculiarities of the early
Anglo-Hibernian manuscripts. . ,
In the works of this style, which we may term the
Franco-Saxon, the massive simplicity of the Charlemagne
is cleverly combined with the intricate interlacing feature
of the Celtic School. .
This interlaced work, however, underwent a change,
becoming bolder and more open in treatment. The initial
letters were generally formed of plain broad gold bands,
occasionally divided into panels, which were filled in with
, Celtic ornament, or other decorative matter. An illustra-
tion of this peculiar style is given in Plate 1, Fig. 4,
although it is taken from a manuscript rather late in the
school. t . . . - •
Animals and detached heads were at times introduced
in the illuminations of this style.
One of the finest specimens of the Charlemagne era
extant is the “Golden Book” (Codex Aureus) preserved
in the Harleian Collection, numbered 3788. *
During the ninth century, many manuscripts were
executed, worthy monuments of the Limner's art. Great
beauty is to be observed in the border-work of this
.#: we have given an example in Plate 1, Fig. 3,
which may serve (though but poorly) to give an idea as
tº the prevailing character. •
We now arrive at the latest Anglo-Saxon style, and
perhaps the finest as far as regards artistic merit of all
the schools prior to the twelfth century.
We have good reason to believe that the style in ques-
tion, which dates about the tenth century, is purely
national, no parallel being found in Continental work.
The finest specimen of this school remaining to us is
the far famed Benedictional of Ethelwold, belonging to the
Duke of Devonshire. There are others of great beauty at
Bouen, from one of which we have a reduced fac-simile,
Plate 1, Fig. 6, and a copy of the Gospels executed in
the same style, a fragment from which is shown in Fig. 5,

14' THE ART DURING .
is preserved in the British Museum, commonly called the
“Gospels of King Canute.”
The leading peculiarities of this period are mainly con-
fined to the borders, which form complete frames to the
text. They are usually constructed of massive parallel
gold bars, outlined with yellow, with corner and centre
ornaments of geometrical form; in and about these bars
and ornaments, foliage of a severe, though graceful, con-
ventional nature is twined. It is a fact of some interest,
that the foliage alluded to bears a strong likeness to that
adopted in the sculptured decoration of the Early English
period of Gothic Architecture two centuries afterwards.
Miniatures are sometimes introduced into the centre
pieces of the borders, as in our example from the Gospels
of Canute, Fig. 5. Reference to Fig. 6 (a corner orna-
ment from one of the Gospels preserved at Rouen) will
illustrate the peculiar treatment of the foliage.
The initial letters which are contained within these
elaborate borders are still large and rich, and the interlaced
feature is retained about their extremities.
The latter portion of the tenth and the whole of the
eleventh centuries, may be looked upon as disconnected
and transitional periods. It therefore becomes a difficult
matter to give anything of a satisfactory notice of the
state of the art during these eras.
The Normans did very little to encourage the arts in
the first years of their sovereignty; in fact, we may say,
illuminating was for a time entirely forsaken, if not
abandoned. However, the eleventh century has produced
some works of considerable merit, and the colouring of
some examples is particularly rich and harmonious.
Modifications of earlier illuminations are used in MSS.
of this period, the interlaced feature for instance, see Plate
1, Fig. 7, and border work, Fig. 8.
We may observe the detail of the illuminations of the
eleventh century being formed, which developed itself to
such a remarkable manner in the following period.
Of all the styles of illumination, that which occupied

THE MIDDLE AGES. - 15
the twelfth century may be said to be the finest. The
art seems, during this period, to have reached its culmi-
nating point, availing itself of all that is grand in
conventionalism, colouring, and artistic treatment.
About the middle of this century, a Continental influence
began to display itself in English work, and for about a
century afterwards, illuminating seems to have progressed
in an almost parallel style in France, Germany, and
England. . - - -
During the period we have alluded to, new life appears
to have been infused into all the ornamental arts. Gothic
Architecture assumed its noblest garb, and called forth
the fulness of mediaeval decoration to add splendour to
those structures which must ever remain the wonder of
the world. -
In the illuminations of the twelfth, and opening years
of the thirteenth centuries, the peculiar Gothic feeling
may be observed to prevail, while gradually the Roman-
esque feature of earlier works died out, never to be again
revived within the reign of legitimate illumination. In
fact the extreme of all that is classic was followed in the
decoration of manuscripts, as it was in ornamentation, as
applied to architectural works. *
The principal peculiarity in the illuminations of this
period is to be found in the scroll-work, which is of a bold
and open character, without leaves. The scrolls are of a
volute outline, coloured in flat, hard edged shading tints,
generally terminating in the centre with a rich conven-
tional flower; minor portions of the scrolls often finish by
turning over and spreading slightly; these terminations
being generally of a contrasting colour, add greatly to the
effect of the composition in which they are introduced.
When, however, the scroll-work alluded to is monochroma-
tic, which is often the case in Continental work, shading is
alone employed in the flowers and turnovers. Ground-
works of gold, silver, and contrasting colours, are intro-
duced between the scrolls, adding greatly to the general
effect... Small specimens of monochromatic and poly-
g
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61 THE ART DURING 73-74
chromatic twelfth century scroll-work upon different
grounds, may be seen in Plate 1, Figs. 9, 10, 11, 12.
These scrolls, although forming the characteristic
feature of the period, are still only adjuncts to thesinitial
letters, to which the decorative illumination was generally
applied. It is much to be regretted that the fancy and
inventive genius of the Limners of the twelfth century
did not extend to borders, such as were introduced bot
in previous and after eras. -
The forms of the capital letters of the twelfth century
are perhaps the most perfect in our collection, being free,
graceful, and correct. The minor initials are studies
themselves in conventional design and treatment. See
. . Plate 1, Fig. 13. . . . . . . . .
A very peculiar style arose during this period, applied
principally to initials, though occasionally to slip borders,
(where great architectural merit is to be observed). These
initials and borders were formed of scroll-work, foliage, ,
and animal forms, outlined and shaded in red alone, with
grounds of blue and green introduced within the features
of the design or letter; specimens of this work may be
seen in Plate 1, Fig. 9, and Plate 2, Figs. 1, 2. -
Pen-work appears to have been much used during the
twelfth century, greatly to the exclusion of the brush.
The last mentioned style is altogether penwork in its
ornamental portions, resort only having been made to the
brush in the groundings of blue and green. Splendid
specimens of this treatment may be found in the Har-
leian Collection, MS. No. 2800, extensive selections from
which have been figured by Mr. H. Shaw in his valuable .
work on Illumination. - - &
. . In works of the latter years of the thirteenth century, a
decline in bold display and artistic feeling is to be traced.
During this period, the scroll-work and detail generally
became crowded and reduced in scale, while the colouring
became heavy, and, comparatively speaking, indistinct.
The initials themselves were reduced in size, but, in com-
... pensation, their extremities were extended and worked into
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THE MIDDLE AGES. 17
floriated termination, sometimes reaching to the bottom,
or extending to the top of the text. This peculiarity in
connection with the capitals was the forerunner of the
celebrated bracket of the following century. . . . . .
Miniatures became more common during this period
than heretofore, generally treated upon a solid background
of gold. The colours employed were for the most part .
pink, blue, and green, shaded with their deeper tones, and
hatched, or delicately worked with white lines. Red and
purple were sometimes used in the miniatures.
Conventionalized animal forms were liberally introduced
amongst the scroll work of this century, and were oft-
times elongated into the tail-like extension alluded to
with reference to the initial letters. -
Several leaves, beautifully conventionalized, were used
in the illuminations of the thirteenth, though to be more
extensively so in the works of the fourteenth, century.
The forms in some of the leaves in question are shown in
Plate 2, Fig. 8. Towards the close of the period, the
manuscripts became very rich and beautiful, though they
lacked the simplicity and boldness of the preceding, and
...the intricate completeness of the following, style.
It is indeed difficult, in the present little manual, to
attempt to give anything like a description of the very
numerous beautiful works executed by the illuminators of .
the fourteenth century; to give a complete description
weild be impossible, were the whole contents devoted to
that purpose. * - I -
. . A general idea, or outline of the leading features to be
abserved in the manuscripts of the period, is all we can
give; yet we are all well aware how inadequate our
remarks must be to convey what we would wish to have
known by the eager student of the glorious Art of Illumi-
nating. Q . . .
... It is very important that all who wish to become
illuminators should have a good general knowledge of the
history of the art, and the prevailing peculiarities of the
various schools and periods; to acquire this, such works as
- • - g - ~ * C; 8 :
18 - THE ART DURING
`s
> .
*~
those produced by Count Bastard, Sylvestre, Humphreys,
Owen Jones, and M. Digby Wyatt, should be studied.
The style of the fourteenth century is peculiarly worthy
of the modern illuminator's study, being of all the periods
of the art perhaps the most complete and adaptable. In

`real feeling and artistic merit it is inferior to earlier
styles; yet, owing to the generous distribution of its orna-
ment in borders of all classes, miniatures, initials, and the
like, it may take its position among the most brilliant
periods which flourished during the Middle Ages. In
brilliancy and beauty of colouring the manuscripts of the
fourteenth century stand almost unrivalled; and the
initial letters, which are generally large and of intricate
design, display, in many instances, a wonderful perfection
in harmony. - º
A peculiar style of capital letter was introduced in the
illuminations of this period, formed of two colours
worked into one another in some ornamental manner,
divided by a white thread line. The colours generally
used were red and blue, and gold and blue, laid on in flat,
bold tints (Plate 2, Figs. 7, 9). -
A beautiful species of outline work pervades the illu-
minations of this century, principally grouped around
the capitals, or extending in graceful tendrils from their
extremities (see Plate 2, Figs. 4, 5, 7, and 8). In
important works, miniatures on gold and rich diaper
backgrounds, and elaborate masses of ornamental work,
partly in outline and partly in delicate colours, were em-
ployed to fill up initials and panels around them.
Several new features characterize the schools of the
fourteenth century, as may be observed by an inspection
of Figs. 8 to 9, on Plate 2. * *
Line Scrolls, bearing such leaves as are shown in Fig.
3, were largely used, forming an elegant peculiarity of the
style; as also another class of leaf, a specimen of which is
given in Fig. 6, where its mode of curling, displaying at
intervals its reverse side, illustrates its adaptability to
receive the greatest display of contrasting colour,
THE MIDDLE AGES. 19
In the illuminated works of the fourteenth century,
raised gold, highly burnished, was largely introduced as
grounds for miniatures and initials. This was at times
diapered and ornamented in the most careful and beautiful
Iſla,Ilſler, e -
Towards the close of the period, when a Continental
influence began to extend itself to English illuminations,
the raised gold grounds gave way to architectural and
landscape ones. This change was mainly due to the
school of Italian illuminators, and those founded by the
Wan Eycks, -
In France, under the fostering patronage of Jean, Duc
de Berri, the Art of Illuminating made rapid strides, sur-
passing that of almost every other nation at the time;
though the Italian, Flemish, Netherlandish, and English
works were by no means poor, even in comparison.
Animals of peculiar shape, sometimes oddly conven-
tionalized, were introduced within and around letters and
borders. Conventional flowers of great beauty were pre-
valent in the illuminations of this and the early portion
# the succeeding period; examples are shown in Plate.8,
ig, 1. - e - -
As we enter upon the subject of the illumination of the
fifteenth century we find our task not only arduous but
one next to impossible to do justice to; not that it matters
much, for the early portion of the period was but a
continuation of the prevailing schools of the fourteenth.
century, perhaps inclining rather towards a more natural
mode of treatment in the detail.
Towards the close of the century, however, a decay
may be observed in illuminated works. The pure artistic
feeling and treatment of conventional ornament sank with
the debasement of Gothic Architecture, never to be again
revived until now. -
We have only given one or two examples from MSS.,
dating in the early years of the fifteenth century, as we
consider the works of the later years unworthy of the
modern illuminator's attention. re & 2 .
g C
320 THE ART DURING :
Plate 2, Figs. 10 and 11, show the modes generally
resorted to in shading rods, much used in the borders of
the period, as also during the fourteenth century. Figs.
12 and 13 illustrate the treatment of conventional leaves.
A less severe feeling may be plainly traced here, when we
look at the fourteenth century example (Fig. 6). . . .
Plate 3, Fig. 1, gives a few of the conventional flowers
from fourteenth and early fifteenth century manuscripts.
These will be of value to the modern, student, being
selected so as to be worthy of his imitation. -
During the fifteenth century, illuminating received its
death-blow by the invention of printing. For many years,
no important effect was visible, though the art of the
illuminator was being gradually undermined.
The first sign of the disease which ultimately carried
it off, and consigned it to a tomb of centuries, was the
cessation of the labours of the scribe. -
Illuminations, principally in the form of initials and
small capitals, then became introduced into the printed
books, spaces being left in the form to receive them.
Wooden blocks printed in coloured inks were at last
introduced, and the illuminator ceased to be, •
As we enter the sixteenth century, the decay in art is
still more visible; large, crude, and gaudy imitations of
natural forms came from the would-be illuminator, entirely
devoid of the truthful feeling pervading early works. We
must say, having read many manuals lately published,
that we are literally astonished to note the extravagant
words of praise bestowed upon the illuminations of the
sixteenth century, which, beautifully as they may be
executed, lay no legitimate claim to rank amongst works .
of pure decorative conventional art. . . .
Our grandmothers, or perchance our maiden-aunts, have
handed down to us in the shape of fire-screens, card-
baskets, and other nick-nacks, specimens of this style (if it
may be termed one) and many of their flowers and fruits,
butterflies, caterpillars, and other Scions of the insect.
world, vie, and that ably, with the best attempts of the


j t
| Pºſt ºblight by 6twº Rowntº & gº 8 Rºthmſ Plaſt Isſmöm.

THE MIDDLE AGES. - 21
worst of all schools of Illumination, that of the sixteenth
century. Several very beautiful works, however, in the
shape of miniature painting, were executed by Italian and
other artists for the purpose of illustrating books. Some
of their works remain unequalled to the present day.
Having given a short notice of the rise and progress of
the glorious Art of Illuminating during the Middle Ages,
we will now direct our readers' attention to the materials
used then, and to be used in the present era of its
revival. - . . *
PART SECOND.
#|attrial; ºth itſ t Čarly grittitt ºf # 3rt.
BUT little can be said on those materials which were
employed in the practice of the Limner's art, at early
times, save it is, that they did in every way excel those
we now press into our service, perhaps with one exception
in favour of paper. -
Yet in being forced to acknowledge the perfection to
which our Middle Age artists brought their illuminating
materials, we must not forget the debt of gratitude we
are under to our manufacturers, for the time they have
spent, and the great trouble they have put themselves
to, to enable us to approach or rival the works of bygone
times. And we are glad to be able to say that Messrs.
ROWNEY & Co. have not been backward in lending their
assistance towards the revival of the beautiful and use-
ful Art of Illumination, having produced, after careful
study, an assortment of colours unequalled for purity and
brilliancy of tone. -
In the earliest eras of the calligraphic art, before illu-
minating may be said to have been introduced, cumbrous
and rude were the materials resorted to for the purpose of
receiving the written matter. In the catalogue may be
enumerated stones, woods, and metals, bones of animals,
human skins, and skins of reptiles, &c. We have proof
of the use of papyrus at a very remote period; the
“Papyrus of Assa,” preserved in the Imperial Library
of Paris, being supposed to date from about two thousand
years before Christ. -
About five hundred years B.C. a great advance was
MATERIALs, 23.
made in writing materials, by the introduction of a paper .
made from the Egyptian papyrus. This material, which
was for many years the staple of Egypt, remained in use
, until the eleventh century, when it was entirely superseded
by parchment and vellum, which are now the only ancient
materials in use and demand.
There is some little doubt as to the date of the first
introduction of parchment ; many authors attribute its
invention to Attalus, King of Pergamus, but we are of
opinion that it was in use long before his time (200 B.C.).
The credit of its invention is by others claimed for
Cumenes (who reigned at Pergamus B.C. 137 — 159).
It seems probable, however, from the name it bore,
“Charta Pergamena,” that it underwent some important
improvement either in quality or mode of manufacture.
at Pergamus ; and we learn that for some time it was a
staple article of trade to that kingdom. - -
As to vellum, we have no decisive knowledge of the
date of its introduction, but we may suppose it to be
coetaneous with that of parchment; the only great
difference between the two consisting in the skin from
which they are manufactured—vellum being prepared
from that of the calf, while parchment is from that
of the sheep. The difference alluded to, however,
materially alters the quality of the article produced, vellum
being the only one of the two suitable for the purpose o
illuminating. ~ :
We cannot of course speak with any certainty of the
quality of vellum in the ages of its first introduction, but
we know that for the last ten centuries no advance has
been made in its manufacture—rather the reverse.
The finest specimens which remain to us date anterior
to the eighth century, some as early as the fifth and sixth.
And the art of staining wellum purple, violet, and rose-
colour, which had reached such perfection at the above
dates, is now altogether lost, and in fact was so at a com-
paratively early period, for recourse was made to painting
to imitate the beautiful stains of more remote times,
24 - MATERIALS.
Wellum was sometimes gilded all over with gold-leaf,
attached with white of egg, the skin being previously
smoothed and polished. * * - -
No one can examine the works executed by the artist
monks of the Middle Ages without being struck with the
brilliancy of their colouring—more brilliant after a lapse
of centuries than what can now be produced. Certain.
it is that the colours they employed were of the finest and
purest description, no expense being spared by the employ-
ers of those artists in procuring whatever was considered
necessary or conducive to the perfecting of their works.
A strange mode of preserving their colours was some-
times resorted to by the illuminators of old, namely, that
of introducing them into linen cloth. For this purpose,
various pieces were steeped in solutions of different
colours, and afterwards carefully dried. The clothlet
colours (as they were termed) were then protected from
dust, damp, and the injurious influence of light, by being
placed between the leaves of books made of paper.
When these colours were required for use, fragments of
the differently charged cloths were taken and steeped in
pure water for several hours; by which means the tints
were extracted, and (after the superabundant water was
poured off) rendered ready for working by incorporation
with their proper vehicles. ‘. .
The colours we observe to have been used at early times
Were— --
Vermilion . . . . Vermiculum.
Red Lead . . . . . Minium.
Dragon’s Blood. . . . . . Sanguis Dragonis.
Orpiment . . . . Auripigmentum.
Yellow . . . . . Crocus.
Ochre . . . . . Carum.
Green . . . . . . . Viride Graecum.
Blue . . . . . Azorium.
Indigo . . . . . Gravetum Indicum.
White . . . . . . Minium Album.
JBlack . . . . . Nigrum.

...MATERIALS, - 25
During the fifteenth and sixteenth centuries, Carmines,
Lakes, and Ultramarine, came into use, and were largely
introduced into illuminations. The Italian artists liberally
employed these colours, and that with pre-eminent success,
as may be observed by the two valuable specimens pre-
served in the Soane Museum, executed by Giulio Clovio,
between the years 1525 and 1580. . -
There were several modes of gilding illuminations
practised by the artists of old—two of which we will
speak of here. .
Firstly—gilding with leaf-gold. This mode, in which
was employed gold beaten out into the form of sheets or
leaves of remarkable thinness, was resorted to, generally
speaking, when surfaces of any considerable size were to
be covered. - - S
Secondly—gilding with powder-gold. This mode was
followed, in most instances, when the surfaces or ornaments
to be gilded were small, and in lining, hatching, and
diapering upon coloured grounds. The powder here used
was gold (reduced by being milled under water) mixed
with pure fish glue, and laid on with a brush. Both the
processes alluded to required burnishing to bring up the
brilliancy of the metal. g
A style of gilding was much practised during the
Middle Ages, called raised-gilding; this was nothing more
than the above modes applied to a raised bed, composed
either of minium and white of egg, or a preparation of
plaster called raising gesso laid on the surface of the
vellum and gradually rising from it, sometimes to a con-
siderable height. - :
26 MATERIALS.
*
§atrials with in tº ºn prattitt ºf # 3rt.
COLOURS.
As we before remarked, no one can examine the illumi-
nated work of the Middle Ages without being asto-
nished at the vividness of the colours employed in their
ornamentation; and the student too soon becomes aware
that it is out of his power to rival them. -
What it is we have lost in the preparation of our
colours we know not; but certain it is, we cannot ap-
proach in brilliancy of tone those used by the old illumi-
natorS. -
Within the last few years, however, great advance
has been made in the manufacture and preparation of
pigments; and chemistry has added numerous valuable
colours to the list, which now assumes a rather formidable
appearance.
The student has, at the present day, to trouble himself
but little with regard to his colours, for he can procure
them ready for use, most carefully prepared; but the
case was different in former times, for all colours used by
the illuminator had to be ground and incorporated within
the limits of the Scriptorium. -
Without troubling our readers with a complete list of
the water colours in present use, we will content ourselves
by giving the names and detailed peculiarities of those
which are suitable and requisite for the practice of the
Art of Illuminating on paper and wellum :—
§lues. g (§reens.
1. Ultramarine. *1. Emerald Green.
*2. French Ultramarine. | *2. Oxide of Chromium.
*3. Cobalt. $. 3. Sap Green.
4. Cerulium. 4. Moss Green.
5. Smalt.
MATERIALS. - 27
§ths amb (ºrimgong, | #elloſus,
*1. Vermilion (scarlet.) | *1. Cadmium Yellow.
2. Red Lead. *. • *2. Indian Yellow.
*3. Carmine. *3. Lemon Yellow.
4. Crimson Lake. 4. Mars Yellow. -
*5. Rose Madder. 5. Chrome Yellow, No. 2.
6. Indian Red.
* - §rofim,
@rangeš. - *1. Wandyke Brown.
*1. Mars Orange. - .
*2. Burnt Sienna. i §hite,
* mrples. *1. Chinese White.
*1. Indian Purple. -
*2. Violet Carmine. §ſaths,
3. Purple Madder. *1. Indian Ink.
*4. Neutral Tint. *2. Lamp Black.
It is desirable the illuminator should possess all the
colours above enumerated; those marked with asterisks
should, however, be procured first, being indispensable.
We now offer a few remarks on the nature and pro-
perties of the colours contained in the list we have recom-
mended.
§lut},
1. Ultramarine.—This valuable pigment, the richest
and purest blue in existence, is pre-eminently suited for
illuminating, its only drawback being its present high
price. It forms a beautiful series of tints and body colours
when combined with Chinese White, and Chinese White
and Carmine. It is perfectly permanent. . . º
*2. French Ultramarine.—Known also under the name
of French Blue. A very useful colour, which ably takes
the place of real Ultramarine; and combined with White
—White and Carmine—and White and Cobalt, it forms
a valuable set of beautiful body colours in Blues and
‘Lilacs. It is permanent; and if good, strong and brilliant.
3. Cobalt Blue—A useful blue for illuminating,
forming a class of pure light body azures in combination
with Chinese White; a slight proportion of Carmine or

.28 ... MATERIALS.
Crimson Lake improves these tints. It is quite perma-
ment, and used alone it washes well. &
4. Cerulium.—A beautiful cobalt of peculiar tone. This
colour is of recent introduction, and is a valuable addition
to the illuminator's palette. It is only prepared by
Messrs. Row NEY & Co. and is permanent, working well
either in washes or body colour.
5. Smalt.—Is a gorgeous full-toned blue; in its tint
partaking of Violet. It is permanent, and in illuminating
it should be used alone. * * , -
§th; am? (ſtimº,
*1. Vermilion.—Scarlet Vermilion is one of the most
useful colours on the illuminator's palette, being in its pure
state a rich brilliant body colour, flowing well, and drying
dead and uniform. With Lamp Black it forms deep body
Browns, and with White, a series of beautiful and useful
tints, which may be shaded with the pure Vermilion.
2. Red Lead.—A very bright, opaque, Scarlet-red, of
great body and freedom in working. It is a useful colour
when it can be carefully protected. It is not quite perma-
ment, being liable to turn dark if kept in contact with
foul air for any length of time. - - -
*3. Carmine.—This splendid colour is the richest of
the Crimsons, and is indispensable. It washes well, with
great transparency and force, but does not make agree-
able tones with White, unless a considerable proportion
of Vermilion be used. Used as a body Crimson, it must
have excess of pure Vermilion, otherwise its colour
would appear to be a Claret. With Chrome Yellow it
produces many beautiful tints; and with Cobalt and
French Blue it yields good Violet and Purple tones. It
is tolerably permanent.
4. Crimson Lake.—May be used as a substitute for
Carmine, being somewhat similar in character; it is,
however, less brilliant and rich in tone. Mixes well with
Vermilion and White, and is moderately permanent.

