nr u
 
 ON ILLUMINATION.
 
 ELEMENTARY INSTRUCTION IN 
 
 The Art of Illuminating and 
 
 Miflal Painting on 
 
 Vellum, 
 
 A GUIDE TO MODERN ILLUMINATORS. 
 
 With llluftratiom (Printed in Gold and Colours] and Outlines 
 for Copying for the Student. 
 
 BY D. LAURENT DE LARA, 
 
 (Illuminating Artijl to the Queen.) 
 
 fouctf) CDitton, 
 
 CONSIDERABLY ENLARGED. 
 
 LONDON: 
 
 ACKERMANN AND CO. STRAND, 
 AND ALL BOOKSELLERS. 
 
 Price Six Shillings.
 
 DEDICATED BY PERMISSION 
 TO LADY ANNA LOFTUS. 
 
 MADAM, 
 
 SHE zeal which your Lady fhip has evinced 
 on every occafion to promote the intereft 
 of an Art y which at one time med fuch 
 a luftre on its votaries, that the relics which they 
 have left behind infpire us with fo much venera- 
 tion, that I mould deem it ungracious towards 
 you, were I not to avail myfelf of the privilege 
 you have granted me, of aflbciating your dif- 
 tinguifhed name with thefe humble Pages, the 
 object of which is ftill further to encourage a 
 more extended cultivation of the <f Art of Illu- 
 minating;" permit me therefore humbly to de- 
 dicate this Edition to your Ladymip, 
 
 And have the honour to remain 
 Your Ladyfhip's grateful 
 and devoted Servant, 
 
 D. LAURENT DE LARA. 
 
 3, Torrington Square.
 
 CONTENTS. 
 
 Page 
 
 PREFACE ... 9 
 
 On Illumination 1 1 
 
 Advice to beginners 19 
 
 General Rules 20 
 
 On the arrangement of Colours 24 
 
 On Compofition 28 
 
 On preparing the Vellum 35 
 
 On Tracing 37 
 
 On Colours 40 
 
 On Raifed Gold Ornamentations 51 
 
 Concluiion 54 
 
 Appendix 61
 
 PREFACE. 
 
 HE beautiful art of " Illuminating," 
 which fprang up with the early dawn 
 of Chriftianity, and attained its higheft 
 perfection in the fourteenth and fif- 
 teenth Centuries, owes its total extinction to that 
 powerful inftrument of modern civilization, the 
 Printing Prefs. Whether it be the phlegmatic 
 Dutch Cofter, or the German Necromancer Gut- 
 tenberg, who was the firft inventor of " move- 
 able type," I know not, but it is quite certain 
 that the " printing procefs" ftruck a fatal and de- 
 cifive blow to " illuminated painting," the relics 
 of which at prefent are carefully hoarded up in our 
 Mufeums and Public Libraries, and are at once 
 the living and imperimable oracles of the bygone 
 ages of romance and chivalry, and form the glo- 
 rious monuments of known and unknown artifts 
 who created them ! It is equally true as well as 
 curious, that to another mode of printing (chro-
 
 io Preface. 
 
 molithography) the prefent century is indebted 
 for the partial revival of this beautiful art, fince 
 the many publications from the lithographic prefs 
 have engendered a correfponding tafte with the 
 public for its cultivation, which is daily increafing. 
 In order to facilitate its further progrefs, I was 
 induced in 1850, to publifh my firft edition of 
 this little work, a thoufand copies of which were 
 fpeedily fold. Since that period upwards of three 
 thoufand pupils have been under my tuition, 
 amongft whom I have to count fome of the firft 
 nobility of the land. My profeflional engage- 
 ments have hitherto prevented me from publifhing 
 a fecond edition, which, however much in requeft, 
 I would not re-iflue unlefs I was enabled to en- 
 large it to its prefent form. It has now aflumed 
 a ftate of completenefs, which additional experience 
 was only capable of effecting. And if in my en- 
 deavours to promote the ftill greater cultivation 
 of this highly interefting and claflical art, which 
 has outlived fo many ages, I mall be fuccefsful, 
 my moft fanguine hopes will be amply realized. 
 
 March, 1856.
 
 ON ILLUMINATION. 
 
 HE neceflity for an " Elementary In- 
 ftruction Book," to acquire the art of 
 illuminating on vellum, for the ufe of 
 thofe who are defirous of practifing 
 this beautiful and graceful accomplimment has 
 become imperative ; particularly fince, to my 
 knowledge, not a fingle artift (excepting myfelf) 
 has prefented himfelf to afford inftruction to the 
 many amateur artifts, who from time to time have 
 fprung up, and who are fadly at a lofs for fome 
 aid in their endeavours to purfue a moft beautiful 
 accomplimment. Though fpecimens of illumi- 
 nations have from time to time been publifhed, 
 from which the ftudent may have derived fbme 
 (light advantage, if it were only a fuperficial in- 
 fight into ftyle and tafte, yet they are univerfally 
 of too elaborate a character to be of much utility 
 to the beginner ; and in the attempt to copy fuch
 
 12 On Illumination. 
 
 fpecimens of Noel Humphreys, as are publi fried 
 in his " Illuminated Books of the Middle Ages," 
 the pupil frequently muft become embarrafTed 
 by the intricacy of the defign ; and not knowing 
 any method where to commence or how to proceed, 
 would in attempting fuch fpecimens, make fuch 
 fignal failures, that in defpair he would throw his 
 work afide, and for ever abandon an art, which 
 fimple and highly interefting in itfelf, would by 
 him be confidered at once as futile and impracti- 
 cable. 
 
 The beauty of illuminated drawing confifts 
 chiefly, in the nicety of execution, elaborate orna- 
 mental detail, and the mathematical precifion with 
 which ornaments are frequently repeated through- 
 out the fame defign. The arrangement of colours 
 requires alfo much judgment and tafte, whilft the 
 knowledge to lay them on evenly and fmoothly 
 requires the practical inftruction of the teacher, 
 without whom it is almoft impoffible to overcome 
 thefe difficulties, or acquire proficiency, particu- 
 larly in the raijed gilding and the nicety which is 
 required in ufing the agate, with which the orna- 
 mentations are burnifhed in, on the matted gold 
 or filver. 
 
 As an art, which originated at the remoteft 
 period of Chriftianity and which originally was 
 practifed by very limited artiftical intelligence,
 
 On Illumination. 13 
 
 its firft development was exceedingly fimple, rude 
 and grotefque. When the rolled papyrus manu- 
 fcripts were fuperfeded by the interleaved fquares 
 of parchment, in the form of our prefent books, 
 the Scribes or Monks of the early Chriftian period 
 were the firft who were engaged on the writing 
 of prayer books or miflals, for the wealthier claries 
 of people, who at that time were enabled to in- 
 dulge in the luxury of a book ; it is then we find 
 the firft germs of artiftical ideas displayed, in the 
 initial letters which began to be confpicuoufly large 
 and ornamental, fanciful, and fometimes intricate 
 and ingenioufly contrived, in contradiftinction of 
 the older rolled manufcripts difcovered in Hercu- 
 laneum and Pompeii, in which no traces of orna- 
 mentations could be found. From this fimple 
 fource of artiftical development we may contraft 
 the productions of a Giulio Clovio of a much later 
 period and his unknown contemporaries, which 
 have aftonifhed the world by their productions, 
 unequalled by anything that modern art could 
 achieve. As I mail have occafion to fpeak of 
 the progrefs of illuminating and ornamental art in 
 a feparate chapter (concifely to the limits and ob- 
 ject of this little work), I merely hint here, at the 
 commencement, that for modern purpofes of illu- 
 minations, it would be highly pedantic to copy 
 the earlier productions of miflal painting, becaufe
 
 14 On Illumination. 
 
 they are antique ; if in other refpects they do not 
 poflefs fome artiftical quality of graceful develop- 
 ment both in outline and colouring, to which the 
 modern artift with very good tafte may give the 
 preference. 
 
 The object of this little work is not fo much 
 to enter into any detailed hiftory of the progrefs 
 of ornamental art, and which becomes a feparate 
 and intricate ftudy, than well to fmooth down the 
 difficult path of the beginner, to unravel for him 
 apparent myfteries in the art, to give him exam- 
 ples of practical defigns to imitate from, fuitable to 
 his fkill ; to point out to him clearly and unmif- 
 takeably fuch rules as from my experience I have 
 found abfolutely neceflary to adopt, and if ftudi- 
 oufly followed up will, in a great meafure, aflift 
 his firft efforts and enhance his ultimate fuccefs 
 and proficiency. 
 