MATERIALS. - 29.
5. Rose Madder—A delicate, transparent, and pure
tuned Carnation. Very useful for illuminating purposes;
mixed with Carmine and Cobalt, Vermilion and White, it
produces a series of beautiful tints. It is more permanent
than either Carmine or Crimson Lake.
6. Indian Red.—A permanent, deep-toned, dull Red,
useful in combination with Wandyke Brown and Lamp
Black, producing fine body Chocolates. -
(Éttºm3.
*1. Emerald Green.—An indispensable colour, very
brilliant and vivid; having great power of lighting up
other colours, when in juxtaposition with them. It is
opaque and permanent, but does not work well. It may”
be mixed with White, which assists it by giving it greater
body; but the tints produced are not so bright as the
pure colour. - - -
*2. Oxide of Chromium.—A useful, rich, deep-toned,
opaque Green. Mixed with Emerald Green and Yellow it
gives a valuable series of effective tints, and is permanent.
3. Sap Green.—Occasionally useful, though by no
means an indispensable colour. Used in foliage, or in
toning other body Greens. Moderately permanent.
*4. Moss Green.—This indispensable and beautiful pig-
ment is prepared expressly for illuminating by Messrs.
Rown EY & Co. It may be considered one of the most
valuable colours adapted for the illuminator's use—being
quite permanent, of intense body and opacity. It likewise
works perfectly, drying a brilliant mat Green. It is useful
in shading Emerald Green, and may be lightened with
body Yellows or darkened with body Blues, making an
endless series of valuable and beautiful tints. -

*1. Cadmium Yellow.—A most beautiful and useful
colour; particularly rich and glowing when of good
quality. It may be mixed with Carmine, Vermilion,
30 MATERIALS:
Lemon Yellow, and White, producing numerous brilliant
tints. It works well, and is quite permanent. . . .
*2, Indian Yellow. —An almost indispensable colour,
very rich in its lighter washes; inclining to Ochre when
used thick. It works well, and is permanent, Mixed
with Carmine and Lemon Yellow it yields useful tints.
Used with Vermilion it greatly improves its tone, changing
it towards the Scarlet. N ~",
*3. Lemon Yellow —A vivid pale Yellow, of great use
to the illuminator; mixing well with Cobalt, Carmine,
Vermilion, Rose Madder, Emerald Green, Oxide of Chro-
mium, Cadmium, and Indian Yellow. It is permanent.
4. Mars Yellow.—A useful, rich, permanent colour,
Jout not very much required for illuminating. s
5. Chrome Yellow.—A powerful body colour; very
useful in combination with French Blue, producing in-
tense body Greens, of great depth and freedom in working,
It is not permanent, and must not be used alone. -
Öringt;.
*1. Mars Orange.—A very beautiful, permanent colour,
of great use, being pure and intense in tone. - -
*2. Burnt Sienna.-A useful brown Orange, of perfect
permanency. Works and washes well. Useful for colour-
ing stalks of foliage and toning other colours.
jūryltà.
*1. Indian Purple.—A valuable colour, working well
alone, showing a Violet hue. Mixes well with French
Blue, Cobalt, and Carmine, yielding useful tints. ',
*2. Violet Carmine.—This deep, rich colour, is of
great use to the illuminator. Mixes and works well,
and is tolerably permanent. .
3. Purple Madder.—A warm intense Purple. Mixes
and works well. More permanent than the above.
*4. Neutral Tint.—An indispensable cold Purple
colour, much used in shading. Mixed with White it
yields a beautiful Grey of great service,
MATERIALS, 31
- §toſum.
*1. Vandyke Brown.—The most useful Brown for
illuminating purposes. Mixes, works well, and is per-
Imanent. ~. . r -
*1. Chinese White.—The material of the greatest use
to the illuminator, combining with, and giving body to all
the previous colours. Used alone in the shape of lines,
dots, or ornamental figures upon cold or coloured grounds,
it possesses great beauty and power of effect; it is per-
manent, and works well, drying hard and clear,
. Ślątki,
*1. Indian Ink.-The only material suitable for outlin-
ing and lettering. Works perfectly, and dries glossy. .
*2. Lamp Black-A very useful, dull body Black,
used when grounds or masses of Black are to be intro-
duced amidst colours, drying mat without any tendency
in tone towards Grey or Russet.
The above list of colours will, we are of opinion, be
found to include all those necessary for the practice of
the Art of Illuminating. They may all (with the exception
of Chinese White and Indian Ink) be procured in three
different forms, namely, in powder, paste, or cakes; either
or all of these may be used by the illuminator, although
colours prepared in the shape of powder are unquestionably
the best for the general purposes of his art. -
What is most required for illuminating is a series of
pure, intense body-colours, capable of being kept clean
and uncontaminated, while in constant use.
In moist, or paste colours, this is next to impossible;
altogether so, for any length of time. . . . .
Cake colours are least suited of any for illuminating,
from the great difficulty to procure by their use a body-

tint, or a large volume of colour. At times, however,
they are useful when delicate washes are required. -
*-
82 - MATERIALS.
Powder colours, as manufactured expressly for illu-
minating, are at once the best and handiest of all.
Firstly—from the ease with which an intense body may
be obtained, in any quantity, at a moment's notice; and
secondly—from the perfect cleanliness in which they can
be kept while in continual use. A number of small China
saucers are requisite to mix the colours in, which being
prepared with a strong glutinous substance, only require
the addition of pure water (slightly warm, after having
been boiled). * ,
It must at once be seen that Powder colours lay claim
to a vast superiority over both moist and cake; indeed,
we can speak from experience, now using them almost
entirely in illuminating, and other decorative designs.
Messrs. RowNEY & Co. have lately produced a com-
plete set of illuminating body colours, in powder, of great
strength and brilliancy; and having used them for some
time, we can, with assurance, recommend them to all who
maybe desirous of procuring a perfect selection of materials.
Chinese White is prepared moist, placed in a bottle,
similar to those in which the powder colours are preserved.
Indian Ink can only be had in cakes (as imported),
and if good, it should be perfectly smooth and free from
any grit whatever—have a slight aromatic odour when
mixed—and dry with an intense gloss.
We feel it our duty, ere closing our remarks on Colours,
to warn all against the use of Pure Scarlet, and the Chrome
Yellows (brilliant as they are), being liable to fade and
become discoloured.
It would be but poor encouragement to the artist to
find, in the course of a few months, works, over which he
perhaps spent weeks, fade, or become unsightly, through
the materials he employed. Yet such would be the case
were he not very careful in his selection. º
If expense is no consideration, we would recommend
the student to procure duplicates of his powder colours, in
the form of cakes or half cakes, as they are useful at times
in very small and delicate works.
METALLIO PREPARATIONS, - 33
§ttallit ºrtparatiºns.
Metallic substances are largely used in all the branches
of the Illuminator's Art, and when properly applied, add
greatly to the beauty and brilliancy of the colours among
which they are introduced. «»
The forms in which the various metals used are pre-
pared are as follows:—Gold Leaf, Gold Paper, Silver
Ileaf, Gold and Silver in shells and saucers, Green Gold
in shells, Platina in shells, and Aluminium in shells.
We warn our readers against the use of any inferior or
imitation preparation of the above metals, such as
Bronzes, Inks, and Paints, none of which will bear
exposure untarnished.
In preference to Silver Leaf, and Shell and Saucer
Silver, we recommend the preparations of Platina and
Aluminium to be used, for, unless protected with a
varnish, silver will quickly turn black. ... Platina and
Aluminium are not so brilliant as pure silver, but from
their permanency, they should claim preference at the
hands of the illuminator. - -
Gold Leaf-is pure gold beaten out into leaves of great
thinness, preserved between the leaves of small books,
each book containing twenty-five squares of gold. This
is the best form of gilding material, but is somewhat
difficult to work.
Silver Leaf-is of the same nature as Gold Leaf.
Gold Paper—is thin paper covered on one side with
leaves of gold; it is a useful material when large plain
surfaces of gold are required. It must be attached to the
illumination of gum-water, or a weak mixture of glue and
SUlººſalſ.
Shell Gold—is gold powder prepared and placed in
small mussel-shells. When required for use, several
shells should be mixed into one with pure water and a
D
34 VELLUM, CARDBOARD, AND PAPERS.
very little gum-water; but of this we will treat more fully
in another portion of our “Guide.” ar -
Saucer Gold—is similar in every way to the above,
the article in which it is placed excepted.
Shell and Saucer Silver—may be treated, when required
for use, in the same manner as Gold shells and saucers.
Shell Green Gold—is a late addition to the list of
Metallic preparations; it is of a peculiar hue, and may be
used with great effect. - -
Shell Platina and Aluminium—are preparations of
those metals placed in mussel-shells; they do not readily
tarnish or discolour. They are mixed for use in the same
manner as Gold shells. • g
#llum, Cathboath, alth ºptrº.
Of all the materials adapted to receive illumination,
vellum stands pre-eminent. Precedent in itself might
dictate its use, for all the finest MSS. in existence are
exécuted upon it; thus it is that we ever intuitively
connect this material with the Art of Illuminating itself;
Wellum, however, was not exclusively used by the artists
of old. At an early period, paper was largely employed
for MSS. in the countries of the East, long, indeed,
before it was introduced into Western lands. -
Wellum can be procured prepared for the use of the
illuminator of any size, up to whole skins; though, unfor-
tunately, not of the quality we sometimes find in the old
manuscripts. It is, from the beauty of its texture and the
high finish of its surface, the best material for the purpose
of illuminating; though, from its expense and the great
care required in working upon it, it is somewhat inferior
to cardboard or paper in the hands of the tyro.
Wellum is manufactured from the skin of the calf or
kid, which is treated with lime to get rid of all fat and
fleshy matter, and afterwards stretched on a frame and
carefully scraped with a knife; the skin is then finished
VELLUM, CARDBOARD, AND PAPERS. 85
by being washed with weak acid, and surfaced by grinding
with pumice-stone. -
For illuminating, the finest and whitest skin must be .
selected; and ere it is worked upon it had better be
stretched upon a drawing-board. This may be done by
slightly damping the reverse surface of the vellum with a
clean wet sponge, and afterwards gluing the edges all
round to the board. Care must be taken to glue the skin
securely, and to have the board perfectly flat and smooth.
When the vellum is quite dry, it must be well pounced
with dry powdered chalk, applied with a flannel roll. This
removes all tendency to grease which might remain on the
skin. The chalk must be entirely dusted from the vellum
with a clean cloth. . -
All pencil work on vellum which is to be ultimately
removed must be as light as possible, and cleaned off with
dry stale bread only.
The next best material for the illuminator's use is
“London Board.” This superior article is manufactured
from the best drawing paper of almost any size and
thickness; and is brought to a beautifully hard and
smooth surface by being rolled and pressed by powerful
machinery. - z-
“London Board ” is indeed a valuable material for the
illuminator, being of all substances the easiest to work
upon, and moderate in price. The most suitable thickness
to use is three or four sheet; the size is only limited by
the largest drawing-paper made (hand made) which is .
Antiquarian, 52 by 30 inches. “London Board,” how-
ever, is very seldom made of so large a size.* -
We would warn our readers against the use of “Bristol
Board,” which is very much inferior to the material we
have above recommended. It is considerably less in price,
but it may truly be said of all those who choose it for the
purposes of illumination because it is so, that they are
“pennywise and pound foolish.” t -
* * We recommend GooDALL's or TURNBULL’s “London Boards,”
they being unquestionably the best manufactured. 9 * -- . . .
D 2.

$6 INSTRUMENTs, ETC.
There are various kinds of papers which are suitable for
illuminating on, and combine all the necessary qualifica-
...tions. Yet, perhaps, of all those with which we are
acquainted the illuminating vellum papers manufactured
by Messrs. Row NEY & Co., and WHATMAN’s hot-pressed
drawing-papers, are the best. -
The paper selected should be thick and firm, having a
smooth fine grained surface, free from map or hairs, and ,
should be stretched in a similar manner to vellum ere
being worked upon, unless the illumination be small, when
the paper may be attached to the drawing-board by wax
or drawing pins, - -
jūštrum.tht;, &t,
It is of the greatest service to the illuminator to possess
a complete set of good drawing instruments, of which we
give a list:-
Small compass.
Compass with shifting legs.
Bow Pen. *e
Bow Pencil.
Drawing Pens.
Tracer.
Straight Edge. .
Curves.
T Square and Set Square.
Drawing Board.
With these (after a little practice in their use) the
student will have no difficulty in laying out and planning
his design. The drawing-board and T square are most
important articles in the hands of the illuminator, and we
are somewhat surprised to find little or no mention made of
them in the numerous manuals on the Art of Illuminating,
lately published. * * *
We advise the beginner (if possible) to get a few lessons
in the use and mode of working the instruments before
mentioned; we can assure him he will find it time wel
spent, -
i
f
! BRUSHES, 37
A set of small membered curves are of great use for
guiding the drawing pens while inking-in the lines of
Scrolls and other ornaments. - -
The several compasses may be at times used for the
same end; but it being more difficult for the student to
strike the line of beauty (which is never developed on the
line of the circle) with them than with the curves, it is
desirable for the student to make himself possessor of a
set, selecting those which display the most complicated
forms, and are smallest in their details.
Ere closing our remarks on the instruments, let us
advise the tyro in illumination, as indeed we would the
advanced student, never to trust to the unaided hand that
which can be done by the use of the instruments, for no
human nerve can attain their precision.
Štúšº,
The brushes best suited for illuminating are red sable,
being stronger in their hair than either black sable or
camel's hair; and they retain a finer and firmer point when
charged with body colour than any other description of
brush.
All sizes are required for different classes of work, from
a crow quill up to the swan quill.
A few camel's hair brushes of small goose quill size may
be procured, for mixing up the various colours, thereby
saving the more expensive sables from undue wear. -
The brushes required of each size are as noted in the
following list –
Small Swan Quill . o
e 1
Large Goose Quill. , º p 1.
Goose Quill . e * > te 4
Duck Quill O o 4.
2
Crow Quill , . .
*
A flat camel's hair brush is of use for damping, although
\
38 PENS AND PENCILS.
for general purposes a small sponge is superior; both had
better be procured however. -
gth; m gºtis.
It is very important for the illuminator to possess a
good selection of pens, for without such he will find great
difficulty in executing in a satisfactory manner many of
the most important branches of his art. . .
The penis in constant use—scrolling, outlining, shading,
hatching, or lettering; in close attendance upon the pencil
and brush, throughout the execution of the work.
Both quill and steel pens are required for illuminating,
and of each class of pen several different kinds must be
procured. *
Steel pens are mostly used for scrolling and outlining,
and for executing all the delicate linework ornaments
introduced into illuminations. - -
Plate 6 contains a collection of figures which in their
execution depend solely upon the steel pen.
Pens of various breadths of point are required, from the
“mapping pen” up to the middle text pen. Those manu-
factured by JoSEPH GILLOTT are the best.
For the general purposes of outlining and delicate scroll-
ing, there can be no better pen than GILLOTT's No. 303;
it combines strength and size with a beautifully tapered and
minute point. For bolder work in ink, and general work
in colour, a broader pointed pen may be used with
advantage, such as No. 404. -
Quills are principally used for hatching (that is working
gold or colour in lines upon any coloured ornament) and
lettering.
For hatching, a soft flexible goose quill is the best, and
for writing or lettering (where hardness and durability are
essential qualifications) a well baked turkey quill should
be procured. - -
The pen should have a point proportionate to the size of
BIJRNISHERS. 89.
the text to be written, a little less in breadth than the
thick strokes of the letters. Hair lines are made by
moving the pen sideways. .
In cutting the quill care must be taken to have equal
material on each side of the split, and to give to the pen
a clean, smooth bevelled point. A little practice will
overcome any difficulty the beginner may experience in
preparing the turkey quills for lettering. The hatching
pens may be cut as for common writing, but had better be
scraped on the upper side to secure great flexibility; a
hard pen is apt to disturb the colour it is employed to
hatch. Crow quills are useful for hatching, but are too
small to be comfortable pens to work with.
Few pencils are required for illuminating purposes;
one strong hard pencil, and a HH superfine drawing one
are all that are necessary; the former for cartoon
drawing, tracing, &c., the latter for the guide lines of
the text, borders, and ornaments upon the illumination
itself. - * -
A piece of vulcanized India rubber, and an ink eraser,
(J. H. GREEN’s) should be procured. –
* ,
§utmistry.
There are three forms of burnishers used for illumina-
ting purposes, viz., the flat, the pointed, and the curved.
From these, the two first should be selected. -
The flat or broad burnisher is unquestionably the best
for bringing up large flat masses of gold, and should alone
be used if the gilding be executed with shell-gold, without
raising preparation. . .
The pointed burnisher is useful with raised gold, or
very small ornaments. - |
Flint and agate are the materials from which the best
burnishers are made; and should be highly polished when
brought to the required form, and firmly fastened into a
handle. *
40 - SUNDRIES,
– Šliūrits.
Tracing Paper.—The tracing paper used should be
moderately thin, white, and very transparent. It can be
had of almost any size. -
Transfer Paper.—There are two sorts of transfer paper
—one prepared with black-lead, and the other with red
chalk. The lead transfer is the best for both vellum and
paper, and its lines should be removed with bread in pre-
ference to India rubber. * e
Palettes.—A china palette must be procured for rubbing
ink and cake colours upon, and a number of small saucers
are indispensable to mix the powder colours in. Nests of
saucers are very useful, as the colours may be kept covered
and free from dust for any length of time.
Tracing Point.—A pointed piece of ivory or bone,
somewhat of the form of a sharpened lead pencil, is
required for working figures, on gold grounds. The steel
tracer usually supplied in cases of mathematical instru-
ments (mentioned in the list of instruments) may be used
for indenting on gold, but is not so handy as the ivory
tracing point we have recommended,
PART THIRD.
§amigulatory #10tt}}t;.
WE now come to the most important branch of our
subject; and we trust that our readers, who have read
the previous parts of our manual, feel sufficiently interested
in the study of the most fascinating of all arts to attend
us yet farther.
To the student eager to attain proficiency in the practice
of illumination we have a treat in store, and we crave his
attention while we lay before him the result of years of
constant study and laborious practice. f
Yes, gentle reader, years: he who would become in
truth an illuminator must not for one moment think that
weeks or months will terminate his study. If it did, the
charm which dwells with the art would be of short dura-
tion, instead of increasing, as it ever does, day by day
continually. . .
Our readers must remember that he is no illuminator
who for a time takes up the instruments of the art, to
execute a book mark for a friend, or to adorn some fair
lady's album with gold and colour, and then consigns them
to their case, until some like occasion prompts their use.
How, different is he, the true illuminator, who toils, yet
knows it not, day after day in every spare hour, and
through the night far into the hours of morning, for love
of the glorious art itself; who wanders abroad among the
works of Nature that he may derive new inspiration; who
...bears home to his quiet studio the wild gems of the forest,
and converts their wondrous forms to the beautiful con-
ventionalisms which are to adorn the labours of his hands,"

42 LETTERING,
careless whether other eyes see them or not. Other eyes
him the measure of his praise. . . .
will see them, however; and many tongues shall convey to
ºffitting.
It is very important that the illuminator should be a
good calligraphist; therefore, the student should spare no
pains to acquire a proficiency in this department of his -
art. -
ºft is true that during the Middle Ages the scribe and
the illuminator were different persons, although both
prosecuted their various avocations within the precincts of
the Scriptorium. Yet it would be very inconvenient for
the illuminator of the present day to have to depend upon
the labours of a second party for the text of his illumina:
tions. •
In"Plate 5 we have given two Alphabets, one of initial,
and the other of small letters. - - .
They are both, we think, well suited to modern taste
and requirements; being compiled from the most worthy
models, with strict regard to correctness of form.
As a few hints may prove of service to the beginner,
we give them; assuring him, however, that without the

most severe practice, rules or directions are of no avail.
Perhaps there is nothing more calculated to astonish
those who examine the manuscripts of the Middle Ages
than the beautifully executed text. Faultlessly regular in
every line, on every page, perfect in form of every letter,
it is indeed a mystery to us how mortal hands could have
executed it. We need never hope to successfully imitate
those labours of our early scribes. We may say the art,
with the necessity for its practice, has gone #: ever.
Be not discouraged, reader; you may (and doubtless
will, if you persevere) attain great expertness in writing,
although your work may never equal the work of our
forefathers, - •
gº


JHI3CIOGE!
GIVIRIſ(I)
IMOEORS
Öū&IXyz
infimum
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†s.”- ?:, … ººzºº, º żº:
…” “ . . . . . ; , ; 2. ‘g
' - "... 2.--> . -".
ouTLINING. 48
We have examined hundreds of pages of minute text,
the letters of which stood not one-sixteenth of an inch
high, without detecting one false line, mis-shapen letter,
&
or a single trace of an erasure.
the T square) across the space to be filled with text, in
distance from one another equal to the height of intended
letters. - - g .
The space between these double lines may vary accord-
ing to circumstances; the best proportion, however, being
about one-and-a-half that of the text lines. Red lines
are often drawn between the rows of letters; when these
are to be done, it is advisable to rule them previous to
commencing to fill in the writing, as they act as guides to
the long strokes of the letters h b f g \, j k l g g { g, the re-
maining letters a t e i m n a r s a 6 ſo a 3 being confined by
the text lines. . -
Placing your copy or alphabet before you, carefully put
In proceeding to letter, first rule double lines (with
in letter by letter with a broad pointed quill pen; the hair
strokes may either be done by drawing the quill edgewise,
or afterwards with a No. 303 steel pen. *
and the small capitals, which must be put in (after the
text is executed), with the brush to traced outlines. -
Practice alone can, after the student has gone thus far,
make him expert and exact in the beautiful art of calli-
- #. and upon, that he must depend, not being
aunted by early failures.
• outling.
We now come to illuminating in the proper sense of the
word; writing, or lettering, not being a legitimate branch
of the art, though so intimately connected with it, that it
might with propriety be considered one.
Under the head of outlining, four different processes
may be included, namely, cartoon drawing, tracing, trans-
. In lettering, spaces must be left for the great initials

44 THE CARTOON.
ferring and inking-in. Each of these we now proceed to .
describe. -
- Previous to proceeding to draw the cartoon, of course it
is necessary that the idea for the design of the subject be
formed in the mind of the illuminator; to which, perhaps,
he may as well give some tangible form with a few rough
dashes of his pencil on a piece of waste paper. As the
design, which is purely a mental work—an exercise of the
inventive faculties aided by careful study—cannot be pro-
nounced a manipulative process, we do not touch upon it
in this part of our manual, but must refer our readers to
Part Fourth, which is entirely devoted to that subject.
We may here take the opportunity to inform our
readers that we give all the processes of manipulation
in their proper order; that is to say, in the order in
which the student must practise them in executing his
illuminations.
(ſºt (Järtſºn,
The cartoon is a correct pencil sketch of the design to be
illuminated—the first embodiment of the artist's thought:
on it all must be perfected. This flower must be improved
—that scroll corrected—a leaf put in here—a half-opened
flower there, the space will not admit of a full flower, yet
something in rich colour will be required there to balance
and harmonize; such will doubtless be the thoughts
flitting through the illuminator's mind, as he bends over
his cartoon, and such should be his thoughts.
To prepare the cartoon, proceed as follows:—Stretch a
piece of drawing paper (a little larger in size than the
Iimits of the intended design) upon a drawing-board, and
draw or trace on it the boundary lines of your text, with
the initial spaces, terminal slips, &c. It is advisable to
render these outlines permanent by inking them with the
drawing pen. We recommend this because however much
the India rubber may be used at the design, it will fail to
remove the boundary lines.
The rest is straightforward work; you must lay down
TRACING—TRANSFERRING. - 45
your design, step by step, line by line, until with its
hundred alterations, caused by a hundred afterthoughts,
you find it perfect to your mind. A careful study of Part
Fourth will aid you much in embodying and compiling
your design. Practice alone will give you correctness and
precision of execution; and this must not be overlooked
even in the cartoon, for much depends upon its merit.
Writing,
The finished cartoon must now be covered with a piece
of tracing paper, and a copy taken, by going over every
line on the cartoon, below, with a HHH common drawing
pencil. Care must be taken to make a clear, distinct
outline, or the great value of the tracing will be to an
extent lost.
In tracing, an opportunity is given, which should in no
case be lost, to alter or improve any crude or incorrect
form which may exist in the cartoon. -
In copying coloured examples, or old MSS., the artist
must proceed in precisely the same manner as directed for
cartoon tracing; with one difference, that in copying old
manuscripts he must rigidily adhere to the original
outlines, be they good, bad, or indifferent; that is to say,
if a facsimile be aimed at. -
A thin transparent, white tracing paper is best suited
for illuminating purposes.
Transfitting
The tracing, after being removed, must be placed over
the sheet of vellum or cardboard to be illuminated, and
fastened by wax or drawing-pins, in its proper place with
regard to the text. A piece of black-lead transfer paper
must then be slipped between the tracing and the sheet,
with the leaded surface downwards upon the text, and all
the pencil lines carefully gone over with the tracer, using
moderate pressure.
46 - INKING-IN.
If too great pressure is used, a coarse, broad mark will
be the result, which it is desirable to avoid, for the finer
and lighter the lead line is the easier it is to ink in. *
Two corners of the tracing (either at bottom or sides)
may then be detached, to admit of it being raised to
examine the result. :
Any omission which is observed must be filled in by
letting the tracing fall again into its place, and the over-
looked portion gone over with the blunt point.
Any parts which may be imperfectly or carelessly
executed had better be removed with bread or the rubber,
and re-transferred. -
Our readers may think the processes which we have
been describing useless or superfluous; not so, however:
the point to be gained is a clear, perfect ink outline, with-
out imperfection of any sort. The only means by which
the beginner may secure this is by carefully following
the various processes here laid down.
Years of study and practice may give to the eye and
hand such precision that cartoon drawing, tracing, and
transferring, may at times be dispensed with, although in
intricate compositions, large initials, &c., they never can
be laid aside with certainty of success.
§nking-im. *
Few directions are required for this final process in con-
nexion with the outline. The transfer lines have only to
be gone over very carefully and firmly with a fine steel
pen. The Indian ink must not be dark in the portions
which are to be coloured, but in the scrolls and ornaments
which are to remain in outline only a very black ink
must be used.
The student will doubtless experience considerable
difficulty in this branch of his art; but above all things
he must not be daunted, even though his failures be
many, for by constant application and practice the most
GILDING AND SILVERING. 47
difficult problems may be solved, the most laborious
undertaking completed.
It is most desirable that a perfect outline be secured
before proceeding to lay on the gold and colours, for
although we may cover or correct any slight imperfec-
tions with those materials, we must not depend upon them
to perfect a bad outline. If errors exist in the outline,
colour only tends to make those errors more visible. -
We would recommend all students in illumination (at
least those who are not clever draughtsmen) to procure
access to original manuscripts, or good copies from origi-
nal works, and to carefully trace them line for line and
afterwards transfer and ink them in, either on vellum or
card-board. This most useful and valuable practice not
only gives the hand precision in work, but it has a
decided educational tendency with reference to design,
and supplies the student with a collection of examples
from the works of the different periods which will ever
prove of the greatest use to him.
After the process of inking the transfer is completed,
the whole should be cleaned with bread, and the work is
ready for gilding, which is the next department the
student has to turn his attention to.

(śīlhing amā Śilſitting,
All the processes of gilding and silvering are somewhat
difficult, and require considerable practice to attain skill
in their execution.
Two distinct styles of gilding were practised during the
Middle Ages—flat and raised gilding; the latter is to be
most commonly found in the rich MSS., of the fourteenth
and fifteenth centuries, while the former pervades the
works of earlier times. In MSS., raised silver is seldom
to be seen, and it is rarely used in any form in late works.
In fourteenth and fifteenth century MSS., the raised
gilding is generally used as grounds for initial letters,
48 GILDING AND SILVERING
miniatures, and slip borders; and when in smaller masses,
as dots, spraywork leaves, and nimbi around the heads
of figures. In the illuminations of these periods, flat
gilding is used in the curling leaf work, and in lining
and hatching upon colours, particularly in the drapery .
of figures and diaper backgrounds. -
There are some objections to the use of raised gilding
in modern work, apart from the difficulty attending its
successful execution: in the first place, it is so very liable
to crack and scale off if the illumination is bent, or in
any way roughly used. If it has to be rolled up, raised
work is scarcely admissible at all. In the second place,
its appearance is at times against it; if it be used to any
great extent, it has the effect of throwing the surround-
ing colours into the shade, and destroying the general
repose and harmony of the whole composition.
There will always hang a charm around it, however,
from the fact of it being such a favourite style of work
with the artists of old, and it will doubtless be eagerly
practised by the modern student of the Art of Illumination.
We therefore feel called upon to give some directions with
regard to it, as well as flat gilding, which at the present
day is by far the most useful of the two, from the fact of
it being able to be copied by the processes of printing.
Flat Gilding.—This style of gilding may be executed
with three materials—gold leaf, shell gold, and gold
paper. Shell gold is, however, the most suitable for
the purpose, being more easily managed than leaf gold;
gold paper can only be resorted to when very large flat
surfaces are to be covered. .
Shell gold is, as we have before stated, gold reduced to
a very fine powder mixed with a gum and placed in clean
mussel-shells for use. -
When shell gold is required for gilding, it must be treated
as follows:—If any quantity of surface has to be covered,
several shells must be taken, and the gold washed from
the whole into one with a plentiful supply of pure water.
When this is done, the shell containing the gold in solution
GILDING AND SILVERING. 49.
must be set aside for about an hour, the gold will then be
found to have settled, and the dirty water had better be en-
tirely poured off. A little clean water must now be added to
the gold powder, with the addition of a little gum-water,
and the whole mixed with a brush to an easy flowing
creamy consistency; in this state it is fit for use. -
While laying the gold on the vellum or cardboard, the
student must be very careful to keep his brush well sup-
plied, and the gold flowing freely on his work, for unless
he observes these important points, a streaky mass will be
the result. -
The next process is that of burnishing, which must be
performed with a flat burnisher.” A sheet of highly
glazed writing paper should be laid over the gilded por-
tions when quite dry, and the burnisher passed over
quickly many times, using considerable pressure. If the
gold does not come up sufficiently at first, it should be
breathed upon and again well burnished. If the illumin-
ation is free, and not stretched to a board, it should be
laid on plate glass while being burnished.
Gold paper should be had ready gummed on the back,
or covered with a preparation of clear glue and sugar or
honey. When required for use, the outline of the space
to be covered must be traced and transferred to the gold
paper by an indenting steel point; the paper must then be
cut to the traced form, and the back damped and pressed
firmly down in its place.
Flat gilding with leaf gold may be performed in the
manner about to be recommended for raised gilding,
leaving out the raising process of course. -
Raised Gilding.—There are two materials required for
raised gilding besides gold leaf, namely, Raising Compo-
sition and Gold Size. * -
Messrs. G. RowNEY & Co. have prepared a raising
medium to our receipt, which we think will be found per-.
fectly satisfactory, and to possess all the qualifications of

* Burnishers are made expressly for this purpose by G. R. & Co.
* § , f . - i - - R.
3.
º
o
º
3.
3.
50 GILDING AND SILVERING.
the mediaeval ground. It is very necessary to secure a good
raising preparation—for without it perfect gilding is im-
possible; and all labour and time bestowed upon it
may be justly pronounced as thrown away. The raising
medium we have alluded to bears our name,” and may be
had in tubes ready for use, only requiring the addition
of a little water at times. :
The first part of the process of raised gilding is to
roughen the surface of the vellum or cardboard at those
parts which are to be gilded. This may be done by drawing
a scraping-knife point across them in different directions.
Care must be taken, however, not to tear the vellum or
cardboard too much. The roughening process is to enable
the raising preparation to adhere firmly, which must next
be laid on as follows:— n
Having squeezed a sufficient portion of the raising from
the tube, mix it up with a firm red sable brush. If it be
too thick, add a little water until it becomes of a flowing
consistency; in that state it is fit for being laid on the
work. - *
Lay on a coat of the above evenly, and let it dry; and
afterwards repeat the application until the required thick-
ness is obtained, allowing each coat to dry before another
is added. - -
When all is complete, take a scraping-knife and remove
any ridges or irregularities that may exist, and then
burnish with the flat burnisher. g
The ground is now ready for the size, which must be
reduced with water and laid on with a soft brush in two
coats; when nearly dry it is in a fit state to receive the
gold-leaf. & -
Remove a leaf of gold from the book, by gently flapping
the edge with a “gilder's knife” until the leaf rolls back.
The knife must then be placed flat near the leaf, which, on
being gently blown upon, will fall evenly over the knife
blade. The leaf may thus be safely and easily removed

* Audsley's Mediaeval Raising Preparation.
©
ſº º
tº Q
& tº @
BURNISHING, . 51
from the book, and deposited with a side motion on a
pad, called the “gilder's cushion.” It may then be cut
up into small pieces with the edge of the knife, for con-
venience in working. . . . . .
A piece of the leaf (a little larger than is required to
cover the part to be gilded) should be removed from the
cushion with a pad of clean cotton-wool, or with a brush
termed a “gilder's tip,” and carefully deposited on the
size ground, being gently pressed flat with a soft tuft of
cotton quite dry and clean. The size had better be
breathed upon previous to being gilded. The pad of
cotton or the “tip,” must be slightly greased to lift the
gold easily; this may be done by touching the hair of the
head (provided it is oiled) with them before lifting the
leaf from the cushion. - --
When all the above processes have been successfully
manipulated, and all imperfections in the gold filled
up or made good, nothing remains but to burnish it; this
may be done when the size is perfectly dry, as is directed
in the next division.
§urmisſinſ.
We have already given, on page 49, directions for bur-
nishing flat gilding, and have now only to describe the
best mode of treating raised gold, and of etching or orna-
menting it. - -
Care must be taken, that (as before noted) the gold
size be perfectly dry, and all portions of the work covered
with the leaf ere proceeding to burnish.
Too much haste should not be indulged in, in this de-
partment of the art, as a false step is far easier made than
rectified when made. f
In burnishing raised gold, two burnishers may be used
with advantage: the flat and pointed. For large masses,
the broad burnisher is most handy, while in small works
the pointed or pencil burnisher is of great service. *
In a manual on Illumination lately published, it is stated
- : ; , , ::: §: 2
;
:
*
52 BURNISHING.
that there is some little art in burnishing; we only differ
with its author sufficiently to remark, that there is a very
great art in burnishing, to do it properly. The wondrous
brilliancy of the gold in old illuminations is almost
altogether due to the perfect manner in which it is
burnished. -
While writing this, we have before us two MSS. nearly
five hundred years old, in which the original gilding is
more rich and brilliant than in any modern work we have
ever seen, and the burnish still appears as if done yester-
dav. i
we do not wish our readers to fancy that we lay more
stress upon the burnishing process than on any other in
connexion with gilding. -
Perhaps, of all the departments of the illuminator's art,
gilding with gold-leaf is the most delicate and difficult;
and again, in none are failures and disappointments so
common and numerous.
The student must not be daunted, however; the more
difficult a thing may be, the more glory attends its success-
ful execution. We recommend him to seek a little per-
sonal instruction from some expert gilder, for he will
by so doing, save himself from many disappointments
and vexations. - * - *-
But to return more immediately to our subject. -
To burnish raised gold, the burnisher should be moved
in one direction with a gentle uniform pressure, which
may be slightly increased as the gold becomes bright. A
skilful, delicate touch is required for this process, which
can only be secured by practice. We recommend the
student to execute a number of trial pieces of raised gild-
ing ere proceeding to operate upon a formal study.
The burnisher must be carefully cleaned before it is
used, for if any grains of dust come between, the agate or
flint and the gold, the latter will become torn up or
covered with innumerable scratches, which must injure its
brilliancy. -
To clean the burnisher it had better be rubbed before
'4
1 * ,
COLOURING. 53
commencing, and at times during its use, upon a piece of
chamois leather, stretched for the purpose over a stick.
The gold likewise shonld be dusted with a soft camel hair
brush. -
A few words to the student as to the selection of his
agate or flint may not be impertinent here. A really good
stone is a difficult thing to get at times, and yet without
it littlé can be done in a perfect manner. A smooth stone
must be selected, entirely free from irregularities or facits.
It should also be strong at the shoulder, and firmly secured
to a wooden handle, by a metal-casing ferrule. -
When the process of burnishing is completed, the gold
may be ornamented by being etched or dotted. This must
be done with the pointed burnisher, using pressure suffi-
cient to secure the amount of effect desired. Dots punc-
tured in rows along the edges of gold letters or panels
have a peculiarly sparkling and brilliant effect—this mode
of decoration was much used in late manuscripts. Both
flat and raised gilding admit of being etched and dotted.
Diaper patterns of great beauty may be worked with
the etching burnisher on masses of flat gold, such as
panels around initials, or fields within them. -
We have confined our remarks principally to the treat-
ment of gold leaf, so as to save confusion as much as pos-
sible. Nevertheless, they hold good, for the most part,
with regard to all the other leaf metals lately introduced
for illuminating purposes.
Cºluming
We now arrive at the last manipulative process, and at
the same time the most important of all. We dare not
profess to treat the subject of colouring fully, space neces-
sarily puts it entirely out of our power to do so.
In the Second Part of our “Guide,” we have at some
length noted the prevailing peculiarities of the various
colours useful for illuminating; and therefore now only
54 COLOURING.
require to give practical hints and directions for working
them, or laying them on, in body or wash, as the case
may be.
In the Fourth Part, we intend to speak of the Theory of
Colour, with a few remarks on its laws of harmony and
contrast. This again has the desired effect of confining
our remarks here to manipulation alone. -
Body colouring is most generally used for all branches
of illumination; although at times wash colouring is
necessary. - - *
. A complete piece of illumination generally contains
both species of colouring combined.
There is considerable art in laying on body colours per-
fectly flat and uniform; practice will, however, overcome
every difficulty. -
- The powder Colours prepared by Messrs. G. RowNEY
& Co. are beautifully adapted for flat or body colour-
ing. We use them entirely ourselves, and that is
the best assurance we can give of their quality. "We
before mentioned that the student should provide himself
with a set of cake colours for washing or executing any
very delicate work; this we again recommend.
Body Colouring.—Take a little of the powder colour
from the bottle into a small saucer, and add to it a little
clean (boiled) water, mixing it with a brush. The colour
should stand for a few minutes before being used, and
should be reduced with water to an easy flowing consis-
tency, about the thickness of good cream; if thicker, it
will not do for large wark. *
The brush employed to lay this colour on should be a
red sable of moderate size. It must be well charged with
the colour and worked downwards, keeping the tint flowing
full and uniformly over the complete space operated upon.
When the whole is covered, the colour should be still
wet throughout, and raised with excess of water. As the
water drys, the colour becomes deposited with a velvet-
like surface, a feature in body colouring which is ever
charming. -
COLOURING. 55
No gum must be added to the powder colours.
If more colour is mixed than is requisite for the work
on hand, it can be mixed up again, care being taken to
keep the saucer free of dust.
Some colours are more difficult to lay on than others;
but the student will, by a little practice and observation,
soon become acquainted with their several peculiarities.
Wash Colouring.—Washes may be laid on in somewhat
the same manner as body colours, but no excess of tint
must, on any account, be left on the surface to dry off, as
in the case of body colouring. The brush should be
moderately full of colour; and during the process of
washing the liquid must be kept evenly flowing at the
edge of the wash only. As the surface operated upon
becomes covered, the excess of tint must be gradually
removed by the brush, leaving all uniform.
As colours at times show a tendency to flow in irregular
masses, when laid on vellum especially, a little prepared
ox-gall should be used:
As we before hinted, cake colours are most useful for
washing, although the body colours may be used. Cake
colours are nearly useless for body colouring, however.
Care must be taken in all the departments of colouring,
to have everything perfectly clean. The brushes employed,
if used for different colours, must be washed entirely free
from any trace of tint, before being worked in another:
Brilliancy alone can be retained by the utmost caution.
Scarlets and Yellows are the most sensitive to foreign
matter; and the purity of their tones are only too easily
impaired. • . - -
A few hints on combinations of colours will conclude
the present part of our “Guide.” We sincerely trust our
patient readers have found what we have already written
useful and intelligible. We have done our best to divest
the Art of Illuminating of that absurd veil of mystery
which others are too fond of throwing over it. Whatever
want or imperfections our simple manual is subject to, we
can only urge one excuse; we have, in truth, done our best.
‘56 COLOURING.
Many colours are used in the practice of illuminating
which require to be composed by the union of two or more
pure colours. Pure or positive colours likewise aré oft-
times used of two or more shades, formed by the mixture
of another colour in different proportions. • \
We will first treat of the proper colours to be used with
others, to obtain graduating shades or tones.
Blues.—Ultramarine and Cobalt may be lightened with
White only, and darkened with Black or Indigo. -
Reds.-Vermilion may be lightened with Cadmium or
Indian Yellow, and darkened with Garmine.
Indian Red to be lightened with Vermilion or darkened
with Black.
Crimsons.—Carmine may be rendered more rich and
brilliant by the addition of Vermilion, and darkened with
Blue, Black, or Vandyke Brown.
Rose Madder should be treated much in the same
manner as Carmine. & •
Greens.—Emerald Green may be lightened with Yel-
low, or deepened with Blue.
Moss Green must be lightened with Lemon or Indian
Yellow, and darkened with Ultramarine.
Yellows.-Cadmium Yellow to be lightened with
Lemon, and deepened with Vermilion.
Indian and Lemon Yellows may be mixed with White,
and deepened by Cadmium and Vermilion.
}."º. may be altered to any shade by the
mixture with Blues or Carmine. -
Mixed tints or compound colours most in use may be
formed as follows:—
Greys may be made of any tone by the mixture of
Chinese White, Black, Blue, and a very little Carmine, in
various proportions. *
Chocolates may be composed of Indian Red, Wandyke
Brown, Black, and a little Vermilion.
Oranges are formed by the mixture of Cadmium and
Wermilion—Wermilion and Indian Yellow. ->
COLOURING. 57
Browns, of Indian Red and Black—Vermilion and
Black, Vandyke Brown, Carmine, Vermilion, and Black
—Burnt Sienna, Vermilion, and Black. -
Slate Blue is formed of Ultramarine and Black, with a
trace of Vermilion and White. º
Neutral Tints, of Indian Red and Blue.
In conclusion, let us urge our readers, if they intend
entering the lists as illuminators, to remember that theory
may be learned from book study, but practice requires
hard and untiring application.
PART FOURTH.
§t;iſm.
HAVING completed our few remarks on the manipulatory
processes, we purpose in this, the concluding part of our
manual, to give directions and hints with reference to
design and composition; and to say a few words on those
subjects which have a bearing upon the art of design in
, illumination.
Designing may be said to be the most fascinating part
of the study of illuminating, as well as the most difficult,
if the student has not the faculty of invention and power
of imagination naturally. By attention, observation, and
study, however, almost anyone may acquire the power of
design; while those who are gifted by nature, likewise
require education and practice ere they become perfect.
We hope to be able in our following remarks to lend
the student assistance in the art of design, by giving him
advice and a few rules, which, if followed, will keep him
from failure, and any great disappointments.
Let us impress upon him, however, that too great care
cannot be taken with his designs, as no afterwork can
reform a bad composition.
(ſomſºmfiſſilišm.
. The great principle in all decorative ornamental art is
conventionalism; and it must be followed in illumination,
or failure is certain. The most brilliant period of art in
any nation’s history was when conventionalism was most
strictly adhered to, both in design and colouring—the
CONVENTIONALISM. 59
most certain sign of decay, when natural forms were
copied, and Nature's pervading hue most liberally used.
It is a fact worthy of remark that the frequent use of
green in decorative works has ever heralded a prostration
or decay in art. - -
Our readers must not think that we countenance a
decided departure from the laws and forms of Nature;
conventionalism can only be worthy in proportion as it
adheres to those laws which govern the vast empire of the
visible world.
In illumination, it is imperative on us to have resort to
conventional ornament in all designs, great or small ; for
wherever we observe natural forms depicted we likewise
observe poverty of design—an attempt ending in a failure.
It may appear strange and contradictory on our part,
after what we have said, that, should we be asked by the
eager student where and from what source may convention-
alism be studied, we should tell him that Nature must be
his school, from it he must ever derive inspiration—yet so
it is.
Conventional art is founded upon natural laws and
natural forms; the former cannot in any way be departed
from with impunity. &
It must be obvious to everyone that two leaves growing
from one stalk, yet starting from that stalk in opposite
directions, would be quite absurd and hideous, be they
natural leaves or conventional ones. But suppose the
leaves to be conventionalized, and placed true to nature
as regards their connexion with the stem, the result would
º a pleasing conventional composition true to Nature's
8. W.S. -
It is somewhat difficult to describe what is meant by
conventionalism. It may be said to be a departure from
the detail and treatment of the natural form it expresses
or embodies—a formal and severe treatment of Nature's
free and ever-changing forms. Conventional art aims not
at copyism; while its greatest strength exists in expression
and symbolism. - -
60 SYMBOLISM.
In conventional ornament, the greatest display of colour
may be indulged in. Having no copy to chain us down,
we need only be governed by the laws of harmony and
COntrast. s
The inventive powers are also brought into play in con-
ventional art, while they become cramped and torpid if
naturalism be alone resorted to.
In all the illuminated works of the best periods, and
indeed in all prior to the fifteenth century, conventional
forms were almost entirely employed, while from that date,
decayistobeobserved proportionate to the amount of realism
infused into the designs which decorate the manuscripts.
Let us impress our readers with , the fact that no
success can ever attend an illumination if it professes
to imitate natural forms; it is not possible for it ever to
be considered other than an attempt, and as such, it must
be a failure. t
$gútbºliſm.
Intimately connected as symbolism has ever been with
works of Christian art, and forming as it has ever done
so marked a feature in illuminated MSS., we feel called
upon to say a few words on the subject, especially as far
as it has reference to design in illumination.
Symbolism, in its widest sense, may be said to embrace
the whole range of art, for all art is symbolical—that is,
it aims at expressing something beyond itself.
Conventional art is purely symbolical, and from that
fact derives one of its greatest charms. - . . .
We, however, do not intend to speak of it here in the
broadest signification of the term, but in the way it is
most commonly understood.
Symbols are most appropriate decorations, and if
properly used, add greatly to the beauty and interest
of the illuminations into which they are introduced.
. In all countries and in all ages, from the early Egyptian
era up to the present day, symbolism has been largely re-
syMBOLISM. 61
sorted to. With the ancient Egyptians we have not much
to do, yet it is interesting to note to what a great extent
they carried the art of symbolism. In their architectural
ornaments, their writing, and in their sculptured works it
was fully carried out. ...
Leaving those remote times, we must come to the
Christian era ere we find symbolism to have attained the
nature which is of service to us in the prosecution of the
study of mediaeval illumination, and its modern practice.
The subject of symbolism being one of great extent, we
must content ourselves by giving a few of those symbols
or emblems in most common use, and of the greatest value
to the student. * -
The symbols of our #leššth 3:0th are the Agnus Dei,
or Holy #. the Pelican, the Fish, and the monogram
3.j,5. or 3.3.6.
The first symbol, the Agnus Dei, is generally repre-
sented as a spotless lamb, with a crossed nimbus, some-
times bearing a cross, emblematical of our Saviour's
Passion, and sometimes a small banner, emblematical of .
His triumph over sin and death.
The second, the Pelican, is represented as feeding its
young with its own blood, shed by its beak, which is shown
as employed tearing its breast. This symbol is likewise
used to represent a martyr, whose blood was shed for the
truth. The third emblem of our Lord, the Fish, originated
in the fact that the letters in the Greek word for a fish
form the initials of the jolg $ame—jesus (ºrist, the $om
of éph, the Šaffigur. This symbol gave rise to a form
very largely used throughout all the branches of mediaeval
art called the Vesica Piscis (see Plate VIII., Fig. 12).
The fourth, the monogram 3,3}.5, or 3.35.6., needs no
explanation, being sufficiently common and well known.
It is displayed within a cusped figure in Plate VIII., Fig.10.
The symbols of the $olg (Trinity come before us next;
they are the Triangle, the Trefoil, and the Pentacle, or
DoubleTriangle. The triangle should be drawn equilateral.
The trefoil is supposed to have been first introduced by