 That which is moft remarkable in the mediaeval 
 vellum illuminations, which have been preferved 
 in the various collections of Europe, is the bril- 
 liancy of their colours, tints unfurpafled by any- 
 thing that our modern contrivance could equal, or 
 our colour-box approach ; fpecimens which have 
 flood the teft of a thoufand years' duration, are as 
 frefh and as brilliant as if they came newly from 
 the artift's hands. Such orange, and fuch greens, 
 and purples, as if directly fnatched and ftolen from
 
 On Illumination. 1 5 
 
 the rainbow itfelf, or diftilled from the prifmatic 
 rays of a benignant fun. The borders actually are 
 ftudded with gems of colour which fparkle on the 
 infects as if they were daguerreotyped from nature, 
 colours and all. Drapery, damafk, armory, furs, 
 and feathers, are all portrayed in fuch rich and 
 gorgeous tints, that we may well doubt whether 
 the fecret of thofe colours has not died with thofe 
 who ufed them centuries ago. Our water-colours 
 were as brickduft at the fide of them. In order 
 fomewhat to remedy the deficiency of our colours, 
 as I found them, in comparifon with what was 
 deferable, I attempted to manufacture them on a 
 new principle, in order to preferve all the bright- 
 nefs of the chief tints predominant in ufe of illu- 
 minations. I am happy to fay, that after months 
 of inceffant labour, I have entirely fucceeded in 
 producing a fet of colours fuitable for Chromo- 
 graphic drawing, and I now beg to recommend 
 my " Chromographic colour-box" for the ufe of 
 illuminators ; they are manufactured on a totally 
 diftinct principle from other water-colours, and 
 are made to anfwer all the purpofes of illuminated 
 drawing, affording perfect facility on the one hand, 
 in laying them on evenly and fmoothly, and on 
 the other, faving a great deal of time and labour, 
 and enhancing much the general effect of the de- 
 fign, in the brilliancy of the tints ; this refers more
 
 16 On Illumination. 
 
 particularly to the drawing on vellum, which from 
 its greafy furface is apt to reject the ujual water- 
 colours^ whilft thofe of the Chromographic box 
 are found perfectly to anfwer the purpofe. I beg 
 alfo to recommend my " water gold-fize," which 
 in its application to the drawing can be raifed con- 
 fiderably above its furface, arTuming all the ap- 
 pearance of being emboffed, and can be immediately 
 gilded over, which greatly expedites the procefs 
 over that of any other gold varnim.* 
 
 That perfons having a knowledge of drawing 
 can and will make better illuminators than thofe 
 who have not, there can be no doubt ; and that 
 the more accompli flied the artift, the better illumi- 
 nator he will make is alfo obvious. Yet the art 
 of illumination may be practifed by perfons who 
 
 * It is but juftice to the Meffrs. Ackermann and Co. to 
 llate that in order to promote the Spreading of this beautiful art, 
 of which they have always been the molt zealous and generous 
 encouragers, they have entirely fucceeded in producing a " Chro- 
 mographic colour-box," perfect in every refpeft, and as fault- 
 lefs as my own. Their large connections with the artiftic world 
 and with illuminators in particular, made them turn their at- 
 tention to the manufacture of an entire fet of " illuminating 
 colours;" which for brilliancy and effeft does not only anfwer 
 every purpofe of vellum painting, but may with equal advan- 
 tage be ufed in every fpecies of art, (flower painting in parti- 
 cular,) with the greateft poflible advantage. I ftrongly recom- 
 mend it to the notice of the public in conjunction with my own.
 
 On Illumination. 17 
 
 may be but indifferent artifts in general defign, 
 and with a great deal of fuccefs, whilft others con- 
 verfant with the higheft principles of art have fre- 
 quently been found to be but very indifferent 
 illuminators. The reafon of this is obvious ; illu- 
 minating being for the moft part a ftrictly me- 
 chanical art (though fubject to artiftical principles), 
 any one gifted with natural abilities, tafte, patience 
 and perfeverance, will by ftudioufly following out 
 fome flight mechanical contrivance, eafily attain 
 the firft principles primarily neceflary to copy any 
 given outline however intricate ; not even exclud- 
 ing the human figure. The ornamental arabefque 
 fcroll from its primitive fimplicity to the moft 
 elaborate finimed foliage, interlaced initials, etc., 
 are next given in due fucceflion for the pupil to 
 copy ; by which means his hand is gradually trained 
 to curval delineations, his hand and eye gets gra- 
 dually educated, till at laft all angular tendency in 
 his ornamentations becomes entirely eradicated ; 
 once trained to that perfection, colouring and 
 fhading becomes comparatively trivial, and a little 
 inftruction with a trifling felf practice will enable 
 the uneducated artift to overcome almoft every 
 obftacle. The artift, on the other hand, relying on 
 his capacity alone, and difregarding the contrivance 
 given at his command, not unfrequently ftumbles 
 over the eafieft parts, pettiflily condemns all me-
 
 1 8 On Illumination. 
 
 chanical expediencies, the neglect of which deftroys 
 effects and uniformity, and finally he leaves off, 
 difgufted with his ill fuccefs. 
 
 I would therefore recommend firft of all to the 
 pupil to provide himfelf with a box of Chromo- 
 graphic colours, which can be obtained at the au- 
 thor or at any of the author's agents, which alfo 
 includes compaffes, parallel rule, ruling-pen, bow- 
 pen, agate, gold, etc., and other little but indif- 
 penfable tools ; without which the ftudent would 
 be at a lois to proceed : having procured thefe I 
 would then place this book in his hand, and by 
 following up the rules laid down here, he will 
 find himfelf at leaft, enabled to make fuch pro- 
 grefs that with the aid of one or two courfes of in- 
 ftruction from a proper and experienced artift, he 
 will completely overcome thofe difficulties which 
 it would be vain to ftruggle againft by himfelf. 
 The manufcript room in the Britim Mufeum, to 
 which on a proper recommendation accefs can be 
 had, will finally give him an opportunity of ftudy- 
 ing the art more fully, and make him conver- 
 fant with the immenfe ftore of mediaeval treafures 
 hoarded up there in endlefs variety and profusion.
 
 On Illumination. 19 
 
 ADVICE TO BEGINNERS. 
 
 lEGINNERS mould not be too am- 
 bitious ; let them be therefore con- 
 tented to copy firft before attempting 
 original defigns, it will give them 
 experience and method. In the higher walks of 
 art copying is always reforted to ; the painter has 
 models, cafts and drapery to guide him, Nature is 
 his inftructor ; and let him be ever fo original, he 
 ftill imitates nature, and fince there are no orna- 
 mentations in nature to guide him, let him there- 
 fore be contented to copy firftly from thofe whofe 
 works are acceptable for their originality, their 
 effect and their claflical beauty. The more thefe 
 are practifed from, the more the pupil will derive 
 perfection, and gradually will become an original 
 artift himfelf.
 
 2o On Illumination. 
 
 GENERAL RULES. 
 
 |T is abfolutely neceflary to arrange a 
 defign on paper firft of the intended 
 fubject on vellum ; to perfect the 
 fketch firft, and then to make careful 
 and correct tracings of the various parts, or the 
 whole ; to retrace them to the vellum with the 
 red prepared paper (as faintly as confiftent with 
 being able to fee it), which is accomplimed by 
 placing the fame between the tracing and the 
 vellum, and tracing over it rather brifkly with a 
 fine pointed HHH lead pencil, reverfing the fame 
 tracing when the ornament or border forms the 
 counterpart of the defign, which fecures a perfect 
 facfimile reverfed ; and when completed to repair 
 any part which may be defective with the fame 
 pencil, and to perfect the outline where it is un- 
 even, or the fcrollwork broken or ungraceful. The 
 beauty of illuminations is always beft developed
 
 On Illumination. 21 
 
 when the fcrollwork runs gracefully fmooth, not 
 broken or angular, which gives it an awkward 
 and unartiftical appearance. In order to pre- 
 pare the pupil I have given in the illuftrations 
 the arabefque fcroll and curval lines to be drawn 
 at the beginning in pencil only, and when form is 
 thoroughly attained, let him perform it with a fine 
 fable brufh and diluted carmine, which will give 
 proper practice to ufe the brufti effectually. I 
 have adopted the arabefque fcroll as the principle 
 of all ornamental defign, and I would advife the 
 novice to practife it continually, on the fame prin- 
 ciples that exercifes and fcales are recommended 
 in murk to train the hand. Referring back to the 
 defign. 
 