62 -- SYMBOLISM.
Saint Patrick, when he illustrated his doctrine by the
shamrock leaf. This beautiful form is very largely used
in illuminations. It is shown in combination with the
triangle in Fig. 10. - -
The pentacle is formed by two triangles placed together
in different directions, making a six-pointed figure (Plate
VIII., Fig. 6). - -. -
The most common and appropriate symbol for the #gly
Špirit is the representation of a Dove, generally white,
shaded with delicate grey. The origin of this beautiful
symbol is obvious, a dove, having...appeared descending
upon our Saviour during His Baptism. In illuminations
a nimbus is at times introduced around the head of the
dove.
Perhaps of all symbols that of Christianity is the most
commonly used. There is something, however, singularly
beautiful about the simple Cross, apart from its symbolical
interest, which may have favoured its adoption in many
instances. There are two forms of crosses in general use,
the Latin and the Greek cross; the former has the lower
member longer than the remaining three, the latter has
all its arms equal, as in Plate VIII., Fig. 14.
The Four &ſangelištá have symbols peculiar to them-
selves. $f. §§attºeſ, is represented by a Winged Man,
$f. §ark by a Winged Lion, $f, Žuke by a Winged Ox,
and $f, Šoljit by an Eagle. The 3ggðfles likewise have
their own symbols, but we cannot go at any length into
this very interesting subject; we must refer our readers to
larger works. - * .
The Circle is generally acknowledged as the symbol of
Čternity, having neither beginning nor ending.
In illumination, symbols may be used with great effect,
introduced into the interior of initials, or prominent portions
of the borders around the text. Tasteful combinations
may be made in any variety, by grouping two or more
symbols together, as in Fig. 10, where the monogram of
the $acrº 3ame is enclosed within the symbol of the
Örinitg. , - - * * • * *
HARMONY AND CONTRAST OF COLOURs. 63
The student will find pleasant exercise for his designing
powers in the study of symbolism, and we recommend
him to give it a fair amount of his attention.
jarmamſ, ml (ſmtrast of Colours.
The student in the Art of Illuminating must be well
aware that much of the beauty of his work depends upon
the knowledge and taste displayed in the arrangement
of his colours, and should accordingly give a consider-
able amount of his attention to the subject of the har-
mony and contrast of colour. We have used the words
knowledge and taste, because, although somewhat similar
in their influence and effect, they are dissimilar in their
natureS. -
Fºnowledge may be said to be the learning of the prin-
ciples, power, and effect of colour and its combinations,
acquired by research and study.
Taste is again, the innate delicate feeling, or perception
of the value of colour, and its harmonious grouping in
design. It is a natural gift and cannot easily be acquired.
One who possesses knowledge without taste, or taste
without knowledge, rarely arrives at any eminence as a
colourist. The acquiring of knowledge to the possessor
of natural taste is nothing more than the cultivating of
that gift. - .
We do not profess to supply here material enough for
the cultivation of taste: such would be entirely out of our
power in such a circumscribed work as the present; but
only intend offering a few hints, calculated, to some extent,
to direct the young artist in the grouping of his glowing
colours. - - -
Beginning with the three primary colours, let us point
out those which are the most perfect contrasts and har-
monies. - º
Blue.—The primary of the first importance should ever
be most largely used in all works of decorative art. Its
perfect contrasting colour is Orange; and its most perfect
64. HARMONY AND CONTRAST OF COLOURS.
harmonies are those tones of itself, produced by its admix-
ture with White or Black. .
Red.—The second primary has Green for its contrast-
ing colour; and all the scales of Oranges and Crimsons for
its harmonies. - - -
Yellow.—The primary of most light and power, has
Purple for its contrast, and the compounds of itself with
White, and the scale of Oranges for its perfect harmonies.
These colours, therefore, cannot be used together in
juxtaposition, with injurious effect.
Green.—The contrasting colour of Red should be
sparingly used in illuminating, being a lighting-up colour.
It must never be employed for its own value, but only
from its power on other tints, which it lights up, or gives
vigour to, in an extraordinary degree. -
The following diagram, perhaps, will assist the student
in the arrangement of his colours, either in contrast or
harmony, better than words could possibly do. .
*

HARMONY AND CONTRAST OF COLOURS. 65
The outer circle is divided into three points, at each of
which is placed an orb, representing a primary colour.
Directly opposite these orbs, on the inner circle, are placed
their perfect contrasting colours. On the inner circle,
situated midway between the primary and secondary colours,
are the middle tones, or half-way colours, with their con-
trasts directly opposite. - e
We will illustrate the use of the colour circle as a
determiner of contrast. In the first place, we take the
upper orb of Yellow, in opposition to it we find Purple
its contrast, and the same with the other primary orbs.
If we take the half-way colour, between the primary Yel-
low, and the secondary Orange, which is Yellow-Orange,
we find, on looking to the opposite side of the circle, Blue-
Purple to be its perfect contrast.
All the shades possible between Yellow and Yellow-
Orange have their contrasts ranging between Purple and
Blue-Purple—this is...only one instance; the whole range
of the circle works in the same manner, and with equal
truth. . -
Using the diagram as a determiner of harmony, take
Purple as an example; the scale marked off towards the
centre orb of light (White) denotes the various tones of
Purple produced with its admixture with light. Any of
these tones form a harmony with pure Purple. Moving
along the inner circle, on either side of the Purple orb,
we find its harmonies decreasing as we leave it, until
we reach its most imperfect onés, Blue-Green and Red-
Orange. Still moving along both sides of the circle, we
approach its contrasting colours, gradually getting more
and more pleasing, until we meet in its perfect contrast
the primary orb of Yellow. -
All colours on the circle work in the same way. A
careful study of our diagram will greatly assist, the illumi-
nator in the grouping of colours, and we are of opinion
he will find it a useful reference fom time to time.
Gold—takes the place of Yellow in the perfect group
of the three primaries with great success; and perhaps
F

66 - STYLES OF COLOURING.
nothing is more commonly seen in nearly all departments
of decorative art than the triplet—Blue, Red, and Gold.
Grey—may be introduced into almost any combination
of colours, and forms a beautiful harmony with brilliant
hues of Blue and Crimson. g
• The student, while studying this department of art,
should experimentalize with numerous combinations of
colours, taking note of those which prove most pleasing,
for future use. N
A collection of combinations of colours, made and pre-
served in a small scrap-book, would prove of value for
sake of reference.
$tyle; ºf ſºlouring,
Nearly all the periods of illuminating were characterized
by peculiar styles of colouring, as our readers have doubt-
less observed while perusing Part First of our “Guide.”
The remarks there, however, being so sketchy, we urge
all who have the opportunity to study original manuscripts
of the various eras.
In many works the colours are treated flat, without any
attempt to give a raised effect. The ornaments of this
style are usually executed on the wellum alone, without
any ground colour.
n others, a relieved effect is given to the ornamental
details by shadows. In illuminations of this school, the
enrichments are generally worked upon a ground of gold
or colour. .
... In illuminations of the thirteenth, fourteenth, and fif-
teenth centuries, white linework upon colour was largely
used. In the party-coloured initials and ornaments of
the fourteenth century, a white line generally divided the
colours, which were at times outlined with black. Beauti-
ful surface decoration was executed in white upon the
various rich ornaments of the thirteenth century and early
fourteenth. - * J
DESIGN AND COMPOSITION: v 67
- In shading leaf-work, the illuminator must use the har-
monies; such as the deeper tones of the colour employed
to ground the leaf, or those colours nearest to it on the
colour circle. -
For instance, if the leaf be light blue, it should be
shaded with dark blue; if normal blue, with blue running
to purple.
If red, it should be shaded with the tones of crimson
(red purple) running to purple as before.
The reverse side of the leaves, or turnovers, should be
coloured with the full contrasting colour of the leaf proper.
For instance, if the leaf be blue, shaded with dark blue
or purple, the turnover should be orange, shaded with
Scarlet running to crimson. - -
Leaves may be lighted up with delicate hatchings in
gold, white, or very light colours. The deepest shadows
may be executed with hatching in black.
In conclusion, let us urge our readers to study well all
examples of early art; they will gain more by that than
they possibly can from written matter or personal in-
struction. They derive their insight into the principles
of their art direct from the fountain-head, in their nativ
purity. f
§t;igſ. Hiſh Cºmpilim.
Design is, perhaps, the department of the glorious art
of illuminating with which the young student will be
most bothered. It is, at the same time, the most impor-
tant part of composition. Some may ask how composition
and design may be so far separated as to admit of the
expression, that one is the most important part of the
other ? And we must allow that such a question is some-
what difficult to answer. Design, however, may be said
to allude to the formation or development of individual
parts or details, while composition expresses the grouping
together of those details into one harmonious whole.
Appropriateness of design, and harmonious gºin g of
F -

&ºrº-º-º: ... . . . . . . . . . .
F ' '...” - . * * , , t
* ,
68 DESIGN AND COMPOSITION,
parts, are the two great principles of ornamental or deco-
rative art. g
In Modern Illumination, the student must endeavour, as
much as possible, to have one spirit pervāding his compo-
sition. #. design also must be in keeping with the
subject illuminated. * -
In illuminating after any particular school or style, the
student will, of necessity, be to an extent tied by ancient
examples; although, if he truthfully reproduces them in
all their vigour, he cannot go very far astray. -
The frontispiece, Plate §. is a beatitude, illuminated
after one of the styles of the fourteenth century.
We do not profess to be able to give rules for design
and composition, but trust a few hints may prove of some
slight service to our readers.
The text should be executed after the idea of the whole
composition is formed, although the composition should be
decided by the nature of the written matter. The pe-
culiar taste of the illuminator must be his guide in this
respect. No exact dimensions or proportions can be
supplied for the relative size of text, border, and margin ;
all is a matter of opinion and taste. We recommend the
student, however, not to overdo his ornamental portions,
or one is apt to think that the text is secondary to the
illumination, and not that the illumination is intended to
decorate the text. A rather large margin adds greatly
to the beauty of the illumination, and never fails to in-
crease its effect and importance. -
The initial letter should not be too large in itself or in
its detail, for it will outweigh the border and text: this is
to be avoided if possible.
The illuminators of old loved to expend their greatest
energies in the ornamentation of their initial letters;
and we advise the student also to bestow great care upon
those he introduces into his illuminations. The letters
may be placed upon solid panels of gold or colours, or sur-
rounded with rich masses of delicate line work, as may be
observed in some fourteenth century MSS. * -
3 Platº 6.

DESIGN AND COMPOSITION. 69'
The letters themselves may be executed in various
ways. This depends greatly, of course, on the period of
illumination the student has selected to work after. The
thirteenth, fourteenth, and fifteenth century schools are
the best adapted to modern use and requirements. . . .
Miniature subjects, scroll and leaf-work, or diapering,
may be used to fill up the centre of the initials. If minia-
tures are anywhere introduced, they must have immediate
reference to the subject of the text. -
In designing borders, the student will do well to con-
sult original MSS., or fac-simile drawings of complete
pages; he will gain, by such examination, more insight
into the practice and treatment than words could ever
give him. But it is not our duty to leave the subject
with this remark, however much we feel that he would
gain by following our advice, over what he will by read-
ing our commonplace and poor directions. -
There are several ways in which a border may be com-
posed: It may be made to entirely surround the text,
placed upon a background of gold or colour; it may ex-
tend only round three or two slides, or it may be confined
to one only. -
. Of all these, the comple border is the richest, and is
the form most generally to be found in the MSS. of the
fourteenth century. -
The best style for the beginner to practise is that re-
presented in Plates IV. and WI.
Fig. 1, Plate VI., is a foot-piece, for a simple page.
showing the terminal rod bursting into a rich corner orna-
ment and finial, with light spray work. Fig. 2 is the
terminal rod ornamented. Figs. 3, 4, 5 and 6 are finials
, for the upper end of rod above the initial letter. -
All the spray-work introduced into this design should
start from or have connection with the terminal rod, which
should itself be a continuation of the initial letter, if
practicable. • * .* :
† All the lines employed in design must be flowing and
graceful; a great deal of the beauty of an illumination de-


70; DESIGN AND COMPOSITION.
than a broken outline or scroll. -
The illuminator must not overcrowd his composition,
for he will gain little by crowding ornament at all. He
must seek after repose, simplicity, and elegance.
. No ornament or detail must be executed carelessly; .
each leaf and bud, however small or insignificant, should
be finished as if it were the only ornament on the page.
The student need never hope to attain eminence in his art
unless each thing he does is done with his whole might.
Plate VII. contains several examples of scroll-work, which
will prove of great service to the tyro, having some choice
specimens of leaves and flowers conventionally treated.
All the fringed ornaments should be filled in with gold,
either flat or raised. The fringed portions of the centre
flower in Fig. 3 should also be in gold. -
Grotesque animals are often introduced into "borders
and the interior of initial-letters. Their bodies usually
terminate in sprays of foliage, as shown in Fig. 2, Plate
VIII., or their tails are continued to unnatural lengths,
and twined in various ways around their bodies. A fine
animal in rich colour, perhaps, forms one of the most
beautiful ornaments for an initial letter, when a miniature
painting is inadmissible. - -
Diaper work may be employed to fill up initials, or the
panels around them, as well as for backgrounds of minia-
ture subjects. On Plate III. we have given three ex-
amples of diapering, each designed on a different principle
(see Figs. 4, 5, 6). - *
Figs. 2, 3, on Plate III., and Fig. 1 on Plate VIII.,
are designs for slip borders, used for surrounding panel
borders, or for confining the text which is to be orna-
mented with scroll of light spray work, as shown on Plates
IV., VI, VII. • *.
Ribbons creased in a conventional manner, like that
shown on Plate VIII., Fig. 3, and heraldic enrichments
on shields of the shapes of Figs. 4, 5, sometimes form
suitable ornaments in illuminations.
pends upon this. Nothing is more offensive to the eye
*



CONCLUDING REMARKs. 71
Grounds of dotted work and honey-combing may be
introduced within scrolls, &c., when a feeling of solidity
is desired. See Figs. 7, 8, 9. .
. . Fig. 13 shows a conventional treatment of glory used
in Surrounding sacred symbols and monograms. It should
be executed in gold line-work regularly diverging from a
centre point. * rº,
We have now said all on the subject of design our space
will permit, but trust we have to some little extent assisted
our readers in the interesting Art of Illuminating.
&milming ºmitis.
To our readers we have to say a few words before part-
ſing with them; but, ere we say more, let us ask the boon
we have had on our minds so long. When you throw our
little book aside, forgive us if you think we have given it
a wrong title. - *
If we have not been successful in guiding you in the
Art of Illuminating, we have had a sincere wish to do so,
and have spared no pains in our task.
We have tried to divest the art of the garment too
many have endeavoured to throw over it, for the purpose
of inducing the despairing student to seek from them
some personal instruction. All is mockery. Well do
these professors know their lessons to be useless as they
are expensive. The student must depend upon his own
study and practice, and must be a willing miner, extracting
from the accumulation of ages the pure and sparkling ore
for his own use. Might not another profess to lead him
right, and aid him in laying open a vein of copper, while
he retains for himself the gold he knows to be lying near.
We feel it our duty, however, to assure our readers that
they cannot attain any perfection as illuminators unless
they embark upon its study as lovers, grudging no time
or trouble. Years are required—years of application—ere
one may hope to deserve the title of Illuminator,
72 CONCLUDING REMARKS.
In all the manipulatory processes, the student must ever
take the greatest care, executing each ornament, however
insignificant, with equal nicety and correctness. * -
All the colours must be carefully preserved from dust
and admixture. ſº
The brushes in use must be cleaned and pointed before
being put away. _-
With regard to such subjects, let us advise our readers
to observe the golden rule: “Have a place for everything,
and everything in its place.” -
Reader, in bidding you farewell, let us wish you every
success in the practice of the lovely and fascinating Art
of Illuminating.
FINIS,
Henderson, Rait, and Fenton, Printers, 23, Berners Street, Oxford Street, W.
“PRIZE ME DAL Aw ARDED.”
International
Exhibition.
Class 2, 1862.
MESSRS. GEORGE ROWNEY & Co.
Have the pleasure to announce the completion of their
IN E W S Y S T E MI
OF
GRINDING COLOURS BY MACHINERY,
which enables them to supply Artists' colours in oil, water, or powder, perfectly
fine, at the same prices as hitherto charged for colours less finely ground.
Messrs. G. R. & Co. feel assured the OIL COLOURS ground by their im-
proved process will be found to be finer, brighter, less oily, and to dry quicker
than any others at present manufactured; and that their WATER COLOURS,
prepared by the same process, will prove to be finer, brighter, and to float more
evenly without granulation than any other colours hitherto produced.
They therefore solicit a trial in full confidence of giving satisfaction.
Paris Universal
Exhibition.
1867.
TWO SILVER MEDALS.
CLASS 6.
“For Chromo Lithographs.”
CLASS 7.
“Colours for Painting.”
Retail Departments:
52, RATHEONE PLACE, and 29, OXFORD STREET, W.
\



2 . . GEORGE ROWNEY & Co.,
TESTIMONIALS
FROM
THE PRESIDENT AND MEMBERS
OF
THE SOCIETY OF WATER COLOUR PAINTERS.
AND OTHER EMIN ENT ARTISTS.
Aug. 19th, 1864.
GENTLEMEN,--Some time since you sent me a large Box of Colours. I
have had a good opportunity of trying them, and I have much pleasure in
saying that they are as good as they can be. -
Believe me, yours very truly, BIRKET FOSTER.
. . . . JANUARY 18th, 1865.
MY DEAR SIRs—I have tried your Colours careilly, and have much
pleasure in saying that I find them pure, brilliant, and to work freely and
pleasantly, and have little doubt of their being appreciated by all who may
use them. - I am, dear Sirs, yours truly,
** T. M. RICHARDSON.
To Messrs. Rown Ey & Co,
11, UPPRR PHILLIMORE GARDENs, JUNE 15TH, 1863.
GENTLEMEN, -I have now given the Colours you were so good as to send
me a fair trial, and can confidently speak of their very superior merits; the
method of grinding by machinery has not only affected the Indian Red (so
justly praised), but has caused the Cobalt Blue and Ultramarine Ash (colours
so apt to be gritty) to work with astonishing ease and fluency. The Scarlet
Vermilion, too, and Extract of Madder Carmine, are brought to great perfection.
Your obedient servant, FREDERICK TAYLER.
*
Dec. 29th, 1862.
GENTLEMEN,-I have much pleasure in communicating to you the result
of my experience with your Colours. For brilliancy and purity they certainly
cannot be surpassed, and as far as my present experience goes, I may also add
permanency. - W. HUNT.
To Messrs. Rowney, 52, Rathbone Place, Oxford Street.
110, ADELAIDE ROAD, HAvrBSTook HILL, JULY 25TH, 1863.
DEAR SIRs, For several months I have had in use the box of Colours that
you sent to me. I can state, with pleasure, that I have now found them
to possess all the qualities that an artist could reasonably desire.
. Yours faithfully, E. DUNCAN.
To Messrs. G. Rowney & Co.,
- 9, Roy AL CRESCENT, WESTON-SUPER-MARE, Nov. 2ND, 1863.
GENTLEMEN, -I am delighted with the brilliancy and purity of the Moist
Water Colours you sent me. I cannot particularize any one colour as superior
to the rest, as all are equally good.
I am, Gentlemen, yours very truly, H. BRITTAN WILLIS.
To G. RowNex & Co. -
52, RATHBONE PLACE, AND 29, OXFORD STREET. 8
GEORGE Row NEY & Co.'s
WATER COLOURS,
G R O U N D B Y M A C H IN E R Y.

Ş. EIalf
- Cakes, *
LIST OF WATER COLOURS. iº ||º]}.
Pans, or Pans •
Tubes. |
Antwerp Blue Light Red Each | Each | Each
Bistre Middle Chrome s, d. s. d. s. d.
Blue Black Naples Yellow d
Blue Verditer Neutral Tint
Brown. Ochre Olive Green
Brown Pink Orange Chrome
Burnt Sienna. Orange Orpiment
Burnt Umber Payne's Grey
Chinese White Permanent Blue
Cologne Earth • Permanent White:
Deep Orange Chrome Prussian Blue
Dragon's Blood Prussian Green ſ -
Emerald Green Purple - I 0 0 6 0 &
Flake White Raw Sienna, º -
Gamboge g Raw Umber
Hooker's Green, 1 ' - Red Lead
Hooker's Green, 2 Roman Ochre
Indian Red Sap Green
Indigo Terra, Wert
Italian Ochre Vandyke Brown
Italian Pink Venetian Red
Ivory Black Verdigris
King's Yellow Vermilion
Ilamp Black Yellow Lake
Lemon Chrome Vellow Ochre sº
Black Lead Mauve \
Brown Madder Mars Yellow º
Chinese Orange Orange Wermilion
Coeruleum Purple Lake
Crimson Lake Scarlet Vermilion $ 1 6 0 9 0. 5
Indian Lake. Scarlet Lake
Indian Yellow Sepia
Italian Ultra Roman Sepia
Magenta. Warm Sepia, -
French Ultramarine Lemon Yellow
Azure Blue Veronese Green } 2 0 1 0 0 6
Cobalt Violet Carmine J
Aureolin - Green Oxide of
Burnt Carmine Chromium
Carmine Intense Blue -
Cadmium, Pale Madder Lake
Cadmium, Yellow Mars Orange 3 0 I 6 0 9
Cadmium, Deep Pink Madder
Cadmium, Orange Pure Scarlet - '.
Dahlia Carmine Rose Madder $ -
Gallstone
Deep Rose Purple Madder
Ext. Madder Car- Smalt l 5 0 2 6 1 3
mine Ultra, Ash J.
Ultramarine . . . . . . . . . . . . . . . 21 0 | 10 6 || 5 s
A 2
4. GEORGE ROWNEY & Co.,
GEORGE ROWNEY & C(). 'S
WATER COLOUR BOXES, FITTED.
W H O L E C A K E B O X E S.
FRENCH POLISHEDs
śī
6-Cake mahogany box, with sliding top and brushes
12 Ditto - - - - - - -
18 Ditto . - - - - - -
24 Ditto - - - - - - - -
12 Ditto, with under tray, containing six division slant,
Indian ink, pencils, and rubber, extra .
10-Cake mahogany box, with lock, fitted to the arrangement
of the Department of Science and Art, and manufactured
expressly for its prizes, by GEORGE RowNEY & Co.
12-Cake mahogany box, with lock, containing brushes,
pencils &c. . - - - - - - - -
18 Ditto
12 Ditto, with under tray, containing six division slant,
Indian ink, pencils, and rubber, extra .
12-Cake mahogany box, with lock and drawer, containing
saucers, brushes, pencils, &c. - - - -
18 Ditto . . . . . . . . .
12-Cake complete mahogany colour box, with brushes,
pencils, &c. - - - -
18 . Ditto . - - - - - -
24 Ditto
O
O
l
10
.



52, RATHBONE PLACE, AND 29, OXFORD STREET. 5
12-Cake caddy lid mahogany box, containing inkstone, £ S. d
palettes, cut water glass, extra brushes, pencils, &c.,
very complete . - - - - . 1 10 0
18 Ditto . - - - - 2 2 0
24 Ditto - - - - - - 3 3 0
12-Cake caddy lid box, Spanish mahogany, very handsome
with superior fittings - - - 3 0 0
18 Ditto 4 10 0
24 Ditto . 6 0 (0
36 Ditto . 9 0 0
£ s. d. Brass-bound.
12-Cake handsome rosewood caddy lid box,
containing inkstone, palette, cut water
glass, sable and other brushes, peneils, &c.,
very complete . - - - - . 2 5 0
18 Ditto . - - - - - 3 0 0
24 Ditto . - - - - - . 4 0 0
2 12 6
3 10 0
4 10 0
A variety of handsome Boxes, Inlaid, &c., with suitable fittings for every
style of Painting in Water Colours, from £8 to £50.

6 GEORGE ROWNEY & Co.,
H A L F-C A K E B 0 XE S.
FRENCEI POLISHED.
6-Half-Cake mahogany box, with sliding top and brushes
12 Ditto . - • - - - - -
18 Ditto
24 Ditto - - - - - - -
12-Half-Cake mahogany box, with lock, containing brushes,
pencils, &c. - - - - - - - -
18 Ditto
12–Half-Cake Mahogany Box, with lock and drawer, contain-
ing palette, brushes, pencils, &c. - - -
18 Ditto - - - - - - -
12-Half-Cake, complete, mahogany colour box, containing
brushes, pencils, water glass, &c. . -
18 Ditto . - - - - - - -
24 Ditto -
12 Ditto, with drawer
18 Ditto - - - -
24 Ditto, with drawer and palette - -
12-Half-Cake mahogany caddy lid box, containing brushes,
pencils, &c. . - - - - - - - -
18 Ditto .
QUARTE R-CA K E B 0 XE S.
6-Quarter-Cake mahogany box, with sliding lid, containing
brushes
12 Ditto .
18 T)itto
24 Ditto . - - - - - - -
12-Quarter-Cake mahogany lid box, with hook and eye,
containing brushes, &c. - - - - -
18 Ditto . - - - - - - - -
12 Ditto, with lock
18 Ditto . - - - - - - -
0 12
0 15
15
19
11
º
:I
:0
:
:
º.:
:
.
:
:

52, RATHBONE PLACE, AND 29, OXFORD STREET. 7
GEORGE ROWNEY & CO.'S
JAPANNED TIN SKETCHING BOXES,
FILLED WITH MOIST COLOURS.
£ s. d
1-Cake Box . . . . . . . . . 0 4 9
Sepia.
2-Cake BOX . . . - - O 5 9
Sepia and Chinese White.
3-Cake Box . . . - - 0 7 O
Raw Sienna, Indigo, and Sepia.
3-Cake Box - -
- - - - - - - 0 7 6
Gamboge, Cobalt, and Light Red.
4-Cake Box . . . . . . . . () 8 3
Raw Sienna, Sepia, Indigo, and Chinese White.
4-Cake Box . . . . . . . . . 0 9 3
Gamboge, Light Red, Sepia, and Cobalt.
LANDSCAPE.
6-Cake Box . . 0 10 9
Gamboge, Yellow Ochre, Light Red, Crimson Lake,
Vandyke Brown, and Prussian Blue.
LANDSCAPE AND FIGURE.
6-Cake Box - - - - - - - - . 0 12 3
Gamboge, Raw Sienna, Light Red, }. Rose Madder,
Vandyke Brown, Cobalt, Prussian Blue.
LANDSCAPE.
8-Cake Box . . . 0 15 0
Gamboge, Raw Sienna, Light Red, Crimson Lake,
Vandyke Brown, Madder Brown, French Ultramarine,
Prussian Blue, and Coeruleum.

8 - GEORGE ROWNEY & Co.,
Japanned tin sketch boxes, fitted—continued.
LANDSCAPE AND FIGURE. £ 3,
8-Cake Box ſº tº º g c o ſº e . () 18
Yellow Ochre, 3 Pale Cadmium, 3 Deep Cadmium,
Ilight Red, Rose Madder, Brown Ochre, Sepia, Cobalt,
and Indigo. -
* LANDSCAPE. .
10-Cake Box e e . . . . 0 19
Gamboge, Roman Ochre, # Lemon Yellow, 3 Chinese
Orange, $ Indian Red, } Vermilion, Brown Pink, Sepia,
Coeruleum, French Ultramarine, Prussian Blue, and
Veronese Green.
LANDSCAPE AND FIGURE.
10-Cake Box
Yellow Ochre, # Lemon Yellow, 3 Deep Cadmium,
Italian Pink, Light Red, § Scarlet Vermilion, 3 Rose
Madder, Vandyke Brown, Madder Brown, Cobalt, Indigo,
and Veronese Green.
- LANDSCAPE.
12-Cake Box - tº O. { } e º a
Gamboge, Raw Sienna, # Lemon Yellow, 3 Pale
Cadmium, # Deep Cadmium, 3 Mars Orange, } Indian
Red, § Vermilion, Crimson Lake, Madder Brown, Sepia,
Lamp Black, Cobalt, Prussian Blue, and Olive Green.
* LANDSCAPE AND FIGURE.
12-Cake Box . . . . . . . . 1 5
Yellow Ochre, Lemon Yellow, $º. Cadmium,
Mars, Yellow, Light Red, § Scarlet Vermilion, 3 Rose
Madder, 3 Carmine, 3 Purple Lake, Vandyke Brown,
Madder Brown, Coeruleum, French Ultramarine, 3 Indigo,
# Emerald Green, and Veronese Green.
LANDSCAPE.
14-Cake Box . . c ū ſº Q tº º • 1 7
Gamboge, Yellow Ochre 3 Aureolin, ; Pale Cad-
mium, &; Cadmium, # Chinese Orange, Light
Red, § Vermilion, 3 Orange Vermilion, Crimson Lake,
Rose Madder, #Purple Lake, Sepia, Brown Pink,
obalt, Brussian Blue, # Coeruleum, Payne's Gray,
and Terra Vert.
LANDSCAPE AND FIGURE.
14-Cake Box . o ſº º © • - 1 10
Raw Sienna, Indian Yellow, 3 Lemon Yellow, #
Italian Pink, # Pale Cadmium, T & Deep Cadmium,
Brown Ochre, Burnt Sienna, Scarlet Vermilion, Madder
Lake, Indian Lake, Cologne Earth, Vandyke Brown,
French Ultramarine, . Ultramarine Ash, Indigo, and
Veronese Green.
52, RATHBONE PLACE, and 29, OXFORD STREET. 9
Japanned tin sketch boxes, fitted—continued.
- LANDSCAPE. £ 8.
16-Cake Box tº © o e © - Tº o º 1 11
Gamboge, Yellow Ochre, 3 Aureolin, Pale Cad-
mium, # Deep Cadmium, A Chinese Orange, Light
Red, § Vermilion, Orange Vermilion, Crimson Lake,
#Roº Madder, #Violet Carmine, Sepia, Brown Pink,
Cobalt, Prussian Blue, # Coeruleum, # Emerald Green,
Payne's Gray, Olive Green, and Veronese Green.
º
W LANDSCAPE AND FIGURE. -
16-Cake Box . . . . . . . . . . . 1 15 0
Raw Sienna, Indian Yellow, # Lemon Yellow
Italian Pink, A Middle Cadmium, # Orange Cadmium,
Brown Ochre, Burnt Sienna, Scarlet Vermilion, Madder
Lake, Indian Lake, Raw Umber, Vandyke Brown, Cobalt,
French Ultramarine, Indigo, , § Ultramarine Ash, ;
Emerald Green, and Green Oxide of Chromium.
LANDSCAPE AND FIGURE.
18-Cake Box o º º º Q o I 15. 0.
Gamboge, Yellow Ochre, Roman Ochre, 3 Aureolin,
# Italian Pink, Indian Yellow, Middle Cadmium,
jº Cadmium, Brown Ochre, Light Red, § Indian
ed, A Scarlet Vermilion, Rose Madder, 3 Indian Lake,
# Lamp Black, Raw Umber, Sepia, Cobalt, French Ultra-
marine, Prussian Blue, # Emerald Green, § Olive Green,
and Veronese Green.
LANDSCAPE, FIGURE, &c. -
20-Cake Box - g e tº C te * > gº . 2 1 6.
Gamboge, Yellow Ochre, Roman Ochre, Lemon
Yellow, # Italian Pink, , Indian Yellow, Middle
Cadmium, # Orange Cadmium, Light, Red, Indian
Red, § Vermilion, , § Scarlet Vermilion, #Carmine,
Rose Madder, Madder Brown, Brown Ochre, Vandyke
Brown, Sepia, Cobalt, French Ultramarine, Indigo, #
Emerald Green, 3 Olive Green, à Coeruleum, # Ultra-
marine Ash, and Veronese Green.
LANDSCAPE, FIGURE, &c.
22-Cake Box . . . . . . . . . 2 7 9
Gamboge, Yellow Ochre, Raw Sienna, § Lemon Yel-
low, 3 Aureolin, Indian Yellow, # Middle Cadmium, #
Orange Cadmium, Light Red, } Indian Red, § Ver-
milion, 3 Orange Vermilion, # Carmine, Rose Madder,
Madder Brown, Brown ()chre, Burnt Umber, Sepia, Cobalt,
French Ultramarine, Prussian Blue, # Emerald Green,
3 Lamp Black, # Coeruleum, # Ultramarine Ash, # Smalt,
} Purple Madder, Olive Green, and Veronese Green.
10 GEORGE ROWNEY & Co.,
JAPAN NED TIN S KETCH BOXES,
FlLLED WITH HALF-PANS OF MOIST COLOURS.
3-Half-Cake Box ... ... ...
Gamboge, Light Red, and Cobalt.
6-Half-Cake Box
Gamboge, Raw Sienna, Crimson Lake, Vandyke
Brown, Cobalt, and Prussian Blue.
8-Half-Cake Box ... --- --
Gamboge, Yellow Ochre, Light Red, Rose Madder,
Vandyke Brown, Cobalt, Prussian Blue, and Veronese
Green.
10-Half-Cake Box ... --- º
Gamboge, Raw Sienna, Light Red, Crimson Lake,
Vandyke Brown, Madder Brown, French Ultramarine,
Prussian Blue, Coeruleum, and Veronese Green.
12-Half-Cake Box
Gamboge, Roman Ochre, Lemon Yellow, Chinese
Orange, lndian Red, Vermilion, Brown Pink, Sepia,
Coeruleum, French Ultramarine, Prussian Blue, and
Veronese Green.
14-Half-Cake Box
Gamboge, Raw Sienna, Lemon Yellow, Cadmium
Yellow, Mars Orange. Indian Red, Vermilion, Crimson
Lake, Madder Brown, Sepia, Lamp Black, Cobalt,
Indigo, and Olive Green.
10
11
13
16
º

52, RATHBONE PLACE, and 29, OXFORD STREET. 11
Japanned tin sketch boxes, fitted—continued.
16-Half-Cake Box ... • - - - - - tº wº gº º e ... 1 0 3
Yellow Ochre, Lemon Yellow, Deep Cadmium, Mars
Yellow, Light Red, Scarlet Vermilion, Rose Madder,
Carmine, Purple Lake, Vandyke Brown, Madder
Brown, Coeruleum, French Ultramarine, Prussian
Blue, Emerald Green, and Veronese Green.
18-Halfcake Box & sº º gº º º is º ºs . 1 1 0
Gamboge, Yellow Ochre, Lemon Yellow, Pale Cad-
mium, Deep Cadmium, Chinese Orange, Light Red,
Vermilion, Orange Vermilion, Crimson Lake, lºose
Madder, Sepia, Brown Pink, Cobalt, Indigo, Coeruleum,
Payne's Gray, and Terra Vert. -
20-Half-Cake Box. ... ... ... ... ...
Gamboge, Yellow Ochre, Aureolin, Pale Cad- |
mium, Deep Cadmium, Chinese Orange, Light Red,
Vermilion, Orange Vermilion, Crimson Lake, Rose
Madder, Violet Carmine, Sepia, Brown Pink, Payne's
Gray, Cobalt, Prussian Blue, Coeruleum, Einerald
Green, and Veronese Green.
22-Half-Cake Box ... ... ... . ... ... ... 1 5 6
Gamboge, Yellow Ochre, Aureolin, Lemon Yel-
low, Indian Yellow, Middle Cadmium, Orange
Cadmium, Brown Ochre, Burnt Sienna, Light Red,
Indian Red, Scarlet Vermilion, Rose Madder, Indian
Lake, Sepia, Raw Umber, Lamp Black, Indigo, French
Ultramarine, Cobalt, Emerald Green, and Veronese
Green. -
24-Half-Cake Box ... ... . tº º . ... | 1 9 3
Gamboge, Yellow Ochre, Aureolin, Lemon Yel-
low, Indian Yellow, Orange Cadmium, Light Red,
Indian Red, Vermilion, Scarlet Vermilion, Carmine,
Rose Madder, Madder Brown, Brown Ochre, Vandyké |
Brown, Sepia, Cobalt, French Ultramarine, Prussian
Blue, Émerald Green, Olive Green, Coeruleum, Ultra-
marine Ash, and Veronese Green.
12 GEORGE ROWNEY & Co.,
MINIATURE SIZE JAPANNED SKETCH
BOXES.
Fl LLED WITH QUARTER-CAKE QUAN TITIES OF MOIST COLOURS.
- soºn |LEMON ?"
|cAMBOC: OCHRE YELLOW or ANGE
phown,
FRENS"|noico pink
NW ULTRA
LEU
This illustration shows the box with twelve colours two-thirds
its size.
s. d.
4-Quarter-Cake Box 4 0
Raw Sienna, Light Red, Sepia, and Cobalt.
6-Quarter-Cake Box . 4 9
Gamboge, Raw Sienna, Crimson Lake, Vandyke
Brown, Cobalt, and Prussian Blue.
8-Quarter-Cake Box 6 ()
Raw Sienna, Yellow Ochre, Light Red, Rose -
Madder, Vandyke Brown, Cobalt, Prussian Blue, and
Veronese Green.
10-Quarter-Cake Box --- --- --- --- --- 7 0
Gainboge, Raw Sienna, Light Red, Crimson Lake,
Vandyke Brown, Madder Brown, Coeruleum, French
Ultramarine, Prussian Blue, and Veronese Green.











52, RATHBONE PLACE, AND 29, OXFORD STREET.
13
12-Quarter-Cake Box • * s • = e s e s s a s ,
20-Quarter-Cake Box ... ...
24-Quarter-Cake Box ... ... ...
Japanned tin sketch boxes, fitted—continued,
§
Yellow Ochre, Roman Ochre, Aureolin, Chinese
Orange, Indian Red, Vermilion, Brown Pink, Sepia,
Ceeruleum, French Ultramarine, Prussian Blue, and
Veronese Green.
14-Quarter-Cake Box ... ... ... ... ... 9
Gamboge, Aureolin, Raw Sienna, Cadmium Yellow,
Mars Orange, Vermilion, Indian Red, Crimson Lake,
Sepia, Madder Brown, Cobalt, Indigo, Lamp Black, and
Olive Green.
16-Quarter-Cake Box ... ... ... ... ... 11
Yellow Ochre, Aureolin, Orange Cadmium, Mars
Yellow, Light Red, Scarlet Vermilion, Rose Madder,
Carmine, Purple Lake, Vandyke Brown, Madder
Brown, Coeruleum, French Ultramarine, Prussian Blue,
Emerald Green, and Veronese Green.
18-Quarter-Cake Box ... . . . . . . . ... ... 12
Gamboge, Aureolin, Pale Cadmium, Yellow Ochre,
Orange Cadmium, Orange Vermilion, Chinese Orange,
Vermilion, Rose Madder, Light Red, Crimson Lake,
Brown Pink, Sepia, Coeruleum, Cobalt, Indigo, Payne's
Gray, and Terra Vert.
13
Gamboge, Aureolin, Pale Cadmium, Yellow Ochre,
Orange Cadmium, Orange Vermilion, Chinese Orange,
Vermilion, Light Red, Rose Madder, Crimson Lake,
Violet Carmine, Sepia, Brown Pink, Coeruleum, Cobalt,
Prussian Blue, Payne's Gray, Emerald Green, and
Veronese Green.
16
Gamboge, Aureolin, Lemon Yellow, Yellow Ochre,
Roman Ochre, Brown Ochre, Orange Cadmium, Scarlet
Vermilion, Vermilion, Rose Madder, Light Red, Indian
Red, Carmine, Sepia, Madder Brown, Vandyke Brown,
Coeruleum, Cobalt, Ultramarine Ash, French Ultra-
marine, Prussian Blue, Emerald Green, Olive Green,
and Veronese Green. º
14 GEORGE ROWNEY & Co.,
2:
MATERIALS FOR HERALDRY PAINTING
AND
ILLUMINATING.
f
THE revival of Missal Painting, and its great popularity, have
naturally called attention to the art of Heraldic Painting, but there
is this difference in favour of the latter art—viz., that while Missal
Painting is to a great extent an art belonging to a past age, there is a
constant and ever changing growth of heraldic emblazonments; and
this, owing to the incessant changes by intermarriage and other causes,
must continue to be the case; therefore Heraldry Painting is as much a
living art as any other, and must ever form an interesting study to all
connected with the aristocracy of this or any other European nation.
Messrs. Rowney & Co. have given the greatest attention to all
matters connected with the art, and have prépared a set of colours and
other materials requisite. The colours are as follows, and are sold in
glass-covered cups:– - -
- 8. d. 8. d.
Gules, No. 1 . . . each | 1 6 || Sable, No. 1 . . . each | 1 0
Gules, No. 2 . . , l 6 || Sable, No. 2 . . . 9? 1 O
Azure, No. 1 . . , 1 6 || Proper Colour, No. 1 , 1 0
Azure, No. 2 . . , || 1 0 | Proper Colour, No. 2 , || 1 6
Vert, No. 1 . . , 1 0 || Proper Colour, No. 3 , 1 O
Wert, No. 2 . . , 1 0 || Or Substitute . . , || 1 6
Purpure . . . . , 1 0
Chinese White in Bottle. Platina. Shells. -
Chinese Ink. * Burnishers, brushes, pencils,
Raising Preparation. - , &c., as in Illuminating
Gold Shells. painting.
A handsome caddy-lid box of the above, fitted with the requisite
- materials. Price £2 2s.
With a view to render a study of this art easy, and at the same
time complete, Messrs. RowNEY & Co. have published a “Treatise on
Heraldry,” by Mr. F. J. BAIgENT, which will, they trust, enable any
one, after a very brief study, to draw up the coat of arms of any known
family, or any combinations or changes that may occur.
The work is fully illustrated in a similar manner to their “ Guide to
Illuminating,” by the Messrs. Audley, which was received with such
marked approbation. Price 6s. -
52, RATHBONE PLACE, and 29, oxFORD STREET. 15
LIST OF MATERIALS
FOR
ILLUMINATING AND MISSAL PAINTING.
THE revival of “Illuminating” has naturally caused inquiry after
colours and materials best suited to the practice of this very beautiful
art. A careful examination of the best authorities has led Messrs.
R. & Co. to conclude that the ancient missals were painted with
colours prepared in the simplest form. They have accordingly
produced a complete set of colours, which will be found to resemble
closely those used at that period when the art had reached its highest
degree of perfection. *
b COLOURS FOR ILLUMINATING.
The Powder Colours for Illuminating, as prepared by Messrs.
RowNEY & Co., are readily soluble in cold or very slightly warm water,
and will be found more brilliant and permanent than colours prepared
in any other way. They are sold either in bottles separately, or in
boxes fitted up with every requisite for the practice of this very beauti-
ful art. The powder colours have a decided advantage over the moist
or dry colours, rendering the ground even and without gloss, and
carrying an equal tone throughout the design; a result which is
difficult to obtain whenever the ordinary colours are used.
4. REDSs
Per | Per
bottle. | |bottle.
8. d. | S. d.
Burnt Carmine . 3 0 || Indian Red . . - || 1 0
Burnt Sienna . . 1 0 || Orange Vermilion . 2 0
Carmine . • * | 3 0 || Rose Madder . . 3 0
Crimson Lake . . 1 6 1 Red Lead . . . & 1 O
Dragon's Blood ſº | 1 0 || Scarlet Vermilion . . . 1 6
PURPLES.
Indian Purple . . | 3 | 0 || Madder Purple . . 5 0
Violet Carmine . . 2 0 -
16 GEORGE ROWNEY & Co.,
8. d.
Carmine . tº * e º e g . per bottle l 6
Chinese or Enamel White tº e tº 9 3 1 ()
Indian ink w e fe © o c (e , , 1 0
Indelible Brown ink e © a e e 93. 1 0
Prout's Brown . o º e ge O º , , 1 0
Ox Gall, small pots. * > º º o ... per pot O 6
Ditto large ,, . . . . . . . 9s I 0
Ditto, colourless, small bottles . . Q o per bottle O 6
Ditto 3 y large 99. ſº o g c 3 9 1 O
Gum water . º º © G g ſº O 6
1 6
1 0
Colours for Illuminating—continued.
BLUES,
Per Per
º; bottle,
8. 0.
Coeruleum º . . 1 6 || Indigo . . . . . 1 0
Cobalt . tº te Ç 2 0 || Prussian Blue . * > * 1 O
F. Ultramarine e e 2 0 || Smalt . g º © 5 0
GREENS,
Emerald Green 4 × 1 0 | Olive Green . e . || 1 0
Moss Green . 2 0 || Oxide of Chromium . 3 0
Sap Green cº tº I 0 t
YELLOWS, , ,
Cadmium . . . 8 0 || Lemon Yellow . 2 O
Chrome Yellow 1 0 1 Mars Yellow . 1 6
Chrome Orange 1 0 || Mars Orange . • . 3 0
Gamboge © 1 0 || Raw Sienna . . ſº 1 O
Indian Yellow . o 1 6 || Yellow Ochre. . . ] 1 0
Lamp Black . o | I 0 || Neutral Tint . . 1 0 -
Madder Brown . 1 6 1 Vandyke Brown . . | 1 0
The above list of colours, prepared in powder expressly for Illuminating,
contains all those required; any other colours may be obtained at a day's
notice. -
-ILLUMINATING COLOURS are also prepared in cake, and moist
in pans or tubes.
CHINESE INK, of finest quality.
LIQUID COLOURS AND ME DIUMS.
Audsley's raising preparation . • ‘s ... per tube
Water gold size . º tº e • . per pot
52, RATHBONE PLACE, AND 29, OXFORD STREET. 17
BOXES FITTED WITH COLOURS & MATERIALS
ILLUMINATING AND MISSAL PAINTING.
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ONE GUINEA BOX,
HALF-GUINEA BOX – containing eight colours half size, gold and
silver shells, half size colour slab, flat rule, square, agate burnisher, pencil
Indian ink, rubber, and three sable brushes.
FIFTEEN SHILLING BOX—containing ten colours half size, gold and
silver shells, gum water, set of saucers, flat rule, sponge, agate burnisher,
H B pencil, and sable brushes.
GUINEA BOX—containing ten colours, gold and silver shells, bottle
Chinese white, gum water, gold paper, lead pencil, sable brushes, waterglass,
set of saucers, steel scraper, agate burnisher, flat rule, and sponge, .
GUINEA-AND-A-HALF BOX—containing fourteen colours, bottle Chinese
white, gold, green gold, silver and aluminium shells, raising composition,
gold size, ox-gall, gum water, gold paper, lead pencil, sable brushes, water
glass, set of saucers, steel scraper, agate burnisher, flat rule, and Sponge.
TWO GUINEA BOX – containing eighteen colours, bottle Chinese
white, gold, green gold, silver and aluminium shells, raising composition,
gold size, ox-gall, gum water, gold paper, lead pencil, sable brushes, mag-
nifying glass, water glass, two slants, steel scraper, agate burnisher, flat
rule, sponge, Indian ink, and a half set of instruments.
THREE GUINEA BOX—containing twenty-four colours, bottle Chinese
white, gold, green gold, silver and aluminium shells, raising composition,
gold size, ox-gall, gum water, gold paper, extra thick gold leaf, lead pencil,
sable brushes, magnifying glass, ruling pen, half set of instruments, ivory
tracer, ivory rack, water glass, set of saucers, steel scraper, agate burnisher,
flat rule, sponge, and Indian ink.
FIVE GUINEA BOX—containing twenty-eight colours, bottle of Chinese
white, gold, green gold, silver and aluminium shells, raising composition,
gold size, ox-gall, gum water, gold paper, extra thick gold leaf, lead pencil,
a complete set of sable brushes, half-a-dozen camel hair brushes, one 1-inch
flat camel, magnifying glass, ivory handled ruling pen, half set of instru-
ments, ivory tracer, ivory rack, water glass, two colour slants, steel scraper,
agate burnisher, flat rule, curve, sponge, Indian ink, and set square.
B