 When the {ketch is complete (and which mould 
 always be as faint and delicate as pofTible), fince 
 it is no eafy matter to erafe from vellum by the 
 ufual mode of india rubber ; the colouring may 
 then commence, placing in the various compart- 
 ments of the defign the colours as previoufly 
 arranged, fomewhat in the following order, viz. 
 firftly, all the blue throughout the drawing, or any 
 portion of it intended for completion ; then the 
 vermilion, the orange, the purple, the green or 
 yellow, and any other colour which may be in the 
 defign ; then the gold forming the outlines of the 
 ornamentations, and laft of all, the mading of
 
 22 On Illumination. 
 
 the fcrolls both gold or coloured, and alfo the 
 fhadings on the gold backgrounds ; that being 
 completed you put on white or gold fcrollwork 
 (arabefque) on the ultramarine, carmine damafk 
 on the vermilions and orange, Hooker's green or 
 cobalt ornamentations on the emerald (fee illuf- 
 trations, Plate I.) After the whole being thus 
 far finimed, the raifed gold may be introduced, 
 rimming the matted or dead gold with burnimed 
 ornamentations, dots, fcrolls, arabefques, or any 
 other defign. This mould be the laft procefs of all, 
 fince the atmorphere is fomewhat apt to deaden its 
 brilliancy, and therefore mould be the concluding 
 operation before the drawing is finally configned 
 to the frame or album. I muft here alfo ftate 
 that if the vellum is fomewhat foiled whilfl the 
 drawing proceeds (which mould be carefully 
 avoided), it may be rubbed over with a piece of 
 ftale bread, which will perfectly cleanfe it ; but 
 cannot be ufed over the gold with fafety. 
 
 All ftraight lines, however mort, mould be 
 drawn in with the ruling-pen, opening it wider or 
 narrowing it, as the line is required to be thick or 
 thin ; if very thick, rule in two thin lines equally 
 diftant, and thus fill up the intermediate fpace with 
 the brufh. The circle or portion of a circle is 
 drawn with the bow-pen, and any portion of a 
 curve is drawn in by the aid of the wooden fcroll,
 
 On Illumination. 23 
 
 which is fixed on the drawing in fuch a pofition, 
 that its curve correfponds with the outline to be 
 ruled. The nicety of the drawing depends en- 
 tirely on the execution, and the carefulnefs with 
 which the details are accomplifhed.
 
 On Illumination. 
 
 ON THE ARRANGEMENT OF 
 COLOURS. 
 
 HE immenfe variety of ftyles adopted 
 formerly in illuminations makes it 
 fomewhat difficult to claflify them in 
 this little volume, and I will there- 
 fore confine myfelf to thofe which are the moft 
 popular and the moft admired. We have the 
 tranfparent border, with a profufion of fcrollwork, 
 foliage, fruits, flowers and infects, relieved by 
 three-foiled ornamentations in raifed gold, and the 
 blank fpaces filled up with black filigree work, 
 and which I perform fimply with the lead pencil. 
 The colours to be arranged in fuch borders may 
 be as varied as poflible, preferring rich and delicate 
 tints, in the fame profufion, in proportion as the 
 defign confifts of fmall and numerous ornamenta- 
 tions. The contraft and variety can here not be 
 too profufe, as long as a good contraft be obferved. 
 A predominance of too much blue, or red, or green,
 
 On Illumination. 25 
 
 becomes tirefome to the eye, and therefore, the 
 more varied tints are introduced the better. Avoid 
 above all, ugly colours. No olive greens or bad 
 blues, but rich and decided tints ; a deep orange, 
 a bright red, a clear purple againft a foft pink, 
 a delicate primrofe, or a blufhmg carnation; a 
 fky blue againft a deep bronze, or chocolate brown ; 
 the gold between, and the filver, will divide the 
 monotony of effects ; famenefs will be avoided, and 
 yet unity preferved. The fame rule does not 
 apply to the folid border, where the ornamenta- 
 tion is formal and large, and confpicuoufly relieved 
 by a background of folid gold or colour. A pro- 
 fufion of colours then would refemble the harle- 
 quin's coat of many fhreds and patches. Simpli- 
 city then y to my mind, is its greateft merit and 
 recommendation. I have feen the beft effects 
 produced by the fimpleft means, and by two or 
 three colours only. Much depends on tafte, every- 
 thing on effect and found judgment ; and if in 
 fuch clafs of defign, the object muft be attained 
 by the quantity of colours, it proves the poverty 
 of the artift's refources. 
 
 The partially folid and tranfparent border, which 
 is a combination of the firft mentioned, and con- 
 rifting of fquare, or undulated folid bands, fhould 
 in character and combination of colours be alfo 
 alike ; modified however by the confederation of
 
 26 On Illumination. 
 
 thefe fblid fpaces, on which the ornamentation 
 mould be fimpler, and in good harmony againft 
 the colour of the background. Thefe backgrounds 
 are in various tints the moft common in ufe is 
 gold ; we have alfo the crimfon, the ultramarine, 
 the purple, and not unfrequently the black. On 
 all thefe the tafte of the illuminator is called in, 
 to produce a good contraft in the arrangement of 
 colours, and the lefs confufed by quantity the 
 better. 
 
 There is another ftyle which I have adopted, 
 and which fcrupulous antiquarians would not de- 
 fignate as being ftrictly legitimate, in which the 
 arrangements and a profufion of contrafting co- 
 lours, is allowable and deferable. I publifhed the 
 clafs of defign I allude to in the " Victoria An- 
 nual of 1 844," the originals of which are in Her 
 Majefty's pofleflion the chief attraction confifts 
 in the defign of the initial letter, and the firft 
 word of the poem or fubject, which is prominent 
 at the head of the drawing enclofing the remaining 
 text in a fmall narrow framework, furrounded 
 more or lefs by elaborate fcrolls, arabefques, me- 
 dallions, etc., and avoiding always, known and 
 accepted mediaeval ornamentations from the old 
 miflals as much as poflible, in order not to mix 
 the different ftyles into one drawing. This ftyle 
 has found much favour with modern artifts, firftly
 
 On Illumination. 27 
 
 on account of its graceful effect, the abfence of 
 conventional ftiffnefs, and the rapidity with which 
 a compofition may be arranged. Legitimifts do 
 not like it from mere affectation ; they would 
 prefer crude, ugly, mifshapen ornamentation, flat 
 and unfinifhed, as long as they refembled an anti- 
 quated ftyle. For the fame reafon do they object 
 to green gold, or agate ornamentations ; yet what 
 can be more attractive, than the yellow and bright 
 green gold in combination, and enriched by the 
 artiftic engravings of the agate ? What more 
 gorgeous to the eye than a difplay of graceful 
 curves fantaftically interwoven, enclofing highly- 
 finimed medallions, and thrown up by all the 
 effects imagination and art can conjure up ? Some 
 of thofe fpecimens may be feen at my own gallery, 
 amongft which a rich fpecimen of a chefs table 
 which figured at the Great Exhibition in '51, and 
 which occupied me two years in painting. There 
 are numerous other ftyles, and even modern art 
 illuminations may be multiplied in an almoft in- 
 finite variety ; but the experience in thefe here 
 alluded to, will give fufHcient inftruction and re- 
 gulate a claffical and perfect tafte, under whatever 
 circumftances afterwards the pupil will be called 
 upon to exercife his (kill.
 
 28 On Illumination. 
 
 ON COMPOSITION. 
 
 jHILST the ftudent may profitably 
 employ himfelf in attempting minor 
 trifles initials, copies of anything 
 within his reach, or his own ideas, to 
 acquire proficiency in the art, it is requisite to 
 employ a mafter to direct his tafte on the one 
 hand, and to lead him on ftep by ftep to perfection 
 on the other. It would be highly efTential to him 
 to ftudy the ancient mifTals, fo as to enable him 
 to diftinguifti the progrefs the art has made in 
 various countries and in different ages. It is a 
 field for deep refearch and ftudy, to note the dif- 
 ferent ftyles adopted at different epochs, from the 
 crude development of art of the fifth and fixth 
 centuries, to the refined and exquifite productions 
 of the Italian and Flemifh fchools of the fourteenth 
 century, and again down to the inferior and flimfy 
 ftyle of Louis Quatorze. It is from the ftudy of
 
 On Illumination. 29 
 
 thefe, that our own ideas will be developed and 
 improved, and that our modern notions of beauty 
 and effect may be advantageoufly thrown in to 
 produce original and claflical productions, aban- 
 doning that which is abfurd and meaninglefs, and 
 fubftituting that which is rational, effective, and 
 beautiful. The pedantic abfurdity of retaining 
 any clafs of ornamentation, folely becaufe it was 
 ufed in the early ages by our anceftral predecefTors, 
 becaufe their notions of drawing and perfpective 
 were imperfect, is as reafonable, as to become a 
 drunkard becaufe our father unhappily happened 
 to have been one before us ; and whilft we may 
 juftly admire the ingenuity of their efforts in pro- 
 ducing the hiftoric records of their fkill, we may 
 at leaft elevate our tafte in improving on that 
 which plainly bears the ftamp of their imperfec- 
 tions. In compofing a drawing, the ftudent mould 
 felect the ftyle of a certain period, to which 
 throughout he mould ftrictly adhere, as the adop- 
 tion of different ftyles in the fame drawing are 
 both inconfiftent and evinces bad tafte ; to mix 
 up the Gothic with the Louis Quatorze, or the 
 Elizabethan with the Italian ftyle, would fimply 
 be abfurd. The writing of the text, the initial 
 letters, the ornaments, coftume, armory, &c., all 
 fhould partake of the correfponding period. II- 
 luftrations alfo mould be introduced according to
 
 30 On Illumination. 
 
 the fubject, and the ornamentations be alfo adapted 
 to, and harmonizing with the fubject. If, for 
 inftance, it was determined on to illuminate the 
 Creed or Lord's Prayer, pictures might be intro- 
 duced illuftrative of the lives of the Saviour and 
 the Apoftles, hiftorical and pictorial illuftrations 
 of the Chriftian creed, etc. If a fecular fubject 
 from Milton, Shakefpeare, or Byron, the fame 
 rule mould be adopted. The lines on a fkull 
 from Byron might happily be illuftrated with em- 
 blems of mortality ; great liberty being allowed 
 for embodying the imaginations of the poet with 
 thofe of the painter, and it indeed affords ample 
 opportunities and material for the exercife of the 
 inventive powers of the illuftrator, and evinces a 
 decided ftamp of reflective genius. Never attempt 
 to illuftrate a common-place fubject, or defective 
 and puerile poetry ; it is not worth the pains of a 
 fingle daub of colour. 
 