18 GEORGE ROWNEY & Co.,
D R AWI N G PAPERS.
H A N D MAD E.
H P signifies Hot Pressed, and is of a smooth surface. -
N signifies Not Hot Pressed, and has a finely grained surface.
R signifies Rough, and has a coarsely grained surface.
Hot Pressed Paper is mostly used for Pencil Drawing.
Not Paper is used for Water Colour Drawing, and general purposes.
Rough, for very Bold Drawing and Sketching.
WHATMANPS DRAWING PAPERS.
Surface. Size. Per sheet. Per quire.
• g £ 3. d. £ s. d.
Demy H P & N. 20 in. by 15 0 0 2 O 3 O
Medium H P & N 22 , 17 0 0 3 0 4 6
Royal H P & N 24 ,, 19 0 0 3 0. 5 9
Super Royal H P & N 27 , 19 0 () 4 0 7 2
Imperial H P, N, & R 30} , 22 0 0 5 O 9 9
Elephant H P & N. 28; , 284 || 0 0 5 O 9 9
Columbier H P & N 34: ,, 24 0 0 8 0 15 0
Atlas H P & N 33%. , 26 0 0 8 0 15 0
Double Elephant H P & N 40} , 27 0 0 10 0 19 3
Antiquarian H P & N 52%. , 30} || 0 4 0 4 8 6
WHATMAN’S EXTRA THICK DRAWING PAPERS.
Weight
Surface. Per Ream. | Per sheet. Per quire.
lbs. 38 S. d. # 8, d.
Royal H. P., N, & R 70 0 0 6 || 0 11 3
Imperial H P, N, & B 90 0 0 9 0 14 3'
$ 2 H. P., N, & R 110 || 0 0 10 || 0 17 3
7 * H. P., N, & B 140 0 1 0 || 1 2 3
Double Elephant H P & N 210 0 1 6 1 13 3
"WELLUIMI IDEAWING IPAPERS.
Of a delicate tint, stout, and very smooth surface, manufactured
expressly for Illuminating.
º *; Per quire.
8. Cº., 8, 6.
Imperial, 30 in. by 21 in. . ſº ſº o 0 1 0 1 1 0
Royal, 24 in. by 19 in. . . . 0 0 9 || 0 15 0
Transfer and tracing papers.
52, RATHBONE PLACE, AND 29, OXFORD STREET. 19
TURNBULL’S SUPERIOR BRISTOL BOARDS.
Size. Per Sheet. y
2 Sheet. 3 Sheet. 4 Sheet. 6 Sheet.
8, d. S. d. S. d. S. d.
Foolscap . o 15 in. by 12 O 3 || 0 4 || 0 6 || 0 9
Demy 18 ,, 14 0 4 || 0 6 || 0 8 || 1 0
Medium . * > 20} , 16 O 5 O 8 0 11 1 4
Royal . º 22 ,, 17% 0 7 0 10 I 2 1 9
Imperial . ſº 28 , 20 1 1 i 6 || 2 0 || 3 O
IROWINEY'S BRISTOL BOARDS.
Size. Per Sheet.
2 Sheet. 3 sheet 4. Sheet. 6 Sheet.
S. d. S. d. S. d. S. d.
Foolscap . . 153 in. by 12 0 3 || 0 4 || 0 5 || () 7
Demy . gº 18} , 14 0 4 || 0 5 || 0 6 || 0 9
Medium . ſº 20: ,, 16 O 5 O 6 0 8 1 0
Royal 22 ,, 17 O 6 O 8 0 1() 1 4


ROWNEY'S PACKETS OF DFAWING BOARDS,
CONTAINING ONE DOZEN EACH.

Size. Per packet.
2. Sheet 3 Sheet. 4. Sheet.
S. d. S. d. 3. d.
Royal 8vo º 8} in. by ; 0 10 I 3 1 9
Demy 4to . e 8%. , 6. 1 O 1 6 2 O
Medium 4to . 9:# , 7} 1 6 2 2 2 9
Imperial 8vo. 10 , 6% 1 6 2 3 3 O
Royal 4to . & 11 , 8% 1 9 2 8 3 6
Imperial 4to . e 13# , 10 2 9 4 0 5 6
WHITE MOUNTING IBOARDS.
Size. Per Sheet.
3 Sheet, 4 Sheet. 6 Sheet. |8. Sheet.
S. d. S. d. s. d. 8. d.
Demy . ſº 18 in. by 14} | 0 3 || 0 4 || 0 6 || 0 8
Ralf Imperial . 21 , 14% | 0 3 || 0 4 || 0 6 || 0 8
Royal . . Q 22} , 18 O 4 || 0 5 || 0 7 || 0 9
Imperial º 28} , 21 -0 5 || 0 7 || 0 11 || 1 2
Atlas º º 33 , 26 tº- 1 4 || 1 9 || 2 3
Double Elephan 38 , 26 tº- I 6 || 2 0 || 2 6
Double Imperial 42 ºr 28} tº- --> 2 8 3 5
Antiquarian . 54 , 86 *mºnºg — 7 6 10 0
B 2.
20 GEORGE ROWNEY & Co.,
FR EN CH MAT MOUNTS.
WITH GOLD BEVELLED EDGE AND ADDITIONAL GOLD LINE IF REQUIRED,
If ordering either Mats or Passe-Partouts, the shape, with the size
required, should be mentioned.
|
i
||||||
| º
IMATS CUT FIROM 6–SHEET IVIOUINTING BOARDS.
Crepé
(or º Tinted. White.
Each. Each. Each.
s. d. s. d. S. d.
Imperial 4to. () 8 O 8 0 7
Half ditto . 1 4 1 6 1 ()
Royal 1 9 1 7 | 3
Imperial 2 3 2 6 1 9
Atlas . - - - 5 () 3 ()
Double Elephant - 5 3 3 3
Double Imperial - 7 () 4 2
Antiquarian - - 11 3
PASSE-PARTOUTS for CARTES-DE-VISITE,
CABINET POIRTRAITS, &c., made on a very short notice.

52, RATHBONE PLACE, AND 29, OXFORD STREET. 21
SOLID SKETCH B00KS AND BLOCKS.
These Books consist of a number of sheets of paper, compressed so
as to form a solid block, each sheet of which is to be separated by
inserting a knife underneath the uppermost sheet, and passing it round
the edge.
SOLID SKETCH B00KS AND BLOCKS,
MADE OF WHATMAN's THICK PAPERs.
32 Surfaces. Size. i. *.
Each. Each.
s. d. S. d.
Imperial 32mo - - 5 in. by 3} 1 3 2 6
Royal 16mo - - 5% , # 1 8 2 9
Imperial a - - - 7 , 5 2 3 3 6
Royal 8vo - - 9 × 5% 2 9 4. ()
Imperial, - - - 10 , 7 3 9 5 3
,, 6mo - - 14 , 7 4 6 7 3
Royal 4to - - - 11} , 9 4 6 7 3
Imperial, . - - 14 , 10 7 3 10 6
,, 3mo . - - 20 ,, 9} 9 6 14. 9
Half Royal . - - 18 , 11} 10 0 16 ()
, Imperial - - 20 , 14 14 0 20 0

22 GEORGE ROWNEY & Co.,
Solid sketch books and blocks—continued,
SOLID SKETCH BOOKS AND BLOCKS,
MADE OF WHATMAN's ExTRA THIOK PAPERS.

{ 32 Surfaces. . Size. i. tº.
Each. Each.
- S. d. S. d.
Imperial 16mo . g © 7 in, by 5 2 9 4 0
Double Elephant 16mo . 9 , 6 4 3 5 9
Imperial 8vo e & • 10 , 7 5 0 6 6
3 * 6mo e ſº 14 , 7 6 6 9 3
Double Elephant 8vo . | 12 , , 9 7 9 || 10 9
Imperial 4to . * > © 14 , 10 9 6 || 12 6
3 y 3mo º tº e 20 , 9} 12 6 | 16 0
Double Elephant 4to . 18 , 12 15 9 || 21 6
Half Imperial . º g 20 , 14 19 0 || 25 0
SOLID SKETCH B00KS AND BLOCKS,
MADE OF THICE MACHINE MADE TINTED CRAYON PAPERS.
32 Surfaces. Size, i. tºº.
Each. Each.
& 8. d. 8. d.
Imperial 12mo . ge ſº 5 in. by 3 1 0 2 3
Royal 16mo . . . 5%. , # 1. 3 2 6
Imperial, . ſº * 7 , 5 1 6 2 9
Royal 8vo wº e e 9 , 5} 2 2 3 6
Imperial, . e cº o 10 , 7 2 6 4 2
} ,, 6mo . * s 14 ,, 7 3 6 6 0
Royal 4to © o © 11} , 9 4 0 6 3
Imperial, tº ſº o 14 , 10 § 0 7 '8
,, 3mo • . e 20 , 9 7 2 | 12 9
Half Royal © * , ſº 18 , , 11 8 0 || 13 6
, Imperial . e ſº 20 , 14 9 6 || 15 6
SKETCHING PORTFOLIOS,
WITH JAPANNED TIN FRAME FOR SECURING THE PAPER IN USE, AND WITH
POCKET TO CONTAIN THE SKETCHES AND A SUPPLY OF PAPER.
Size. Fº
** 8.
Imperial 8vo ſº * > tº º º 11 in. by 7 5 ()
Royal 4to º te º ſº tº 12 , , 9 6 0
Imperial, . . . & © e 15 in 11 7 6
Half Royal . <º tº Q 19 , 12 || 11 0
Double Elephant 4to tº o c 18 m. 12% 12 0
Half Imperial . . . . . 22 , 15 15 0
52, RATHBONE PLACE, AND 29, OXFORD STREET. 23
MADE OF WHATMAN's HAND-MADE DRAWING PAPERs.
Half-bound, cloth sides, roan back, gilt. Forty leaves.
To fasten with elastic band.
Size. Each.
£ s. d.
Imperial 32mo . - 5 in. by 3} 0 1 6
,, 16mo 7 ,, 5 0 2 4
Demy 8vo - - - - 7 , 4} 0 1 10
Medium, . - - - 8 , 5 0 2 4
Royal n - - - - 9 ,, 5} O 3 O
Imperial, . - - - 10 ,, 7 0 4 6
Demy 4to - - - 9} , 7 O 3 O
Medium 4to - - - 10%. , 8 0 4 6
Royal , . . . . . ii; , ; 0 4 9
Super-royal 4to . - - 13 , 9 0 5 6
Imperial xx - - - - 14} , 10 0 7 0
The above are made of “Hot-pressed” paper.
-
SKETCH B00KS.
MADE OF TINTED CRAYON PAPERS–MACHINE MADE.
Half-bound, cloth sides, roam backs, gilt. Forty leaves.
To fasten with elastic band.
Size. ..ºh.
S.
Imperial 32mo. - - - 5 in. by 3} 0 1
,, 16mo . - - 7 , 5 0 2
Royal 8vo - - - - 9 , 5} 0 2
Imperial 8vo - - - 10 , 7 0 4
Royal 4to - - - - 11} , 9 0 4
Imperial 4to . - - - 14; , 10 () 6
-
i

24 GEORGE ROWNEY & Co.,
D R A WIN G B O A R D S.
SHIFTING PANEL AND CLAMPED DRAWING B0ARDS,
MADE BY MACHINERY.
SHIFTING PANEL BOARD.
DEAL CLAMPED.
Mahogany
Size. * º -
Each. ºn.
36 s. d. 36 s. d.
4to Demy 8 in. by 6 () 3 6 -
, Royal. - 10} , 8 0 4 6 || 0 () 9
, Super Royal 12 , 8% 0 5 0 -
,, Imperial 13. , 9 0 5 6 || 0 1 2
,, Columbier 15 , 11 0 6 0 || 0 1 6
Half Medium 15 , 10} 0 6 O -
Half Royal - 17 , 10; 0 6 9 || 0 1 9
Half Imperial . . 19 , 13% 0 7 6 || 0 2 ()
Half Imperial, full siz 23 , 16" - 0 2 10
Demy - - 18 13 0 7 6 || 0 1 10
Medium 20% , # 0 8 3 || 0 2 8
Royal 22 ,, 17 0 10 6 || 0 3 ()
Imperial . - 28 ,, 19 0 16 0 || 0 4 0
Imperial, full size. 31 , 23 - O 5 3
Half Antiquarian 28 , 23 0 19 () -
Columbier 32 , 21 1 1 0 || 0 5 3
Double Elephant 38 , 24 - 0 10 0
Dble. Elephant, full size 42 , 29 - () 11 3
Antiquarian . - - 50 , 29 - () 13 0


5
2
5
+)
-
, RATHBONE PLACE, AND 29, OXFORD STREET.
Drawing boards—continued.
MAHOGANY PINNED DRAWING BOARDS,
WITH IMPROVED CLIPS TO AVOID STRINGS.
Size. Plain. "..."
Each. Each.
s. d. £ s. d.
4to Imperial . - - 15 in. by 11 8 6 0 13 ()
4to Double Elephant . 20 ,, 13 13 0 0 18 6
Half Imperial 22 , , 15 14 6 1 () ()
PEAR TREE FLAT RULES.
Length. Each. Length. Each.
s. d. s. d.
12 inches - - () 3 24 inches 0 7
15 , , - () 4 30 ,, O 9
18 , , 0 5 36 y, 1 3
21 , , () 6 42 , 1 6
Pear
TREE FLAT RULES WITH INLAID BRASS EDGE.
SUPERIOR PEAR TREE SET SQUARES.
EBONITE SET SQUARES.
PEAR TREE T SQUARES.
ARCHITECTURAL CURWES.

26
GEORGE ROWNEY & Co.,
PORTFOLIOS
WITH CLOTH SIDES, SILK STRINGS, AND LEATHER BACKs.
º
. |
Half Demy
4to. Imperial
Music Size
Ditto, with bars.
Half Medium
,, Super Royal
, Imperial
Demy
Medium
Royal - -
Super Royal .
Imperial
Full Imperial
Large Atlas
Double Elephant
, Imperial .
Size. Plain. With flaps.
Each. Each.
:É s. d. £ s. d.
15 in. by 10 0 2 0 || 0 2 8
15 , 11 0 2 3 () 3 ()
16 , 11 0 2 3 || 0 3 O
16 , 11 () 4 0 -
17 , 11} | 0 2 8 || 0 3 3
19 , 13 () 3 9 || 0 4 9
21 , 15 O 5 () || 0 6 ()
20 ,, 15 () 4 0 || 0 5 6
22 , 17 0 5 () () 6 ()
24 ,, 19 0 6 0 || 0 7 6
27 ,, 19 0 7 6 O 9 ()
29 , 21 () 11 6 0 14 6
31 , , 22 0 12 9 || 0 16 6
33 ,, 26 0 14 6 || 0 19 6
40 , 28 1 4 0 || 1 10 6
44 a 30 1 13 0 || 2 2 ()
Portfolios made to order of any size or description.
COMMON PORTFOLIOS,
FOR SCHOOLS OF DESIGN, ETC., PAPER SIDES, AND CLOTH BACKS.
Half Imperial
Royal
Imperial
| - Size. Plain. With flaps.
Each. Each.
£ s. d. £ s. d.
21 in. by 15 () 3 () () 4 ()
24 , 19 () 3 6 0 5 ()
31 , 22 () 6 () O 9 (5
Common MUSIC Port Folios, with Elastic Bands, 1s. each.

B L A C P& L E A D P E N C I L S.
PRIZE MEDAL AWARDED, INTERNATIONAL EXHIBITION, 1862.
GEORGE FOWNEY & CO.’S.
I M P R O V E D D F A VV I N G P E N C I L S.
Neatly got up in polished cedar, in order to prevent the lead dust adhering to the pencil, and consequently soiling the fingers,
PENCIL MANUFACTURERS TO HER MAJESTY'S STATIONERY OFFICE AND SCHOOLS OF ART.
H Hard for sketching HHHH Extra hard for engineers BB Softer and very black
HH Harder for outlines HB Hard and black F Firm for ordinary drawing
HHH Very hard for architects. B Black for shading
2s. per dozen.
EXTRA LETTERS, MOST CAREFULLY PREPARED.
HHB Extra hard and black FF Very firm and double thick lead ---
DEHB Ditto, extra thick lead --- BBB Softer and very black, double thick lead
BBBB Extra soft and black 6d. each, or 5s. 6d. per dozen. BBBBBBB Very broad and black lead, ls. each or 10s. per doz.
4s. per dozen, }4. per dozen.
S;

G. RowNEY & Co.'s PENNY DRAwTMG PENCILs.
WITH the view of enabling the working classes to avail themselves of the advantages presented by the many Schools of Design
and Classes recently opened for the instruction of Drawing in its various branches, and to supply themselves with good
materials at a low price, Messrs. R. and Co. have devoted their attention to the production of a Penny Drawing Pencil, of
a quality sufficiently good for general purposes. The Pencils are manufactured of four degrees—hard, middle, soft, and
very soft, in polished cedar.
1s. per dozen.
B Soft, coloured black 71. - - - - -
BB Very soft 27 - - -
Each pencil is stamped in silver thus—“GEORGE ROWNEY & COMPY.”
Cases containing three pencils, 6d. each.
G. ROVVNEY & CO. 'S HALFPENNY PENCILS.
In polished and stained cedar, stamped in silver—“G. ROWNEY & Co.” ... 6d. per dozen.

52, RATHBONE PLACE, AND 29, OXFORD STREET. 2
GEORGE ROWNEY & CO.’S
COLOUR E D C R A Y O NS, ETC.,
MANUFACTURED OF THE FINEST MATERIALS.
POINTED CRAYONS.
These are hard crayons, which work with great evenness and freedom.
S. d.
Boxes containing 12 - - ... per box 1 0
-> » 18 - - - - - - 27 1 6
-> * > 24 . - - - - - ,, 2 0
77 ,, , 36 - - - * x 3 ()
Lake or vermilion, separately . - ... per dozen crayons 2 0
IMPROVED CRAYONS.
These are similar to the Swiss, rather harder, but of medium quality
and smaller.
8. d.
Boxes containing 12 - - - - - - per box 1 6
-- 77 18 . - - - - - ,, 2 3
7- -> 24 . - - - - - . , 3 0
)? ,, 36 ,, 4 6
77 7: 72 . . , 9 0
-- -> 144 . - - - - - ,, 18 0
Vermilion, lake, or cobalt, separately ... per dozen crayons 4 6

30 GEORGE ROWNEY & Co.,
*
SWISS CRAYONS.
These are very soft, and the material most in use for crayon drawing.
They are sold in glass tubes, which prevent the colours mingling.
£ s. d.
Boxes containing 12 . • e © e each 0 6 0
3 y 9 y 24 tº , c e e c G . , 0 10 6
3 y 99 36 © ſº e © g • © } } O 15 O
39 3 y 72 tº º e e o e . , 1 10 0
2 º' 2 y 144 . ve e tº ſº e , 3 0 0
Carmine, separately g . . º C o . , 0 2 0
Vermilion, lake, or cobalt . Jº gº e G O , 0 0 9
Ordinary tints º Q e . * o © G . ,, 0 0 4
FRENCH COLOURED CRAYONS.
Boxes containing 26 short . . . . each 3 3
37 39 99 © © © • e . , 5 8
3 y 3 y 56 , e Q tº tº e o ,, 7 0
5 y 55 25 semi-hard. ſº ſº ſe º . 1, 4, 6
}} , 50 m, , . te g . . ſº , 9 0
95 $ 2 100 , , tº tº ſº ſº . . , 18 0
99 39 12 soft . gº tº ſº º o ,, 3 8
COLOURED CRETA LAEWIS IN CEDAR.
Cases containing 12 well assorted tints . e c ... each 3 6
3] 35 18 92 y? ſº º © ſº 3) 5 0
99 3 y 24 35 y; * ſe © e 39 7 O
Vermilion Ç g o © tº e per dozen 3 9
Lake to c ę o g c tº © tº ,, . 6 O
Ordinary tints . . tº G th o e e 2 º' 3 0
CONTE CRAYONS. -
Square black Conté, Nos. 1, 2, and . . . per dozen 0 6
Square red . . e © º g © e J? 0 6
Round black, Nos. 1 and 2 . . te e e ,, . 1 0
Glazed * e º ſº o o g © o ,, 1 6
Brown . o o o © • © o c yy O 9
Black Conté crayons in polished cedar, Nos. 1 and 2 ?? 2 0
BOXES OF DRAWING MATERIALS,
Containing black and white chalks, charcoal, stumps, portcrayons, &c.
In Mahogany boxes • . . ſº * * ... each 2 6
In Deal g e . . º º Q ,, 1 0
\
52, RATHBONE PLACE, AND 29, OXFORD STREET. 31
GEORGE ROWNEY & C0. 'S
BRUSHES FOR WATER – COLOUR
DRAWING.
SABLE HAIR PENCILS.
-memºry MINIATURE.
Dome-pointed, tied with gold wire.
Red. Brown.
S. d. S. d.
Large eagle - - - - ... each - 18 9
Small eagle . - - - - • ?: - 15 0
Extra large swan - - - - 77 7 6 7 6
Large swan - - . . . - • 27 6 0 6 0
Middle swan - - - - - 27 5 0 4 6
Small swan - - - - - • 72 3 9 3 0
Extra small swan - - - - 22 3 0 2 3
Extra large goose . - - - • ?: 2 0 1 6
Large goose - - - - - * * 1 8 1 3
Goose . - - - - - • * > 1 3 1 0
Small goose - - - - - » 1 0 0 9
Large duck 57 0 9 0 8
Duck - - - - - 27 0 8 0 6
Crow - - - - - - • * > 0 4 0 4
Miniature 7: O 5 0 4

32
GEORGE ROWNEY & Co.,
BROWN SABLE BRUSHES,
IN GERMAN SILVER FERULES, AND POLISHED HANDLES.
VERY FINE QUALITY.
y
27
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RED SABLE BRUSHES,
ERULES, AND POLISHED HANDLES.
IN GERMAN SILVER F
VERY FINE QUALITY.
7
77
No. 4 round or flat each
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3
6
1.
1.
1.
2
72
No. 1 round or flat, each








52, RATHBONE PLACE, AND 29, OXFORD STREET. 33
PHOTOGRAPHIC SABLES IN TIN, 6d. each.
DYED OR RED SABLE HAIR BRUSHES.
IN METAL FERULES, POLISHED HANDLES.
Round. Flat.
8. d 6. d. s. d.
No. 1, Round or Flat, each 0 6||No. 7, each 3 3 2 8
2x 2, -> -> - 77 O 8 xx 8, ** * 4. 2 3 6
xx 3, 2- 77 7: 0 10 77 9, 77 5 8 4. 6
2, 4, -> 27 7: 1 0 || , 10, » 6 9 || 5 3
71 5, -> 7- 71 1 4 » 11, 2. 8 3 6 6
» 6, 27 17 77 1 8 » 12, 77 9 9 7 6
FRENCH CAMEL HAIR BRUSHES,
s. d.
Small crow . - ... each 0 1
Crow - - - - - - - - - ,, 0 }.
Duck . - - - - - - - - - - , 0 1%
Large duck - ,, 0 1%
Small goose - ,, 0 2
Goose ,, 0 2
Large goose - ,, 0 3
Swan, No. 1 ,, 0 6
-> » 2 -> O 9
-> -> 3 - -> 1 0
7: » 4. 7- 1 3
-> » 5 - * x 2 0
SMALL Swan.
Large swan quill camels - - - - ... each 0 4
Small swan quill camels - - - - ,, 0 3
Extra small swan quill camels - - - ,, 0 2
Full goose camels . - - , 0 2


84 GEORGE ROWNEY & Co.,
EA S E L S.
M A D E B Y M A C H IN E ER Y.
TABLE EASELS.
Height. *}
S. -
18 in. Deal table easels . 3 9
21 , , Ditto 4 6
24 , Ditto . . 5 3
18 , |Mahogany table easels 5 3
21 ., Ditto . 6 0
24 , Ditto . - 6 9
18 { Deal table easels, with
77 sliding frame 5 3
21 ,, Ditto . 6 ()
24 ,, Ditto - - 6 9
18 { Mahogany table easels,
-> with sliding frame 6 9
21 , , Ditto 7. 9
24 , Ditto . - . 9 0
French polished, 3s. extra.
Folding easel, closed.
8. d.
Deal forked easel, 5 ft. or 6 ft. high - - - ... each 7 6
Ditto—portable folding - - - - - ,, 12 6
Mahogany forked easel - - - - - . , 13 6
Litto—portable folding - - - - - ,, 19 6
MAHOCANY EASELS.
- 42 s. d.
Mahogany framed easels - - - each 1 0 0
Ditto rack easels, 5 ft. 3 in. sliding panel . ,, 1 14 0
Ditto 6 ft. ditto . - . , 2 5 0
Ditto 5 ft. 6 in. sliding frame . - ,, 2 14 0
Ditto 6 ft. ditto ,, 3 0 0
Ditto 4 ft. sliding panel . - - ,, 1 11 6
Ditto ditto, polished - ,, 2 2 0
Ditto with sliding frame - ,, 1 16 0
Ditto ditto polished ,, 2 6 0
DEAL EASELS.
Deal framed easels . - - - - - ... each 0 11 6
Deal rack easel, 5 ft. 3 in., with sliding panel ,, 1 13 0
Ditto ditto with sliding frame ,, 2 0 0
Ditto 4 ft. sliding panel. - - ,, 1 1 0
Ditto ditto, with sliding frame 1 4 0



52, RATHBONE PLACE, AND 29, OXFORD STREET. 35
PORTABLE SKETCHING EASEL IN CASE.
Fae,
S. -
Ash, 5 feet or 6 feet . - - - - - - - A 9 ()
Mahogany, or Walnut-Wood, 5 feet - - - - 11 6
Ditto, ditto . 6 , . - - - . 13 0
Ditto, French Polished . 5 , - - - - 16 ()
6
Ditto, ditto - - 6 , - - - - . 17
THE GERMAN SKETCHING SEAT AND EASEL
COMBINED.
ADAPTED FOR EITHER OIL OR WATER-COLOUR SEETCHING.
Price £1 4s. each.
THE EASEL, OPEN. CLOSED.
The same principle has been adapted for the use of Ladies, and is
equally serviceable and portable. Price £1 13s. each.
KNAPSACK EASEL.
Similar to the German easel, with the addition of a waterproof case
and straps. The interior has sufficient space to contain the requisites
of a walking tour. Price £2 2s. each.
Square SEAT, similar to above illustration, without the easel.
Price 10s. 6d. each.
G 2








36 GEORGE ROWNEY & Co.,
SKETCHING STOOLS.
Sketching Stools, with loose
seat, 18 inches long .
Ditto 21
Ditto 24
Ditto with seat enclosed, 18
inches long . - -
* Ditto with ditto, 21 in. long
Ditto with ditto, 21 77
SKETCHING ST00L, OPEN.
WALKING-STICK
SKETCHING ST00LS.
Each.
s. d.
With plain top . . 8 0
With screw ditto . . 11 0
With hook handle . 15 0
WALKING-STICK, OPEN.
CLOSED.