 In arranging a fubject for illumination, I mould 
 firft draw my attention to the initial letter at the 
 head of the text. There are thoufands of fpeci- 
 mens in the Britim Mufeum, and many publica- 
 tions of alphabets (not much to boaft of) are in 
 exiftence, very ufeful for the beginner ; thefe may 
 be varied, or copied ftrictly at pleafure.* Colours 
 
 * I have prepared a variety of drawings of initial letters, 
 claffical borders both on vellum and cardboard, with accom-
 
 On Illumination. 31 
 
 may be changed, fcrolls or foliage altered, taking 
 care that alterations are judicioufly made, and do 
 improve the general effecl: ; that being fettled on, 
 I would recommend next, to write the text in old 
 Englifh, or Church ftyle, each line mould be ruled 
 in equi-diftant, and the capitals left blank, to be 
 painted in afterwards. Where a word at the end 
 of a line is too fhort fo as not to fill up clofe to 
 the margin, let it be filled up with a fmall orna- 
 ment inftead, in fome colour, in diftinction of the 
 writing ; where a word is to be prominent, write 
 it in gold, or red, or a different colour to the gene- 
 
 panying outlines of the fame, very faintly lithographed, on fu- 
 perfine drawing-boards which may be purchafed for a trifling 
 expenfe at Ackermann's, Rowney, Dalton and White, Fuller's, 
 etc. The illuminations may be bad alfo or on hire, for the 
 purpofe of copying, on the fame principle as other drawings. 
 Thefe are carefully and exquifitely executed under my direc- 
 tions and fuperintendence, by upwards of thirty ladies, whom 
 I had the honour to inftruft, and who now follow the art out 
 as a lucrative profeffion. As the ftudent will obtain better 
 and more accurate ideas of copying from drawings than from 
 prints, I have at the fuggeftion of many of my friends adopted 
 this plan of fupplying the amateur artift with an illuminated 
 copy,' and its outline, which he may eajtly fill up, according 
 to his own tafte, or ftriftly follow the original : mould this be 
 encouraged, the public in receiving its benefits will alfo confer 
 a great boon on a worthy clafs of female artifts who have been 
 zealous and fuccefsful in a beautiful branch of female accom- 
 plifhment.
 
 32 On Illumination. 
 
 ral body of the text ; when the writing is com- 
 pleted, I would arrange the border, one fide of 
 which may be double the width of the other, the 
 bottom alfo wider than the top ; if pictures are to 
 be introduced, {ketch out a proper framework 
 firft, for their reception. Thefe arrangements 
 form the heads of the drawing ; fcrollwork may 
 then be introduced, beginning at fome corner, or 
 fpringing from the framework of the intended 
 picture ; when that is nicely arranged, the fame 
 fcroll might be repeated, upwards or fideways by 
 tracings ; the intervening fpaces, if too naked, can 
 be filled up with flowers, taking care, that in the 
 reduction of the fize of the flowers, they each 
 mail preferve a relative proportion to the other, 
 equal to the fcale to which they are reduced ; this 
 is very eflential. If any infects are introduced, 
 this rule mould always be obferved. It would 
 look very ridiculous that a butterfly, fluttering 
 over a rofe, mould be as large or larger than the 
 rofe itfelf, or that a caterpillar mould amime the 
 fize of a conger eel in proportion to the fize of a 
 heart's eafe introduced in the fame drawing ; one's 
 natural judgment will fuggeft fuch faults as abfurd, 
 and they mould be avoided. If the border is to 
 remain tranfparent, lighter ornamentations may 
 be introduced to fill up the blanks ; and finally, 
 all the white parts may be covered by thoufands
 
 On Illumination. 33 
 
 of little dots, in colour and gold, taking care that 
 in iize and diftance they are all alike; this laft 
 procefs can be effected either with the brufh or 
 fine fteel pen, as beft fuited to the ability of the 
 pupil ; if it mould be determined on to fill up the 
 blanks with a folid background of gold, the fpaces 
 need not be filled up too profufely with fmall de- 
 tails, fince the filling up of the gold would become 
 tedious ; if folid, a white line of equal diftance 
 may be prefer ved round every object in the border ; 
 thefe lines mould be drawn round carefully firft 
 (not too wide), and afterwards filled up folid. 
 This white edging forms a very foft and pleafing 
 appearance in the drawing. If the gold is clofely 
 to fill up againft the fcroll or flowers, you may 
 throw a ftrong ftiadow under it on the gold, by 
 which means the ornaments will appear to ftand 
 out in bold relief, and be very effective, taking 
 care that the madows are properly thrown on, 
 and always according to the ftrict rules of drawing. 
 The folid part, inftead of gold or filver, may alfo 
 be made of a light tint, fuch as a pink, or light 
 blue, or deep purple, or even black ; if pink, 
 made it with the fame, a little deeper ; if blue, 
 with the fame ; or if black, with the fame more 
 intenfe, to which fome gum may be added, which 
 will throw up the fhadow more perfect ; the folid 
 parts may be fcrolled over with clofe and fine orna-
 
 34 On Illumination. 
 
 mentations of permanent white or gold on the 
 black background. As the varieties of effect 
 are fo very numerous, I think it beft to leave the 
 judgment of the pupil unfettered, to fuggeft the 
 varieties himfelf, or to confult the various fpeci- 
 mens in the manufcript room of the Britifh Mu- 
 feum. A very effective mode of painting pictorial 
 illuftrations may alfb be reforted to, viz. to draw 
 a fubject for illuftration or a group of figures, all 
 in one colour, including the background, fay blue, 
 the outlines are given on the fide where the light 
 falls in gold ; on the fhaded fide, with a deeper 
 blue, the lights are gradually tinted over with 
 gold, and the fhadows fhaded in with darker blue. 
 This mode of introducing pictures was very pre- 
 valent in the Italian miffals of the twelfth and 
 thirteenth centuries, and I have feen them exe- 
 cuted in every colour, with very good effect.
 
 On Illumination. 
 
 ON PREPARING THE VELLUM. 
 
 HE vellum, which is the beft Italian, 
 and prepared from the kid, is of pe- 
 culiarly fine and white texture, differ- 
 ent from the parchment both in fub- 
 ftance and quality. I import it myfelf, and 
 previously prepare it for the artift, fo that both 
 fides are equally good to receive the drawing 
 upon. Yet there is always a preferable fide, 
 which can eafily be diftinguimed : it is in reality 
 the infide of the {kin, and has the fmootheft ap- 
 pearance. The price varies, according to the fize, 
 from IQS. to 3/. the (kin. Parchment of courfe 
 is much cheaper, and Englim vellum may alfo be 
 had, but it does not pofTefs that beautiful and even 
 quality as the Italian. To prepare it for drawing, 
 it mould be ftretched on a board made of good 
 deal ; the vellum mould be cut about the thick- 
 nefs of the board larger than the fize, and fponged
 
 36 On Illumination. 
 
 with a perfectly clean fponge and water on the 
 fide only which is to lay againft the board. When 
 moderately foaked, it fhould be laid between a 
 frefli mangled napkin for about five minutes, to 
 let the vellum get an equal moifture ; the board 
 is then placed on the top, and the two correfpond- 
 ing fides are tightly folded over, and refting it on 
 the fide, you begin to nail from the centre, with 
 fmall gimp-pins till one fide is completed, each 
 pin to be about one inch and a half apart. You 
 then do the fame operation on the other fide, pre- 
 vioufly Jlightly and evenly ; ftretching it with the 
 hand, and then again fixing the pin from the 
 centre till the fecond fide be completed. You 
 then again lay the board flat on the napkin, and 
 fold the other two fides over as before, and com- 
 plete the ftretching of the vellum in a fimilar 
 manner. Let it gradually dry, when it will lay 
 perfectly fmooth and unwrinkled : it is then ready 
 to work upon.
 