52, RATHBONE PLACE, AND 29, OXFORD STREET. 37
GEORGE ROWNEY & Co.'s
FIN E AFT P U BLICATIONS.
LITHOGRAPHIC DRAWING BOOKS AND STUDIES.
BARNARD’S ELEMENTARY STUDIES OF TREES. Second Series,
comprising Three Numbers, 2s. each. Size, 15 by 11.
BAYFIELD'S STUDIES OF FLOWERS. Twelve Plates, 6d. each, plain.
The set coloured and in portfolio, 12s. 6d. Size, 15 by 11.
BRIGHT'S ADVANCED DRAWING BOOK, adapted for the Pencilling
Tints. Six Numbers, price 2s. each. Size, 15 by 11.
BRIGHT'S GRADUATED TINT STUDIES. Twenty-four Plates, 1s.
each. Size, 15 by 11. *
DICKSEE'S PRIMARY COURSE OF FREEHAND DRAWING. Twelve
plates, in cover, 3s. Size, 22 by 15.
DICKSEE'S FAMILLAR FREEHAND DRAWING COPIES. Twenty
plates, 2s. 6d. Size, 19 by 12}. -
DOLBY'S ARCHITECTURAL DRAWING BOOK. Six Numbers, 1s.
each. Size, 10 by 7. -
DOLBY'S EASY LESSONS IN WATER COLOUR. Six plates, 1s. each.
Size 10% by 73. -
DOLBY'S PICTURESQUE ARCHITECTURE. Six plates, 1s. each.
Size, 20 by 13%. The subjects are taken from original sketches by E.
Dolby, at Chartres, Amiens, Abbeville, Arques, and Rouen.
DOLBY'S MARINE AND RIVER STUDIES. Six Numbers, 1s. each. Size,
t 10% by 7. e - : *-
FISK'S STUDIES OF CONTINENTAL SCENERY. Two Parts, 2s. 6d.
each. Six Plates in each. Size, 14% by 10}.
GAWARNI'S RUSTIC STUDIES OF FIGURES. Six Plates, 2s. each.
Size, 21 by 15.
GAUCI'S ELEMENTARY DRAWING BOOK OF TREES. Twelve
Numbers, 1s. each. Size, 10 by 7. - •
GAUCI'S STUDIES OF TREES. Twelve Plates, 1s. each. Size, 21 by 15.
GOODALL’S PORTFOLIO STUDIES. Seven Plates, 1s. 6d. each. Size,
22 by 15. The above are fac-Simile copies of the original studies for the
celebrated picture of the “Conscript's Departure.”
GREEN'S SECOND DRAWING BOOK, adapted for the Pencilling Tints.
Six Numbers, 2s. 6d. each. Size, 15 by 11.
GREEN'S FIRST STUDIES OF LANDSCAPE. Six Numbers, 6d, each.
Size, 9} by 6%. . -
38 GEORGE ROWNEY & Co.,
GREEN'S SEPIA DRAWING LESSONS. Six Numbers, 1s. each. Size,
9} by 63. Each number contains one subject in three stages.
GREEN'S ELEMENTARY LESSONS. Twenty-four Plates, 6d, each.
Size, 15 by 11. -
GREEN'S ADVANCED LESSONS, on Tinted Paper. Six Plates, 1s. 6d.
each. Size, 22 by 15.
GREEN'S ELEMENTARY LESSONS IN WATER-COLOUR PAINT-
ING. Six Numbers, 6s. each. Size, 13 by 10. Each number con-
tains one subject in four stages.
GREEN'S ADVANCED LESSONS IN WATER-COLOUR PAINTING.
Six Numbers, 10s. 6d. each. Size, 18 by 12. Each number contains
one subject in four stages.
GREEN'S ILLUSTRATIONS OF THE FIVE ORDERS OF ARCHI-
TECTURE. Six Plates, 2s. 6d. each. Size, 21 by 15.
GREEN'S SKETCH BOOK. Part I. Six Plates, 4s. the Part: Single
Plates, 9d. each. Size, 22 by 15.
GREEN'S SKETCH BOOK. Part II. Six Plates, 6s. 'the Part. Size,
22 by 15. !
GlèEEN'S SKETCH BOOK. Part III. Six Plates, 6s. the Part. Size,
22 by 15. -
GREEN'S SKETCH BOOK. Part IV. Six Plates, 6s. the Part. Size,
22 by 15.
GREEN'S SKETCH BOOK. Part W. Six Plates, 6s. the Part. Size,
22 by 15.
GREEN'S SYSTEM OF INSTRUCTION IN LANDSCAPE DRAWING,
PART 1. Elementary Form, and Perspective. Six Numbers, 3s. each.
Size, 15 by 11.
PART 2. Elementary Shading, Studies of Cottages, Rustic Buildings,
&c. Six Numbers, 2s. 6d. each. Size, 15 by 11.
PART 3. Elementary Foliage, Studies of Trees and general Landscape.
Six Numbers, 2s. each. Size, 15 by 11.
HARPER'S EASY COURSE OF LANDSCAPE DRAWING LESSONS.
Six Numbers, 6d, each. Size, 9% by 6%.
HARPER'S ADVANCED STUDIES OF LANDSCAPE SCENERY,
on Tinted Paper, Twelve Plates, ls, each. Size, 20 by 13%.
HARPER'S ELEMENTARY DRAWING BOOK OF TREES. Six
Numbers, 1s. each. Size, 13 by 10.
HICKS'S RUSTIC FIGURES. Three Parts. Six Plates in each. 6s. per
Part. Size, 15 by 11. -
Per Part.
HICKS'S STUDIES OF THE HUMAN FIGURE. 8. d.
PART 1. Standing Figures, in Outline, in Three Stages ... 4 0
,, 2 & 3. Standing Figures, in Outline, and Slightly Shaded 6 0
, 4 & 5. Figures in Action, Outlined, and Slightly Shaded 6 0
G º & © ... 8 0
, 6. Finished Groups ... * * * ſº &
52, RATHBONE PLACE, AND 29, OXFORD STREET. 39
JACKSON'S ART INSTRUCTOR. Fourteen Plates. 6s, Size, 15 by 11.
JACKSON'S SYSTEM OF DRAWING, founded upon Natural Principles.
24 Plates, with Letter-press, 5s. Single Plates, 3d. Size, 11 by 9.
NOBLE'S PROGRESSIVE LESSONS IN WATER-COLOUR PAINT-
ING. With Letter-press. Introductory number “On the Use of the
Brush," with Twelve Examples. Parts I. and II. (Sepia), 2s. 6d. each.
Part III. (Advanced Sepia), 8s. 6d. Part IV. (Finished Sepia), 8s. 6d.
Size, 15 by 11. The set complete, 14s. 6d. -
PHENEY'S ODDS AND ENDS. Six Numbers, 1s. each. Size, 10 by 7.
PHENEY'S, EARLY LANDSCAPE STUDIES. Six Numbers, 6d. each.
Size, 9% by 63.
RAZE'S AT HOME AND ABROAD, on Tinted Paper. Six Plates, 1s. 6d.
each. Size, 22 by 15.
RAZE'S ELEMENTARY LANDSCAPE DRAWING BOOK. Twelve
Numbers, 6d. each. Size, 94 by 63.
STARK'S DRAWING BOOK OF ANIMALS. Six Numbers, 1s. each.
Size, 10 by 7. -
STUDIES OF FIGURES IN TWO CRAYONS, after various Artists.
Twelve Plates, 1s. 6d. each. Size, 20 by 13%.
SYER'S PROGRESSIVE DRAWING BOOK. Six Numbers, 6d. each.
Size, 83 by 5}. -->
SYER'S PORTFOLIO STUDIES. Six Plates, 1s. 6d. each. Size, 21 by 15.
SYER'S RIVER SCENES AND SHIPPING. Six Numbers, 2s. each.
Size, 15 by 11. -
SYER'S ELEMENTARY DRAWING BOOK. Six Numbers, 1s. each.
Size, 10 by 7.
SYER'S EARLY LANDSCAPE DRAWING BOOK. Six Numbers, 1s.
each. Size, 10 by 7.
SYER'S RUSTIC SCENES. Six Numbers, 1s. each. Size, 10 by 7.
Single Proof Sheets, Twenty-four Plates, on large Tinted Paper, 6d. each.
SYER'S ADVANCED DRAWING BOOK. Six Numbers, ls. each. Size,
10 by 7.
SYER.—LEAVES FROM SYER'S SKETCH BOOK. Three Parts. Six
Plates each, 4s. the Part; or Single Plates, 9d. Size, 16 by 12.
TEMPLETON'S STUDIES IN THREE CRAYONS. Six Plates, 3s.
each, plain. Size, 27 by 20. -
TEMPLETON'S ELEMENTARY DRAWING BOOK OF THE HUMAN
FIGURE. Twelve Numbers, 1s. each. Size, 10 by 7.
WALTON'S ADVANCED DRAWING BOOK, adapted for the Pencilling
Tints. Six Numbers, 1s. 6d. each. Size, 13% by 10. 2
WEIGALL’S DRAWING BOOK OF ANIMALS. Twelve Numbers, 6d.
each. Size, 9% by 6%.
WILLIS'S STUDIES OF CATTLE AND RUSTIC FIGURES. Six
Numbers, at 2s. each. Size, 15 by 11,
GEORGE ROWNEY & CO.,
º
GEORGE ROWNEY & Co.'s
CHFOMO-LITHOGRAPHS.
OR FAC-SIMILE water-COLOUR DRAwINGs.
Miº jºis; SES DERIDIN E Artist's Name. IPrice.
y 18 —ULYSSES DER G. POLYPHEMUS
;Pºtºs ºus .w.m. rºs., R.A. a 9
, , Ditto, Ditto, Artists' Copies & e e e - 105 ().
$3 m. *—vºge. THE DOGANA, CAMPANILE
ST MARCO, DUCAL PALACE;
#IBGE Öºsiółłs, 3.5 J. W. M. Tuksºn, R.A. 83 °
Painting) . g ſº *
244, 293–COMING THROUGH THE SNOW . . E. J. Cobbett . . 52 6
33 m. 203–CROSSING THE STREAM o ( : . H. J. Bodpingron . 52 6
30} ,, 183—The WOODEN WALLS of OLD ENGLAND. C. STANFIELD, R.A. . . 52 6
22# , 27 —AMALFI . º e e © . . . T. M. RICHARDSON .. 42 0
27 m 183–THE CANAL OF THE GUIDECCA AND
* **4 CHURCH OF THE JESUITS, §’; C. STANFIELD, R.A. . 42 0
30+ in 17 —TOWN AND LAKE OF LUGANO * . T. L. RowboTEAM: . 42 0.
30+ , 17 —MARKET PLACE, PALLANZA sº tº 59 . 42 0
20 , , 24 —HAPPY HOURS . © e e - . J. J. HILL º . 42 0
20 m, 24 —TIRED OUT . . . . . . . 99 . . 42 0.
17# , 22 —THE MAY QUEEN . . . . . • y . . 42 0.
By the kindness of HRR Most GRAcrous MAJESTY, the Publishers have been enabled to
add to their eollection a subject of great interest, as well as of high quality as a work
of art, viz — - -
“THE GAVE BENEATH THE HOLY ROCK, JERUSALEM,”
- Size, 20 by 14. Price 31s 6d.
|Painted by CARI, HAAg, at the express command of the Queen. The chromo-litho-
graphed copy exhibited is as accurate as it is possible to be ; and, independent of its
imerit as a work of art, must possess great interest to all classes from the strong
evidence that exists that the spot depicted was probably the burial place of Christ.
On this it is not necessary to dilate, beyond stating that the name given by Christian
sects to the surrounding building, “The Mosque of Omar,” is denied to it by the
Moslems, who have held it in their possession för many centuries, that the style of
architecture is Christian, of the time of Constantime, and exactly corresponds with a
buildin erected by him over the tomb of his sister. History records that Constantine
did build a church over the Holy Sepulchre; but the church at Jerusalem which is at
present shown as the place of entombment is not the architecture of Constantine's
period, and does not in any way correspond with the description given of it by
ancient writers. For further particulars on this interesting subject the reader is
referred to Fergusson's works on the topography of Jerusalem, &c.
The cave itself is held in especial veneration by all sects. The Mahometans, who retain
possession of it, admit nºne but their co-religionists to enter on account of its sacred
character; and a special firman was required to enable Mr. Carl Haag to take a
sketch of the spot.
52, RATHBONE PLACE, AND 29, OXFORD STREET.
41
Width. Height. 4 - Artist's Name . Price.
254 by 174—MARKET BOAT ON THE SCHELD . C. STANFIELD, R.A. 31 6
194, 24 —THE WATER RAT'S HOME * a . J. HARLY, Jun. . 31 6
18; , 234–RUSTIC THOUGHTS . . . . W. T. Dobson . . 31 6
21: ,, 26#–SPANIEL AND BLACK COCK . . . R. ANSDELL. A. R.A. 31 6
283 n 19 —LAKE OF COMO . . tº ſº . C. STANFIELD, R.A. 31 6
20 m, 24 –CROSSING THE FORD & tº e . W. MULREADY, R.A. - 31 6
- From the celebrated Picture in the Vernon Gallery.
27 ºn 14 –FINDHORN RIVER, MoRAYSHIRE . . . . T. M. RICHARDSON .. 31 6
24 ,, 15%—LAKE OF COMO . gº tº & s { } 29 . . 31 6
25} , 173—COMO g s g tº © e J . T. Collingwood SMITH 31 6
25 , , 17 –GIBRALTAR. . . g © tº tº tº 99 ſº 31 6
17# 1, 25 —ANTWERP CATHEDRAL . tº . . E. T. DoDBY 31 6
17# , 25 –CATHEDRAL, CHARTRES . . . . º . . 31 6
213 , 24 –COTTAGE IN THE WOOD . tº . . F. R. LEE, R.A.. . . 31 6
30 n 13 —THE LIFE BOAT . . . . . — HáRBERT . 31 6
264 m isi-Neºisºnstein AND castle or, T. L. RowboTHAM 31 6
26; , 16;-OBERWESSEL ON THE RHINE tº º * 9 º 31 6
25;} , 173—MATTEREIORN . gº tº te - 9 º' e 31 6
254 m 173–GRÜNDELWALD to e C e 25 ſ'. . . 3, 6
25 m 17–RETURNING FROM MARKE © e . SIR. A. CALcott, R.A. 31 6
26 , 17 –BETTWS-Y-COED, NoFTH WALEs. g . J. G. READ . 31 6
26 17 —FALLS or THE LLUGWY, North WALEs . 32 tº c 3| 6
26 18 —URI RODHSTOCK F THE F tº &
º CANTons) . C & (LAKE O G g º J. BUTLER . . . 31 6
26 ,, 18 —GOESCHENEN (PAss of THE ST. GoTHARD) . 99 wº . . 31 6
26 ,, 18 —THE JUNGFRAU (BURNESE OBERLAND) . º gº tº . 31 6
18} , 24–FALLS of THE REICHENBACH, NEAR MEIRINGEN , " . 31 6
26 ,, 183—WALLEY of LAUTER BRUNNEN . • * , , - 31 6
18 , , 24%–INTERIOR OF ST. PAUL’S, ANTweRP . S. READ 31 -6
17# , 23#—ST. WINFRAU, ABBEv11.I.E. . . . . L. J. Wood , 31 6
17# , 23#–CATHEDRAL AT HUY ON THE MEUSE
- BELGIUM g s © & º e º º & 31 6
19%. , 23#—BRIDGE OF BADIA, ON THE ARNO . T. M. RICHARDson 31 6
204, 233–RAGUSA, ON THE ADRIATIC . ge e 9 3 31 6
19%. , 233—THE VILLAGE BELLE (oval) . . . J. J. HILL . & . 31 6
193 , 23#–CROSSING THE MOOR (oval) . . . . 29 . . 31 6
17# ,, 20 —THE SETTER AND BLACK COCK (oval) H. HARDx . 25 0
17}, 20 —A ROUGH CUSTOMER (oval) gº . T. EARL º . 25 0
14, 193—THOUGHTS OF HOME s g ſº ... GUIDO HACH . gº ... 25 0
14+ , , 94–THE COTTAGE NURSE . . . . . BIRKET FosTEB . . 25 9
14; , , 93—BOAT RACE e tº º tº tº 2 3 . . 25 0.
14} , 93–RUSTIC STILE . e º tº a e $3. 25 0
14} , , 9}=–SUMMER • B e. e º 'º gº $ ) . . 25 0
13; ., 19;-ON THE SANDS . * * e * . G. EI. THOMAs . . . . 25 0
14+ , 20+-IN THE WOODS . . * g º tº * 9 25 0
234 a 14 —DIEPPE CASTLE . . º . . . J. BURGESS 25 0
22# , 145–MELROSE ABBEY . gº tº e w . J. BURRELL SMITH 25 0
22#., 14–DRYBURGH ABBEY . c tº gº * 55 º sº 25 0
28 n 15 —GRAND CANAL, WRNICE . . . . E. A. GooDALI, 25 0
15} , 22 —PONT ABERGLASLYN . . . . . T. M. RICHARDson 25 0
26 m, 11 –LAKE OF BRIENTZ . . . . . T. L. RowboTHAM 25 0
22 m, 15 –PONT-Y-GARTH, CAPEL CURIG . . J. SYER . . . 25 0
\
42
GEORGE ROWNEY & Co.,
Width. Height.
21 by 15 –SUMMER. . ſº º s g & s
21 m. 15 —WINTER . e g & º ſº tº s
21; , 16#–THE POACHERS . e te e ſº
13; , 174—CROSSING THE MOUNTAIN .
17# ,, 113—HARVEST FIELD, CHILDREN AT PLA
22 , 83–THE GULF OF TARENTA . e tº tº
22} , 143–RICHMOND CASTLE, YorkshTRE e
19; , 133–MILL NEAR RINGWOOD, HANTs . • *
21} , 14%—ISOLA LECCHI LAGO DI GUARDA, ITALY
21; a 12}–CITY OF FLORENCE . tº ſº tº º
213 n 14}—CLIFTON . . . s e tº ſº •
21 m 133—CLUSES, ON THE ROAD TO CHAMOUNI
21 m 14 —UNTERSEEN tº ſº tº •. , tº e
20; , 144–ETON COLLEGF. FROM THE THAMES ſº
21; , 143—VENICE . º º Q & s ſº • *
20# , 143–PEEP O' DAY. g g & © •
16 n. 203—THE STOLEN KISS ſº tº G tº ſº
19; , 14 —VENICE s C tº • - e G
14# , 183—EGLISE ST. JAQUES, CAEN . tº e is
19%. , 133–WATER-MILL, DoRKING ſº e e º
193 m, 134–HEIDELBERG • • © & ge
20 , 133—THE LAGO MAGG1ORE, with a VIEW
OF PALLANZA. g e tº tº }
23# , 83–NEAR CETARA, GULF of SALERNo te
23# , 83–NEAR CASTEL-A-MARE, BAY of NAPLEs .
24 , 9}–WHYMPFEN, on THE NECAR º e g
23# , 93–BRAUBACH, on THE RHINE, AND CASTLE
OF MARKSBURGH ge g tº
23# 1. #—ISOLA PESCATORE, LAGO MAGGIORE .
24 , 9}–AT MACCAGNO, LAGO MAGGIORE
20 m, 133–THE MARKET BOAT . e e G
18 , 113—A SKETCH OF ST. PAUL’S, from *}
SHOT TOWER. . g g tº
16# , 113–MACBETH AND THE MURDERERS or,
BANQUO o e d g
164, 113–MACBETH THE MURDERER of DUNCAN
19; , , 11 —ALMS GIVING . is d ſº ºn
14} , 194–CATHEDRAL PORCH, EvKEUx
14} , 193—ST. MACLOU, Rouen . e gº ©
14 , 113—ROUEN CATHEDRAL, WEST FRONT .
14; , 11%–ROUEN CATHEDRAL, SouTH TRANSEPT .
12 , 15 —THE REAPER (oval) . e © e o
17 , 113—MIT.KING TIME e º o ſº o
17# , 113—AUTUMN ON THE DOWNS o G te
21} , 13 —MOUNT ORGEUIL CASTLE, JERSEY.
15 ,, 194–THE NEW BROOM THAT SWEEPS CLEAN
20 , 13#—MAKING ALL TAUT, off Swansea . g
12 , , 173—THE FRAUENKIRCHE, NUREMBERG . g
11; , 173–GOTHIC RUINS, NoFMANDY . o e o
II , 16#—ROMAN RUINS, FISH MARKET, Rolſe
13 , 15%—AUTUMN FRUITS (oval) . * ſe ©
16} , 194–THE FOUNDLING (oval) . o g e
Artist's Name.
T. S. Cooper &
9 * s •
T. EARL e e
P. F. Pool.E., R.A. .
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99
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S. CoopFR, R.A.
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S. P. JACKSON
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$ 2 gº
BAxTER tº &
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Price.
25 0.
25 0
25 0
2
1
52, RATHBONE PLACE, AND 29, OXFORD STREET. 43
133–RATE KEARNEY (oval) . tº &
Width. Height. - Artist's Name Price.
184 by 184—FECAMP, Normandy . . . . . A. MARNY . 21 0
213 , 16#–THE INTRUDING PUP . . . . . T. EARL . . . 21 0
23 , 93—HARVEST TIME IN THE HIGHLANDS. T. M. RICHARDson. 21 0
21} , 143—ISOLA BELLA, LAGO MAGGIORE . . C. STANFIELD, R.A. 21 Q
143 ,, 20 —THE CATHEDRAL, ABBEvil LE . . E. T. Dolby . ge 21 0
17# , 14 —BAIT GATHERER. . . * * J. HENZELL o 21 0
17; , 14 –FRESH FROM THE MOUNTAIN . 22 : 21 0
21 , 9 —MIDLAND COMMON, SUSSEX GEo. SHALDERs 15 0
13# ,, 183—FOOD FOR BUNNY (oval) Mrs. BACKHouse 15 0
12 , 15 –FEEDING BUNNY g tº gº tº J. HARDY, Jun. . 15 0
| 94, 113–THE LITTLE STUDENT • , s M Rs. ANDERSON . . 15 0
16} , 12 —EVENING PRAYER tº s JOHN EMMS . 15 0
113, 14 –POOR LITTLE BESSIE (oval) . MRs. BACKHouse . . 15 0
10+ in 143—GIRL READING (oval) g ſº º . EMILY FARMER e 15 0
11} , 93–LITTLE BLUE EYES . . . . MRs. ANDERSON . 15 0
11} , 93–LITTLE BROWN EYES * * . . 15 0
20+ , 93–BOWES CASTLE, YorksHIRE • - . T. Col.I.INGwood SMITH 15 0
20+ , 143—ALKMAAR, NORTH HOLLAND CANAL. C. STANFIELD, R.A. 15 0
20 m, 11 –COLOGNE g g © ſº tº gº . WM. CALLOW 15 0
19; , 10#—FRANKFORT . tº tº º • . e y? ge 15 ()
19 , 103—THE CALABRIAN COAST . e e . T. L. RowboTHAM 15 0
19 m 104—THE BAY OF BAIAE . ſº e G º 99 - 15 0
21+ , 9 —THE GULF OF SPEZZIA. . tº tº º 22 . 15 0
19; , 7 —ORLA (LAKE of LUGANo) . . . . º . . 15 0
19; , 73–ANGERA (LAGo MAGGIOBE) . . . . 92 . . 15 0
19; , , 7#–CAPRI . g º G tº e G e 92 tº 15 0
19; , 73–GULF OF SALERNO e & a º g 15 0
19 , 74–COTTAGES NEAR BURLEY, HANTs . :3 . 15 0
19 in 73–VIEW NEAR SOPHLEY, HANTs . o © $ 2 g . I5 0
19 a 73–NEAR RINGWOOD, NEW FOREST, HANTs. $ 9 . . 15 0
19 , 74–NEAR CHRISTCHURCH, HANTs. e - G 33 . 15 0
19 , 73–ON THE MEDWAY . g ... • . 33 tº • 15 0
19 , 7# - ON THE THAMES, NEAR MAIDENHEAD 92 ſº 15 0.
18 m, 10#—COCHEM, ON THE MOSELLE . . . T. M. RICHARDson - 15 0
17# , 11 –COMO tº º e e • , a c $3 º - 15 0
16# , 113—COLUMBUS IN THE MONASTERY . G. CATTERMoLE . 15 6
16# ,, 12 —THE MILL-STREAM . tº º ſº . P. DEwint . - . 15 0
11; , 153—STREET IN VERONA . tº C. BENTLEY . . 15 0
11+ m, 16 —THE MADONNA AND CHILD . . . . WANDYKE * . 15 0
From the celebrated Picture in the Dulwich Gallery.
20# , 123–BARMOUTH . wº o o tº g . S. P. JACKSON . 15 0
19 in 11%–THE THAMES, NEAR WINDSOR . * > E. RICHARDSON . 15 0
11 is 9 —MAY BLOSSOM e tº • • e W. HUNT . . I5 0
11+ , , 7#–AUTUMN GATHERINGS-No. 1 º tº 33 ſe s . 15 0
113, 73–AUTUMN GATHERINGS-No. 2. gº d . 15 0
12 , 9 —SPARROW's NEST AND APPLE BLOSSOM 3 * . . . 15 0
20 10 —MILL-END LOCK, witH CATTLE . . T. F. WAINEWRIGHT - 15 0
20 , 10 —ON THE LODDEN, Oxon $3. º . 15 0
19 × 7#–AT BRAMBER g * e * ... • . T. L. RowboTHAM . • 15 0
19 , 7#–NEAR DORKING tº e 39 . 15 0
11+ , , 133–QUEEN OF HEARTS (oval) . & . C. BAxTER . 15 0.
lit sº Douglas CowPER . . 15 0
• * * * * =
• * *
44 s GEORGE ROWNEY & Co.,
Width. Height. Artist's Name. Price.
19 by 10 —OFF CARDIFF. TAKEN IN Tow . . . W. W. MAY . . . 15 - 0
19 , 10 —DUTCH FISHING BOATS. Schovening BEACH. Edwin HAYEs . 15 0
r
10 , 7 —FISHERMAN'S COTTAGE . . . . . BIRKET FostFR . . 12
9 , 6 —A SURREY LANE g & g . . BIRKET FostER . . 12
17 , , 113—ON THE DUTCH COAST . . . . T. S. Robins g . 12
17# , 83—THE THAMES (NEAR WARGRAve . . W. W. GOSLING . . 12
17# , 83–THE FERRY BOAT . . . . . C. J. Lewis . . . . 12
11 , , 13 —BEFORE THE ALTAR (oval) tº tº . M. N. H. tº o 12
19; , , 8 —LLYN MWYNGIL, NEAR Dolls RILY . . E. PENLEY . . . 12
19 - 8 –LLANRHYCHWYN, NEAR TREFRIW, 12
- North. WALEs . . . . . 3? ºn tº 9
18# , 7#—BUTTERMERE . . . . . . 32 . . . 12 ,
18# , 7#–ENNERDALE . . . . . . . . $y
19 ºr 10 –LOCH WENNACHER (SUNSET) . *s . AARON PENLEY . . . 12
,, 10 —LOCH LOMOND (MID-DAY) . . . . wº . . . 12
17 ºn 73–BRECON BRIDGE (South WALEs) . . T. L. RowboTHAM . 12
17# , 73–THE OLD FORD BRIDGE . . . . k
10# , 7#–A PEACEFUL EVENING . . . BIRKET FosrRR . . 12
13 , 93–THE SHEPHERD'S REST . . . J. SHALDERS . . 12
8; ;: 13#–TOO BIO T ſº • - e • • ... W. Hun'ſ g gº 12
7} , 9 —THE PET RABBITS . . . . . ... BIRKET FOSTER . • 12
7# 2, 9 —IN THE MEADOWS . . . . . 9 * . . 12
10# , 143—THE VILLAGE WELL . . . . T. L. RowboTHAM . 12
10# , 143—COME PRETTY DUCKS . . . ; * 3 . 12
19 2, 8 —NEAR FARNBOROUGEI . . . . p? . 12
19 , 8 —NEAR BANSTEAD . . . . . • - . 12
15+ , , 10 —GRAND CANAL, VENICE. gº © . E. PRITCHETT ſº . 12
15; , 10 —ST. MARKS PLACE, VENICE. . . 2 * &
18# , , 7#–OLD MILL (WINTER Evening) . . . T. L. RowboTHAM . 12
18# , 7#—OLD MANOR HOUSE (WINTER MoRNING) ºw . . 12
9: , , 65–ON THE BEACH . . . . . . BIRKET Foster . . 12
8# , 123—ROSY CHEEKS . . . . . . EMILY FARMER . . 12
13# , 93–ON THE SOUTH DOWNS . . . . H. GARLAND . . . 10 6
13# , , 93–EVENING RES T e G & º º 99 - . . . 10 6
10 , 12 –COME IF YOU DARE . . . . . W. HEMsley . . . 10 6
15 , 10 —OFF PORT MADOC o * © e . C. BENTLEY ſe ... 10 6
15%. , 9 —WINDSOR CASTLE . . . . . J. B. PyNE . . . 10 6
9 , 123–TOWER OF THE CHURCH AT GORCUM. D. RobºFTs, R.A. ... 10 6
9} , 193—YOUTH AND AGE ſº o o . . E. TAYLOR . . . . 10 6
14; , , 93–CONISTON LAKE © ſº tº tº ,, . . . 10 6
14; , , 93–CRUMMOCH WATER . . . . . , . . . 10 6
8} , 113—DIFFIDENCE (oval) . . . . . W. Hunt . . . 10 6
8# , 15 —PAGE ON DUTY . . . . . . . 15 . . . 10 6
14 , 93—SWANSEA HARBOUR . . . . . S. P. JAckson . . 10 6
14} is 94–STIFF BREEZE . . . . . . º , , 10 6
15%. , 9 —ALESSIO, GULF OF GENOA . . . T. L. RowboTHAM - 10 6
18 1, 6 —A SEA FOG, LUccombe CHINE, Isle of Wight T. L. Row Both AM . 10 6
18 ºr 6 – SUMMER, EVENING IN THE HIGHLANDS 99 . . 10 6
6
14 , 93—IN THE BAY OF NAPLEs. . . . * . . . . 10
52, RATHBONE PLACE, AND 29, OXFORD STREET. 45
Width. Height. Artist's Name. Price.
18 by 84—LANGDALE PIKES . . . . . T. L. RowBoth AM . 10 6
18 m 83–DERWENTWATER . . . . . 39 . . 10 6
17 in 73 —TINTERN ABBEY . . . e ºp . . 10 6
17 , 74–THE BEACH Bonchu ROH . . . . º - . 10 6
17 , 73—ISOLA BELLA, LAGo MAGGIORE . . . y? • . 10 6
17 m, 74–ISOLA SAN JULIO, LAGo D'ortA . . 92 º ... 10 6
21 m 9 –LAKE OF LUCERNE . . . . . T. M. RICHARDson . 10 6
14 m 10 –LOCH KATRINE . . . . . . 33 . . 10 6
14 m 10 —URQUHART CASTLE, LOCH NESS: . 39 ... 10 6
14 m 10 –LOCH-NA-GAR . . . . . . 51 . . 10 6
14 , 10 —DUNDERAWE CASTLE . . . . T. M. RICHARDsoN ... 10 6
15 m, 10 –LOCH LOMOND . . . . . . 3. . . 10 6
15 m, 10 —LOCH AWE . . . . . . . º - 10 6
12; a 16 —THE WENETIAN BOATMAN . . . F. GoodALL, B.A. . 10 6
12; a 16 —THE VENETIAN LAZZARONE • * ºw ... 10 6
18 , 83—GRASMERE . . . . . . . . ANDREws . . . 10 6
15 m, 94–THIRLEMERE . . . . . º e e ... 10 6
164, 74–ISLE OF ZANTE . T. L. RowboTHAM , 10 G
7} , 10 —ISOLA BELLA. . . C. STANFIELD, R.A. 7 6
7; , 10 –ARCH OF VESPASIAN . . . . C. STANFIELD, R.A. . 7 6
7; , 10}–HIGHLAND GILLIE . . . - J. HARDY, Jun. . . 7 6
7 m 5 —OLD MILL, NEAR Gold ALMING e BIRKRT FOSTER . 7 6
7; , 11 –GATEWAY AT HUY, on THE MEUSE. S. PROUT tº º 7 6
113. , 94–SUMMER TIME . . . . . . G. Dodgson . . . 7 6
13; , 9 –CASTLE OF ISCHIA . . . . . W. LEITCH. © 7 6
“10 ºn 7 –LOCH AWE . e e e . . . R. P. LRITCH . 7 6
12# , , 9 —AMALFI . . . . . . . … . . . 7 fi
14; , 74–VIEW ON THE BRITTANY COAST . 22 . . . 7 6
11; in 84–THE COAST OF GENOA . . . . $ 9 . . . 7 6
9; a 12 —READY FOR CHURCH (oval) . . . W. LEE . . . 7 6
9; a 12 —IN THE FIELDS (oval) - © ** º 7 6
18; a 93–VIEW IN NORTH WALES. . . . H. BRIGHT . . 7 6
12; a 93—VIEW IN SOUTH WALES gº tº T. L. RowboTHAM . 7 6
12; a 83–IN THE GADMANTHAL, TYROL. . . . 19 . . 7 6
12+ n 83–CASTLE OF OSTEA (Papal States) . . 99 . . 7 6
11; a 7 —FOWEY CASTLE, CoRNWALL . . . S. P. JAckson . 7 6
11; a 7–RUINS AT NEWTOWN, IRELAND . . GASTINEAu . . 7 6
11 , 83–SCARBOROUGH CASTLE, YoFKSHIRE . C. BENTLEY . . . 7 6
10 m, 7 —DOUNE CASTLE . . . . . . J. D. HARDING . 7 6
8; a 11+-BRIDGE AT PRAGUE. . . . SAMUEL PROUT 7 6
9; a 125–WATER GATE, ON THE RHINE . . -> º . . 7 0
8 , 103—ABERY . . . . . e D. Roberts, R.A. - 7 6
9 m 9 —CONSOLATION (circular) . . . . J. E. BUCKLEY . 7 6
9 m . 9 —RECONCILLATION (ditto) © tº 99 . . 7 6
10; n 7 —BROUGHAM CASTLE, WESTMORELAND . CoPLEY FIELDING . . 7 6
108 m 7 —LOCH ETIVE tº º e s p → º 7 6
103 m 7 —LOCH TAY . . . . . . . º tº 7 6
10; a 73–BEECHY HEAD . . . . . . ** º 7 6
10; a 74—PORTSMOUTH. . . © º • ? . . 7 6
7+ , 94–STEPPING STONES . . . . E. GooDALL . . 7 6
10; , 134–NEAR ROSE CASTLE . . J.B. SMITH 7 6
&
46.
GEORGE ROWNEY. & Co.,
fº--
Width. Height.
12+ by
No
2 3
22
25
º?
114 by 73–COTTAGES NEAR CONWAY, NoKTH WALEs. N. E. GREEN . .
113 ×
10# , ,
113 ×
11% sy
113 as
7+ ,
Ilê is
113 ºr
Iłż n
10} , ,
133—THE GLEANERS . .
133—FRENCE FISHERMAN'S DA
SCENES .
7#—SET OF TWELVE LAKE
. 1. HEAD, OF LOCH LOMOND. No. 7.
2. TARBET, on Loch LoMonD.
3. BEN I, OMOND AND LOCH s, 8.
LOMOND. 3, 9.
4, BEN VENUE FROM LOCH
KATRINE. - , 10.
5. GL ENORCHY MOUNTAINS. , 11.
6. BEN A’AN, AND BEN DONIE s, 12.
Artist's Name. Price.
. AARON PRNLEY each 7 6
HELVELLYN, FROM ULLS-
WATER.
ON THE DUDDON, CUMBERLAND
HON ISTER CRAG AND BUT-
TERMERE. -
FRIAR'S CRAG, DERWENTwATER
SNO WDON.
HEAD OF WINDERMERE.
73–COAST SCENE, NEAR WALMER .
63—MOUNTAIN STREAM, NEAR BEDDGELERT .
73–ST. MARY REDCLIFFE, BRISTOL
7#–KILLARNEY g g • ©
73–COASTGUARD'S SHED, NEAR HERNE BAY.
84–LADY'S PET (oval) . .
7 —AT EAST MALLING, KENT .
7 —CHISWICK BY MOONLIGHT
7 –GIPSY CAMP, CLAYGATE, SURREY
63–ON THE COAST . ©
6#–INLAND g
74–GREEN LANES tº © •
53—JANUARY . . . .
8 —MY PORTRAIT
i–fourtEnvirºws INLAKE DistEIOTs T. L. Rowsorgan, each
GRASMERE.
BUTTERMERE.
*AIREY FORCE.
No. 1.
:
eo
ENNERDALE.
10}–SLEEPING AND WAKING (circular)
103–THE LESSON (circular) ſº
UGEITER
*COLWITH FORCE.
. *DUNGEON G.ILL.
DERWENTWATER.
* These four are uprights.
44–MORNING: GLENSHEE, FORFARSHIRE.
4–EVENING: WINDERMERE, NEAR Lowood
53–LITTLE WANDERER . .
64—WATER MILL, MAPLEDURHAM
64–THIRLEMERE, NEAR CUMBERLAND
64–COTTAGES, NEAR BANTRY, Co. CoRK
63—WINDMILL AT SOUTHEND
64–LAKE SCENE, NEAR LLANBERIS
y
. 6 0
e 39 . .. 6 0
22 . . 6 0
o 9p ſº • 6 0.
95 . . 6 0
39 . . 6 0
. T. EARL. o tº . 5 0
R. P. Noble o . 5 0
o º tº . 5 0
ſe º . . . . 5 0
. J. H. MoLE . e . 5 0.
e 3 y tº * > o 5 0
º 99 © © tº 5 0.
© 99. . . . 5 0
. W. A. Robinson . • 5 0
W. LEE º o . 5 0
. T. L. RowboTHAM , 5 ſ)
. T. S. CoopFR G . 5 0
... W. HDNT g • 5 0
5 0
No. 8. WAST WATER.
, 9. SKELWITH.
,, 10. *SCALE FORCE.
,, 11. ULLESWATER.
,, 12, KESWICK.
, 13. WINDERMERE.
,, 14. THIRLEMERE.
J. STEEPLE e 4 0.
$9 • . . 4 0
& g g o iſ a 3 0.
e N.E. GREEN . . 3 o
ſe 59 º ſº 3 0
ſº * , , , , 3 0
o $1 , - 3 0
2D ſº º • 3 0.
52, RATHBONE PLACE, AND 29,
*s
OXFORD STREET.
47
Width. Height.
6 by 84–THE ORANGE GIRL (oval)
6 in 84–THE FLOWER GIRL (oval)
6 a 83–THE WATER-CRESS GIRL (oval)
, 6 in 84–THE LASCAR (oval) .
63 m 83–THE GIPSY GIRL. . .
64, 84—THE GIRL AT THE STREAM
Artist's Name.
e G. E. HICK8
4; a 74–FOUNTAIN AT ROUEN
o S. PROUT
S M AL L S E RIE. S.
Nos. 1 to 12.-RIVER VIEWS . . .
COTTAGE NEAR, HAYES . . .
GROUPS OF FLOWERS (Two) . .
POOR DICK . . . . . . .
RUSTIC FIGURES (Six Plates) . . .
Ditto ditto (Forty-two Plates)
PHOEBE . . . . . . .
REFLECTION . . . . .
COURTSHIP . . . . . .
THE MOTHER . . tº e
THE ANGLERS . . . . . .
TEIE FRUIT_GATHERERS .
THE SPINNER. . . . . .
Artist's Name.
. . R. P. Noble,
ST, PAUL'S CATHEDRAL By MoonLIGHT
DISTANT WIEW OF ROUEN . .
CRYPT OF CANTERBURY CATHEDRAL
CASTLE OF FOUGERE, BRITTANY
MARKET PLACE, ANGERs e c
ST. WALLERY-SUR-SOMME º ſº
CATHEDRAL OF NOTRE DAME, PARIs
º
• - G. RosBNBERG
99
. . G. E. HICKs
each
Price.
:
:
Price.
1
48 GEORGE ROWNEY & Co., 52, RATHBONE PLACE, &c.
WATER COLOUR
L ES SON D R A WINGS,
A series of studies by various eminent Artists, expressly adapted for instruction
in painting in Water Colours. -
No. Width. Height. s, g Artist's Name. Price.
1. 6 by 7–GIPSY GIRL . . . . . . O, OAKLEY . . 3 6 :
2, 64, 8–STUDY OF MAN's HEAD . . . , . . 3 6
3. 8} m 10}–STUDY OF GIPSEY GIRL'S HEAD . 33 . . 5 0
4, 9 , 113—STUDY OF A SHRIMPER (oval) g 3? . . 5 0
5. 83, 115–STUDY.9F.A. GIRL ARRANGIN 5 0
FLOWERS (Dome) fe e $ 2 a 0
6. 83, 103—THE SAVOYARD . . . . . $3. 5 0
7. 8+ , 10%—COME, PUSSY (Dome) . . . . 2 y . . 5 0
8. 9 , 113—LET ME TELL YOU YOUR FORTUNE (Oval) , . . § 0
9. 9; in 113—FETCHING WATER (oval) . . . $ 2 . . 5 0
10. 11 , 153—SAUNTERING HOME * a m 35 . . 7 6
11. 11 , 163—THE MUSSELL GATHERER . . 33 . . 7 6
12, 10} , 16#—THE HARVESTMAN . . . . pº . . 7 6
13. 10; , 7;-HASTINGS FISHING BOATS . . S. PRouT . . 4 0
14. 113, 63—THE PRISON SHIP tº tº gº 3? . . 4 0
I5. 10; , 74–COTTAGE ON THE HEATH . . W. CALLow . . 3 0
16. 10; , 7 —OFF THE COAST . . . . . 3 J . , 3 0
17. 10# ,, 7#–BRIDGE, NoFTH WALEs . . . . DAVID Cox . . 4 0
18. 11+ , 8 —RUINS, SouTH WALEs . . . . 2 y - e 4 0
19. 10; , 73–ROAD-SIDE INN, NoFTH WALEs . s * 3 . . 4 0
20. 10} , 73–ON THE BEACH, HASTINGs . . . 3 2 . . 4 0
21. 10; , 73–ON THE THAMES, NEAR Woolwich . $ 9 . . 4 0
22. 9; ,, 63—IN THE HIGHLANDS . . . . J. D. HARDING . 5 0
23. 8 , 113–KAVALET PEASANT GIRL . . F. GooDALL, R.A. , 3 0
24, 10 , 14 –ITALIAN PEASANT GIRL . . E. LUNDGREN . 5 0
25, 10 , 14 –ITALIAN PEASANT GIRL, *} e 5 0
FLOWER . . . . . . 39 ce
26. 104 , 7 —STUDY IN SEPIA . . . . DAVID Cox . " 0
27. 133, 83–OLD BRIDGE, Normandy . tº te P. MARMY tº
28. 134, 83–RIVER SIDE'SNOW SCENE , 99 • *
29. 133, 8, -WELSEI BRIDGE . . . . T. L. RowboTHAM .
:
:

THE UNIVERSITY OF MICHIGAN
DATE DUE
rjRN 21 SST:
JAN 2 9 1987
allilillº
AUG 08 1989 .


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