 On Illumination. 
 
 ON TRACING. 
 
 F a copy is to be made of any illumi- 
 nation, the eafieft mode is by affixing 
 a piece of French tracing paper on 
 the back of the drawing and throw- 
 ing it over the front ; begin with a fine pointed 
 H H H pencil, to draw an accurate outline of the 
 whole, thin, pale and delicate. Above all things 
 be correft ; do not trace more than is neceflary for 
 your object, and avoid details, which may eafier be 
 put in by the eye. 'Too much tracing often con- 
 fufes. The upper and inner line of the hair, the 
 eyebrows, the line of the nofe, the upper line of 
 each eyelid, the central line of the mouth, and the 
 cohtour of the cheek and chin, is fufficient to give 
 a correct tracing of a face ; if you trace more, in 
 retracing it you will get confufed. With orna- 
 mentations the fame rule applies ; trace only as 
 much as will fecure your object. When your
 
 38 On Illumination. 
 
 tracing is complete, unfaften it, and attach it by 
 two fpots of gum at the back of the drawing or 
 vellum ; and placing the red 'prepared paper be- 
 tween it (with the prepared fide towards the vel- 
 lum), you trace over it with the fame pencil, 
 (ufing a little prefTure), and you then obtain a 
 fine, thin, delicate and faint red tracing on the 
 vellum. In this operation in order to work cleanly, 
 the following rules muft be obferved. You mould 
 ufe a fine H H H fharp pointed pencil, you mould 
 not prefs hard to make the retracing too red, nor 
 mould your pencil tracing in the firft inftance be 
 otherwife than light ; it becomes deeper when the 
 pencil goes over it a fecond time, which avoids 
 the neceffity of lifting up the paper, to afcertain 
 where you have or have not been over. A good, 
 correct and delicate tracing makes it pleafurable to 
 paint ; a coarfe deep red one gives the artift an in- 
 finite deal of trouble, and the drawing in this cafe 
 will always look fmeared and dirty, which with a 
 little attention can eafily be avoided. As the pre- 
 pared red paper cannot always be eafily obtained, it 
 is much eafier to prepare it yourfelf, which is done 
 as follows : purchafe at the chymift's a quarter of 
 a pound of red french chalky fcrape fome with a 
 table knife on the thinneft white writing paper 
 you may have handy, and with a piece of wadding 
 rub it equally over the furface, taking care that
 
 On Illumination. 
 
 39 
 
 the other fide is kept perfectly clean ; no greafe 
 or water ihould be ufed in this operation, and if 
 blacklead is ufed inftead, you will of courfe ob- 
 tain a pencil tracing if preferred.
 
 On Illumination. 
 
 ON COLOURS. 
 
 S brightnefs and effedt are eflentials in 
 miflal painting, all the fault muft not 
 be laid at the door of the colour-box, 
 but frequently to the unfkilful man- 
 ner in which they are ufed. It is aftonifhing the 
 difference which is perceivable in the drawings of 
 one artift and another. I have frequently had 
 occafion to afk my pupil where me obtained that 
 orange or this vermilion. " It is from your colour- 
 box," would be the reply. And whilft in another 
 inftance I might find fault with a colour for being 
 dingy and impure, me might have been heard to 
 anfwer, that it was my own colour me had ufed. 
 The fact therefore is quite clear, that one artift 
 has better {kill to ufe the colours than another ; 
 and it requires a certain experience and method to 
 ufe them properly. From my own experience, 
 therefore, will I give explanations how each colour
 
 On Illumination. 41 
 
 mould be ufed, for what applies to one may be 
 totally different in another. I (hall therefore com- 
 mence with 
 
 'The Ultramarine Blue, 
 
 WHICH is a vegetable colour of recent invention, 
 and exclufi vely manufactured in Germany. The 
 beft and pureft is prepared in France, and varies 
 confiderably in price and quality. It forms one 
 of the moft eflential colours in illuminated paint- 
 ing, giving tone and life to the whole, and form- 
 ing a ftrong contrail againft any other bright 
 colour ; it mould, however, not be too predomin- 
 ant, but judicioufly introduced. I manufacture 
 it without any component ingredient which tends 
 to affect its brightnefs, or its brilliant depth. In 
 combination with our enamel white it can be tem- 
 pered to any made, refembling the pure ultrama- 
 rine in tint, but of a brighter and lefs greenifh 
 quality. It muft be laid on very evenly, very 
 rapidly, and after once being painted in and yet 
 moift, a full brufh muft immediately be ufed, to 
 let an additional quantity freely and fully drop in ; 
 when dry, it will be perfectly even and equally dif- 
 perfed. The gold, the platina, or the enamel white, 
 may form graceful ornamentations over it, as alfo 
 a deep black, which forms a rich contraft againft
 
 42 On Illumination. 
 
 the ultramarine ; particularly if a bright fpot of 
 orange or carnation, fuch as a dot, is introduced. 
 The drawing of any ornamentation over it mould 
 be done very finely, and with the fined brufh fo 
 as to look delicate, artiftic, and ftudioufly neat. 
 The beft mode of fhading it is not with black, 
 but with deep carmine and a little gum arabic in 
 folution ; it forms an intenfe purple, and is more 
 effective than black. 
 
 Vermilion. 
 
 THE vermilion which at all times is difficult to 
 obtain very bright, requires to be laid on evenly 
 and not too thin ; it mould not be allowed to dry 
 before the intended fpace be completed, otherwife 
 you obtain a fharp edge. The brufh mould be 
 moderately full, but if too full, will caufe the 
 colour to run towards one point, and form a dark 
 fpot. Once is fufficient to go over with the brufh, 
 if carmine ornamentations are intended to embel- 
 lifh it (as in illuftration, Plate IV.) ; but when a 
 bright red only is intended, it would be better to 
 paint over twice, taking care each time to let the 
 firft warn dry firft, before applying the colour a 
 fecond time. Carmine mould always be ufed to 
 {hade or ornament it, and if in fome inftances a 
 deeper contraft is defirable, add a little burnt car-
 
 On Illumination. 43 
 
 mine to it, where the moft intenfity is required. 
 Never ufe black to effect this object. 
 
 Emerald Green 
 
 REQUIRES nearly the fame treatment as the ver- 
 milion, with a little more care in warning in a 
 fecond time, fince that colour is eafily difplaced 
 by the fecond time going over it, and which gives 
 it an uneven appearance. The beauty of illumi- 
 nated drawing is greatly increafed by the folid and 
 even appearance of the colours. If ufed faintly, 
 it may be fhaded and ornamented with cobalt ; if 
 ufed intenfely, Hooker's green may be more effec- 
 tive ; mixed with a little cobalt it forms a bluifh 
 green, frequently introduced in drapery in the old 
 miffals. It is a ufeful and effective adjunct in 
 fcrollwork, but never ufe it for the painting of 
 natural leaves ; they look then as if cut out from 
 bright green paper, inftead of nature's variegated 
 ornaments. 
 
 Cobalt Blue 
 
 Is ufed precifely as the emerald green. A thin 
 and even warn is moft effential in the firft place, 
 and gradually tinted up with the fame tint ; a 
 good deal of patience and manipulation is necef-
 
 44 On Illumination. 
 
 fary to fmooth this moft difficult colour into obe- 
 dience. Young beginners will find it moft irk- 
 fome to handle, but it forms an agreeable variety 
 amidft the other blues. It looks well for flues in 
 tiny landfcapes, or water (mediaeval water of 
 courfe). White ornamentations are ufed over it, 
 to hide any defects. 
 
 Purple 
 
 Is not a permanent colour, but being in combi- 
 nation with another it changes to a bluifh tint ; 
 it is eafily applied, very ufeful and rich in contraft 
 with orange, filver, or light colours in general. 
 This colour has been much efteemed as prefer- 
 able to the made purple of carmine and cobalt ; it 
 can be ufed for backgrounds if intenfely laid on, 
 two or three times over : it has a very velvety 
 appearance, and may be ufed with advantage in 
 every made, and modified with a little burnt car- 
 mine to fuit the tafte of the artift. 
 
 Orange Chrome 
 
 Is not fo bright as the red lead, but is permanent, 
 and will not turn black. I have preferved all its 
 brightnefs that was poflible to obtain, and have 
 therefore entirely abandoned the more feductive 
 red lead : it is ufed precifely as the vermilion.
 
 On Illumination. 45 
 
 King's Yellow 
 
 REQUIRES no particular treatment ; it is, however, 
 not permanent though brighter! : we place it in 
 the box to be occafionally ufed for illuminations 
 which are intended for a frame, where the exclufion 
 of air protects it from changing. The gamboge 
 can be ufed inftead, and will, in combination with 
 pruffian blue, form beautiful greens for foliage. 
 
 Carmine plain and burnt 
 
 Is one of the moft ufeful colours in illuminations ; 
 its richnefs diluted or intenfe gives life and bril- 
 liancy to the furrounding colours. In combina- 
 tion with enamel white it makes a rich pink, with 
 cobalt in addition it forms a foft lilac ; the burnt 
 carmine produces a rich brown, and adds to the 
 general effecl:. Carmine is fo generally ufeful, fo 
 eafily applied, that the artift foon will difcover its 
 ineftimable value. 
 
 Hooker's Green 
 
 Is equally ufeful, brilliant, and eafily applied. It 
 adds intenfity in the fhading of all the greens. In 
 combination with white a beautiful middle tint is 
 obtained, and may be ufed for ornamentations, 
 fcrollwork, etc.
 
 46 On Illumination. 
 
 Burnt Sienna 
 
 Is ufed chiefly in {hading gold or filver, intenfi- 
 fied with lamp-black. It is ufed for figure draw- 
 ing in the hair, eyebrows, etc. In combination 
 with burnt carmine it forms a rich brown for back- 
 grounds, and touches up in foliage to much ad- 
 vantage. 
 
 Lamp-black 
 
 FOR its intenfity is preferable to indian ink, and 
 is very effective for backgrounds. To add to its 
 intenfity you may mix a little gum arabic with it, 
 when required as a fhadow on the fame colour. 
 
 Middle Tints, 
 
 OR opaque colours, which form fo confpicuous a 
 feature in the old miflals, fuch as pink, falmon, 
 gray, lilac, pale green, primrofe or pale blue, are 
 feverally produced, by the addition of the enamel 
 white with the following colours; carmine, ver- 
 milion, black, cobalt and carmine, Hooker's green, 
 yellow and ultramarine, in fuch proportion as the 
 tint requires to be high or faint ; but care muft 
 be taken in laying thefe on evenly to preferve an
 
 On Illumination. 47 
 
 equal Surface, and which is eaSily difplaced by 
 going over it a fecond time. 
 
 Enamel White 
 
 FORMS a distinguished feature in illuminating ; its 
 utility for various objects is obvious ; a fmall dot, 
 the Size of a pin's point, tells on the blue, red, 
 pink, or lilac with moft delicate effect. It forms 
 alfo a brightnefs on the gold and on colours, when 
 judiciouSly applied(fee PlatelV. in the illuftration). 
 The artiSt can extensively avail himfelf of it, and 
 may modify its intensity as circumstances require. 
 It forms a hard enamel over the gold fize, which 
 then may be painted over with the gold or Silver 
 from the (hell, and when perfectly dry, may be 
 burnifhed richly over with the agate, and forms a 
 bright gold or Silver raifed ornament. It aids him 
 alfo to repair any damage or imperfection which 
 accidentally may occur, and its general utility will 
 foon be difcoverable, when the ftudent begins to 
 advance in the art. 
 
 Platina and Si her. 
 
 I HAVE adopted platina in preference to Silver, 
 Since the former retains its colour permanently, 
 whilft the Silver generally diScolours after two or
 
 48 On Illumination. 
 
 three weeks' expofure to the air. Thofe who pre- 
 fer the more brilliant colour of the bright filver, 
 can however ufe it, and by gently warning it over 
 with a fbft new brufh dipped into fpirits of wine, 
 which when dry forms a varnim over it, excluding 
 atmofpheric air, preventing thereby effectually 
 difcoloration. Care mould be taken that in the 
 procefs the filver be not removed by the brufti 
 being too dry or too roughly ufed. 
 
 Green or Yellow Gold. 
 
 THE application of the green gold forms alfo a 
 pleafing variety, amidft illuminations of yellow or 
 matted gold, and gives a richnefs to the defign, 
 entirely unknown in the ancient mifTals, fince its 
 ufe at that period was not difcovered. For this 
 reafon many of my orthodox pupils have objected 
 to ufe it, " becaufe they could not find it in the 
 ancient manufcripts ; " but whilft I would encou- 
 rage the ftudy and clofe imitation of the ftyle of 
 the ancient matters, as far as artiftical principles 
 are concerned, I cannot object to the introduction 
 of any improvement in EFFECT, which modern art 
 may fuggeft, merely on the ground that our pro- 
 ductions mould flavifhly be imitative of the old 
 originals. For this reafon, I alfo always difcou- 
 rage the introduction of quaint and grotefque
 
 On Illumination. 49 
 
 figures, mifshapen animals and monftrofities, ima- 
 ginary flowers or fruits which never had exiftence ; 
 and which merely indicated a want of artiftical 
 knowledge at the time, of the real beauties which 
 are to be found in the productions of nature, the 
 want of which knowledge taught them to fupply 
 us with the defective creations of their untutored 
 imaginations. Of thefe, plenty of fpecimens are 
 found in the earlier productions of the fixth and 
 feventh centuries, and are gradually improved 
 upon in the later productions. I prefer, therefore, 
 the pleafing confiftency of reprefenting objects of 
 accurate defign, to thoie which at the prefent 
 moment would incur the ridicule and juft cenfufe 
 of the critic. Very little obfervation need be made 
 in the ufe of either gold, filver, or platina, fince 
 it is applied eafily from the ihell with a paint-brum 
 and clean water to the vellum, and can be orna- 
 mented or burnifhed with the agate at pleafure, 
 or be painted over with blue, white, or red fcroll- 
 work. With refpect to other colours, they may 
 be ufed as occafion requires, and thofe acquainted 
 with water-colour painting, can apply them to the 
 painting of flowers, landfcapes, miniatures, &c., 
 in the fame manner as on drawing-board. The 
 delicacy of vellum being much better fitted for 
 the purpofes of painting than either ivory or 
 paper, I need not add that the moft pleafing and 
 D
 
 50 On Illumination. 
 
 the higheft finifhed drawing may fuccefsfully be 
 executed on it. 
 
 The Agate 
 
 Is ufed with a little practice, to great advantage, 
 and is capable of producing beautiful effects on 
 the fhell gold. A large field of gold would look 
 rather monotonous, the agate is therefore employed 
 for engraving, as it were, little ornaments over it, 
 of various defigns, which appear in bright con- 
 traft to the dead gold. A fteady hand is required 
 to make the fcrollwork run fmoothly and free ; 
 a "little dot, or a clufter of them, and a ftalk pro- 
 ducing little flowers, and indented rofe-leaf or 
 vine-leaf with its arteries, can alfo fuccefsfully be 
 produced. It were beft however to practife this 
 on a fmall fcale firft, before progrefTmg with the 
 drawing in too great a hurry. 

 
 On Illumination. 
 
 ON RAISED GOLD ORNAMEN- 
 TATIONS. 
 
 HE raifed gold ornaments, which form 
 fo brilliant a relief, amidft the gaiety 
 and contraft of well arranged colours 
 and matted gold, are fubjects which 
 require a great deal of practice ; their ufe, there- 
 fore, mould be fparingly at firft, on account of the 
 difficulty, and mould always be introduced with 
 great judgment, fince a profufion of bright orna- 
 mentations diftract the eye from the main fubject, 
 and becomes extremely vulgar, refembling much 
 that ginger-bread appearance of the French clafs 
 of tinfel and emptinefs ; whilft a moderate ufe of 
 them, here and there, enriches the drawing, with- 
 out their effect becoming tirefome and deftructive 
 to the general beauties of the drawing itfelf. They 
 mould therefore be limited to fmall raifed dots, 
 or three-foiled leaves only, a line to form a bright 
 fhadow on the dead gold, or the arteries on a leaf
 
 52 On Illumination. 
 
 of green gold. They may alfo form a circle round 
 a gem of ruby or emerald, reprefenting the fetting 
 or mounting of real gold, and fuch other trifles as 
 the fubject may require. Ackermann's gold fize, 
 for the purpofe of producing thefe raifed orna- 
 ments, is well calculated to effecT: this. The 
 brown pafte contained in the little vefTel is ufed 
 in a fimilar manner as a cake of water-colour, 
 wetting it with a fable brufh, till of fufficient con- 
 fiftency, and painting with it the defired ornament, 
 and raifing it by dropping freely fufficient pafte 
 on it, which by its own gravity, will be properly 
 rounded off, and becomes, when properly fet, fit to 
 receive the gold leaf. It ftands then raifed on the 
 vellum, and which may be increafed ad libitum^ 
 by dropping more and more on it till fufficiently 
 high. In ten or fifteen minutes at furtheft, when 
 fufficiently fet, cut a piece of gold leaf (always a 
 trifle larger than the object), and flightly breathing 
 on it, with the warm breath previoufly, place the 
 cut gold leaf on it, either with the point of a 
 brufh, or clean fciflbrs, or a pair of fteel tongs 
 made for the purpofe. The gold being placed 
 on the top mould receive the warm breath again, 
 and immediately it will adhere firmly to the 
 moiftened matter: leave it there for about one 
 hour, when it will be properly hardened; after 
 which with a foft clean piece of wadding rub it 
 over, and the fuperfluous parts will loofen eafily,
 
 On Illumination. 53 
 
 while thofe intended to be gilded will remain. 
 Should any part be imperfect, apply the pafte 
 again as before over the imperfect part, going 
 through the fame procefs till complete. This 
 however will not occur when the pupil acquires 
 fufficient experience of the material with which he 
 has to work. Another mode of raifed gilding, 
 and one which in my opinion is more expeditious 
 and lefs troublefome, is effected by my " Liquid 
 Gold Cement," which is ufed in a fimilar manner 
 as the " Enamel White," and is partly compofed 
 of the fame material with fome flight addition. 
 You dip the brufh in the bottle and ufe it rather 
 thinly at firft, whilft delineating the ornamentation, 
 and afterwards drop on it (whilft wet) as much of 
 the fame as folid as the brufh will thus hold, till 
 fufficiently RAISED ; in about half an hour being 
 properly fet, PAINT over it in either colour, gold 
 or filver, and when quite dry and hard, let the 
 fame be burnifhed over GENTLY with the crooked 
 agate, and the ornament will ftand brightly out 
 in the drawing ; this mode I prefer much over the 
 former. There is ftill another and better method, 
 which I make ufe of in large and elaborate work, 
 but which I only can communicate to my pupils 
 perfonally, fince it is TOO valuable a fecret to part 
 with, except to thofe who are fomewhat advanced 
 in the art.
 
 On Illumination. 
 
 CONCLUSION. 
 
 AVING given a detailed explanation 
 of the mechanical means to be em- 
 ployed, fufficient for the ftudent to 
 pra&ife the <f beautiful art of miflal 
 painting," permit me to add a few words in con- 
 clufion, which I hope will not be thought fuper- 
 fluous, deeming it efTential to be as explicit as 
 poflible in the treatment to be adopted : I have 
 not left a fingle fubjecl unnoticed, which requires 
 the attention of the learner. The illuftrations I 
 have been enabled to give are merely explanatory, 
 but fufficient to help the pupil, with fome of 
 the leading features obfervable in the illuminations 
 of the middle ages. The limits of this little work 
 would not permit me to furnifh fpecimens of ex- 
 ifting mafter-pieces, or with the varied excellences 
 which have been handed down to us during a 
 lapfe of thirteen centuries. To have given, there-
 
 On Illumination. 55 
 
 fore, an ifolated fpecimen or two, would have been 
 of very little ufe, whilft it would have enhanced 
 the price of the work materially, which was not 
 intended to be an expenfive, but a ufeful one. 
 For the purpofes of refearch, no other than the 
 very originals ought to be confulted, which lie 
 within the reach of every one to examine, at the 
 Britim Mufeum. There is quite fufficient ftore 
 to furnim the ftudent with ample means of re- 
 fearch, without the neceffity of travelling on the 
 continent, though, no doubt, a great many gems 
 of art will be found in the Vatican, or the Royal 
 Library at Paris. But in a collection fo extenfive 
 as that in our own national Mufeum, or the libra- 
 ries of Oxford or Cambridge, we can find fufficient 
 to fatisfy the moft faftidious lover of art. It is 
 efTential the ftudent mould ftudy the originals, and 
 I have made it a practice to accompany my pupils 
 at leaft half a dozen times to the manufcript rooms, 
 during their courfe of inftruction, for the purpofe 
 of calling the attention to what to him or her is 
 efTential to know, and to afford an opportunity 
 of making fuch extracts of which they afterwards 
 may ufefully avail themfelves. They then can 
 note down the progrefs of art from age to age, 
 and the gradual development of decorative im- 
 provement, progreflive with the advancement of 
 civilization ; yet ftrange to fay, though our own
 
 56 On Illumination. 
 
 age claims to have reached that, in an eminent 
 degree, the decorative art, as indeed arts in general, 
 have not progrefled in the fame proportion ; how 
 to account for this is, not that art has arrived at 
 its climax of excellence, but that moft of its fol- 
 lowers of the prefent age have contented them- 
 felves by ftrictly admiring and copying the me- 
 diaeval artift, inftead of exerting their own powers 
 to excel them. 
 
 The artift now merely toils to live, while for- 
 merly his ambition took a higher flight, for then 
 he laboured for fame and for pofterity. The 
 artift, however, who does not folely paint for gain, 
 and who from circumftances is happily freed from 
 the trammels of poverty, mould ftrive to excel his 
 predeceflbrs. There is much room for improve- 
 ment ; modern inventions have fprung up ; me- 
 chanical improvements have advanced ; new and 
 interefting objects of natural productions have 
 been brought within his reach, from the furtheft 
 limits of the habitable globe, to enrich the refources 
 of his inventive powers, unknown to the antiquated 
 monaftic fcribes, to whom we owe fb much. Our 
 advantages over them are obvious. Why then 
 fhould we not excel them ? Let it not be con T 
 fidered that this art is a mere mechanical amufe- 
 ment ; a mere ingenious contrivance ; a daub of 
 colours and gold fhowy, flimfy, and unmeaning.
 
 On Illumination. 57 
 
 Though much of that exifts in our modern de- 
 corations, it is highly deferable that they mould 
 not partake of that character ; a little tafte, a little 
 poetry, gracefulnefs, order, and fome difplay of 
 general knowledge, of artiftical combinations and 
 principles, cannot fail to make our productions 
 more valued and valuable. Give a tinge of fome 
 originality, difplay an attempt of your own in- 
 ventive powers, bafed upon acknowledged prin- 
 ciples of beauty and effect, and your productions 
 will foon reach an eminence of which Art is yet 
 capable ! Though the age of romance and chivalry 
 has gone by, and we live now, ftrictly {peaking, 
 in that of fober reality, our artiftical productions 
 may at leaft mow that fuch things have been, and 
 may happily awaken a dream of what life once 
 was. The painter who delineates forms has na- 
 ture for his guide ; and however his conceptions 
 may be lofty and original, and breathing all the 
 poetry of the imagination, ftill he copies nature 
 on his canvas. The illuminator is called upon to 
 create combinations of endlefs variety, confiding of 
 ornamental intricacies which he has feen, with 
 thofe his imagination conjures up. The combina- 
 tion and contraft of colours, afford him ample 
 means to exercife his tafte ; and the eye becomes 
 inftinctively capable of difcerning that which is 
 graceful and beautiful, and that which is not.
 
 58 On Illumination. 
 
 But his tafk is more fevere than that of the painter, 
 inafmuch as the conftant demand for new ideas 
 and effects, is a continual drain upon his inventive 
 powers ; the more thefe are exercifed the more 
 original his productions, and the more likelihood 
 there is of his excelling the mediaeval artifts. 
 
 It is only within the laft fifteen years that the 
 art of illuminating has been newly revived ; it 
 has flumbered for nearly two centuries in total 
 oblivion. I do not remember ever having feen 
 an old miflal in my younger days, fo little was it 
 confidered of importance to the artift ; yet what 
 a ftore of information may be obtained from them ! 
 What illuftrations do they furnim of the progrefs 
 of the human mind and civilization ! What light 
 do they throw on the manners, cuftoms, and 
 morals of bygone ages ! What links do they form 
 in the gap of hiftorical events, which otherwife 
 would have been left in darknefs for ever ! There 
 is fcarcely a page, but on which you may trace 
 fome interefting event connected with the hiftory 
 of the period, its arts, its husbandry, its revels, its 
 glories, or its mame ! 
 
 The application of lithography for purpofes of 
 coloured printing or chromo-lithography in the 
 laft fifteen years, has done much, if not all, to 
 awaken the attention of the artift and the lovers 
 of art to the treafures mouldering in our libraries
 
 On Illumination. 59 
 
 and mufeums ; by its aid we have been enabled 
 to obtain copies and fpecimens of illuminated 
 printing, almoft perfect facfimiles of the originals. 
 It has ftimulated the artift to purfue a new track 
 for his operations ; it has infufed a correfponding 
 tafte in the public mind for ornamental improve- 
 ment, which has manifefted itfelf in every branch 
 of manufacture. The interior decorations of the 
 Houfe of Lords afford a ftriking proof. Fifty 
 years ago, when pigtails and cocked hats were the 
 fafhion, fuch a gorgeous difplay of ornamental 
 grandeur would not and could not have been 
 fuggefted. The glorious Alhambra at the Cryftal 
 Palace, produced under the fkilful direction of 
 Owen Jones, was previoujly publifhed from the 
 chromo-lithographic prefs by the fame artift, and 
 to whom the lovers of art are much indebted. 
 The fame improvement is vifible in every branch 
 of induftry, where defign forms its chief attraction, 
 from the productions of our looms, the atelier of 
 the (ilverfmith and the chafer, down to the hum- 
 bleft utenfil in daily ufe. This improvement in 
 tafte is owing to the rapid ftrides which chromo- 
 lithography has made in fhowering forth its thou- 
 fands of publications in ornamental printing. It 
 was matured and ripened, by the royal fuggeftion 
 of the Induftrial Exposition of '5 1, and finally con- 
 fummated by Sir Jofeph Paxton's grand accom-
 
 60 On Illumination. 
 
 plifhed fcheme of his palace at Sydenham, com- 
 prifing as it does the artiftic wealth and glories of 
 all ages and countries, and which only requires to 
 be made acceffible on the Lord's day, to the la- 
 bouring millions, deprived by inceflant toil during 
 the week, to enjoy its benefits, and the accefs to 
 which will furely lead to their mental and moral 
 elevation, the extinction of crime and intemper- 
 ance, and finally the triumph of eternal truth over 
 narrow-minded and felfifh bigotry : this once ac- 
 complifhed I am prone to hope, that in a few 
 years hence, by all thefe found influences over the 
 arts, we mail ftill further refcue them from the 
 degenerate ftate in which they flumbered during 
 the laft century.
 
 PLATE 1.
 
 PLATE If.
 
 PLATE 1
 
 APPENDIX. 
 
 PLATE I. 
 
 No. i, 
 
 THIN border very frequently ufed in illuminations 
 by the Italians ; confifting of fmall blue and pink 
 leaves, tipped with white againft a black back- 
 ground. 
 
 No. 2, 
 
 Are fpecimens of various flowers, ornamentations, foliage, 
 the arabefque fcroll, etc. which are to be met with in the 
 ancient manufcripts. To give anything like a variety would fill 
 a volume ; to claffify them would alfo be an endlefs taflc, fince 
 any contrivance to do fo would be fruitlefs : my objeft being 
 to give an infight to fome of the leading features obfervable in 
 the illuminations : thefe are fufficient for the beginner. To 
 acquire an accurate idea, I muft refer the ftudent to the 
 Britim Mufeum. I have given, at the end of the volume, out- 
 lines of every illuftration, which the ftudent can fill up with 
 colours according to the original, or he may vary them at 
 pleafure ; yet in preference he mould endeavour to {ketch 
 them himfelf, fince it is defirable that he mould acquire 
 proficiency in thefe trifles, they generally forming fmall details
 
 62 Appendix. 
 
 to go over the folid parts, or intended to fill up blanks. They 
 univerfally require to be well executed. 
 
 No. 3, 
 
 Are portions of folid colours over which the fcrollwork or 
 ornaments are applied, either in white, gold, or colours, as 
 illuftrated here ; the one in red being called damajk-work, the 
 patterns of which can be varied in endlefs variety. Over the 
 gold, engravings with the agate are highly effective. 
 
 No. 4, 
 
 Reprefents a portion of a fcroll in a folid colour, over which, 
 after being properly fliaded, fine threads of gold or white are 
 drawn. At the beginning I have left the mere outline, to 
 illuftrate the method in which it mould be drawn, viz. out- 
 lining it in the intended colour with the brufli over the pen- 
 cil-tracing, and afterwards filling it up in folid. In making 
 thefe or fimilar fcrolls, care fhould be taken that they are grace- 
 fully drawn, and be made to ran freely through the defign. 
 
 No. 5, 
 
 Illuftrates fragments of curves with leaves or ornaments which 
 muft be ruled in with the ruling-pen, by the aid of the wooden 
 fcroll, the fcroll being placed on the pencil-tracing, where 
 a feftion of its curve correfponds with the intended defign. 
 
 No. 6, 
 
 Are two ftraight lines ruled parallel and clofely together, fo as 
 to mow a white thread between.
 
 Appendix. 63 
 
 PLATE II. 
 
 FIG. I, 
 
 Is the half of an illuminated page, with a folid background of 
 gold, and fcrollwork and flowers, leaving a narrow white 
 edge round the fcrollwork, which gives it a pleafing effeft ; the 
 writing in the interior is the ftyle which is ufually adopted to 
 that clafs of defign, and fliould be praftifed by the ftudent. 
 
 FIG. 2, 
 
 Are fpecimens of little capitals which are introduced in the 
 body of the Text ; they generally ought to agree in character 
 with the general features of the border. 
 
 FIG. 3, 
 
 Is an initial letter from a beautiful Italian manufcript in the 
 Soane collection ; the interior in the original is filled up with 
 the miniature of a faint. I have introduced the light fcroll 
 on a gold background, as more fuited to the capacity of young 
 beginners. 
 
 PLATE III. 
 
 FIG. i, 
 
 Is an ornament of foliage, coniifting of two fimilar halves joined 
 together ; by reverfing the tracing (after one half has been 
 drawn) you can repeat the fame ornament as often as required. 
 
 FIG. 2, 
 
 Is a group of fome flowers and ornaments ufually applied in 
 filling up the borders of an illumination. 
 
 FIGS. 3, 4, AND 5, 
 
 Are different fpecimens of bordering, tranfparent and folid, 
 ufually enclofing the writing, which is placed in the centre.
 
 64 Appendix. 
 
 PLATE IV, 
 
 Is the initial letter O, copied from a woodcut. Though the 
 general defign is effective and pleafing, it is not accurately 
 drawn ; when it might have been, had the defigner ufed the 
 tracing paper. I have illuminated the fame to make it more 
 effective, but have mown the defects as in the original, to 
 fhow what in modern illuminations mould be avoided. 
 
 THE REMAINING PLATES 
 
 Are printed outlines of the former, which the ftudent can fill 
 up for practice. 
 
 CHISWICK PRESS : C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.

 
 rST 
 

 
 
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 SHOETLY WILL BE PUBLISHED. 
 
 A TREATISE 
 
 ON THE 
 
 ART OF ILLUMINATING 
 
 AND 
 
 MISSAL PAINTING. 
 
 (A SEQUEL TO THE AUTHOR'S "ELEMENTARY 
 INSTRUCTION ON ILLUMINATING.") 
 
 WITH AN INTRODUCTION TO 
 
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 1858.
 
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 ON VBLLUM, adaptable for Modern purposes, either Sacred or Secular, 
 by Annual Exhibitions, and by publishing one or more Subjects 
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 Names as Members and Patronesses : 
 
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 LADY NAAS. 
 
 LADY A. DE ROTHSCHILD. 
 
 BARONESS DE ROTHSCHILD. 
 
 LADIES A. AND K. LOFTUS. 
 
 LADY SARAH SPENCER. 
 
 LADIES K. AND L. HAMILTON. 
 
 LADY FRANCES HARCOURT. 
 
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 LADY LOUISA BOYLE. 
 
 MRS. WILKINSON. 
 
 MRS. CHAUNCY. 
 
 MISS VAUGHAN. 
 
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 MISS DE ROTHSCHILD. 
 
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 Detailed Prospectuses may be had at 
 
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 The following "ILLUMINATIONS" ore to be had on hire at 
 the Gallery of Arts, 3, Torrington Square. 
 
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 A splendid assortment of -'VELLUM ILLUMINATIONS" are constantly 
 kept on Stock, for Sale, or hire to copy from, a pencil outline of each 
 being published at 6d. or Is. each. 
 
 THE ILLUMINATED CHESS BOARD. 
 THOMPSON'S SEASONS (Three Subjects). 
 THE LORD'S PRAYER. 
 THE CREED (Three Subject*.) 
 POESY. 
 
 DAVID WITH THE HEAD OF GOLIATH. 
 DAVID IN PRAYER. 
 THE ADORATION OF THE MAGI. 
 THE 67th. PSALM "Deus misereatur." 
 The 82nd do." Deus Stetit." 
 The 1st do." Beatus vir qui non abut " 
 The 3rd do. " Domini, quid multiplicati." 
 St. Lnke 29th. Nune Dignitis. 
 SONNET" It is all a dream." 
 Initials A. B. C. D. I. O. 
 
 The proverbs alphabetically arranged in outlines, in course of 
 publication. 
 
 Partially Illuminated Pencil outlines on Superfine 4to. Royal 
 Drawing boards, 2s. each. 
 
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 De Laurent de Lara.
 
 "ILLUMINATING COLOUR BOX," 
 
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 acquired a celebrity for the brilliancy of their tints, equal to those 
 manufactured in Paris. For the purposes of Vellum or Miniature 
 Painting they are unrivalled, and even for Flower Painting they 
 impart the living brilliancy of the flower garden. The Illuminating 
 
 materials are complete with every requisite. 
 
 In Boxes, at 1 5s., \ 11s. 6<L, and 2 2s. 
 
 To be had wholesale of the Manufacturer, 3, Torrington Square ; 
 
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 Booksellers. 
 
 An assortment of Prepared Italian Vellum, ready mounted, 
 3s. 6d., 6s., and 8s. Each. 
 
 Whole Skins, from 7s. 6d. to 3 3s. Each. 
 
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 Mathematical Instruments, 21s., or 31s. 6d. the Case. 
 
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