1º _Paper_.—
Several obvious reasons combined in mediæval days to make vellum the
almost exclusive vehicle for illuminated writing. It was the substance
on which most manuscript books were written: it was durable, and it
took both ink and colour well. It is still largely in use for the
purposes of illumination, and may be had properly prepared at almost
any stationer’s, as well as at all artists’ colour shops. Any drawing
paper with a smooth surface may also be used; but the best substance of
all is the ordinary Bristol board, not too thick, for there should be
some little elasticity—three sheets thick is about the most useful.
2º _Colours_.—So much in illumination depends on (1º) the brilliancy
and (2º) the durability of the colours employed, that too much care
can hardly be displayed in their selection. Instances are numerous in
which work on which hours and hours of care and pains were bestowed,
a few years ago, is now so faded as to be almost unintelligible; the
reds have flown, the whites turned brown, and a few hazy, blue marks
are all that are left. It is clear that they of old surpassed us in the
preparation of their colours. Some of the paintings in the ancient
temples of Egypt, which have been proved to be only water colour, are
as brilliant and fresh to-day as they were when laid on three thousand
years ago. The exquisite miniatures and elaborate ornamentation of
numbers of Oriental manuscripts, five, six, seven, and more centuries
old, retain all their original beauty and gorgeousness; and the
mediæval office books, and other MSS. of England, France, and Italy,
especially those of the 14th century, are at this day as much marvels
of brilliant colouring as the stained glass windows of the same
periods. To the beginner, of course, the character of the colours
employed is not so important, as to more forward artists. Still it is
wise to exercise judgment in selection, even from the first, especially
as in nine cases out of ten a cake of colour will last for years.
The best course is to make the purchases at one of the best artists’
colour shops, to eschew all ‘made up’ colours, and to rely on the eye
for producing at home the several gradations of hue, by mixing the
primal colours on the slab. Comparatively few are really required; and
as illuminating is a very different art from ordinary water-colour
drawing, and requires a peculiar texture of matter, the colours most
fitted for it are not always the same as those in ordinary use. The
following will be found the most serviceable:—
───────────────────┬─────────────────────────┬────────────────────────
REDS. │ YELLOWS & BROWNS. │ SILVERS.
Scarlet vermillion │ Indian yellow │ The most durable mode
Crimson vermillion │ Gamboge │ of producing this most
Crimson lake │ Sepia │ delicate and sensitive
Carmine │ The latter, mixed with│ of all colours, is to
The two last for │ lake, makes a good │ use platina, or
the deeper hues, │ shadow colour, and │ aluminum, and burnish
and for shading. │ shows well on reds, │ afterwards.
│ or on gold. │ See ‘Tricks.’
───────────────────┼─────────────────────────┼────────────────────────
BLUES. │ BLACKS. │ WHITES.
Ultramarine │ Indian ink │ Chinese white is the
Permanent blue │ This will be found the │ most brilliant and
The latter for the │ most generally useful.│ stands best.
deeper hues, and │ Ivory black and lamp │
for shading. │ black are both good │
│ blacks; but genuine │
│ Indian ink is as good,│
│ or better, and has the│
│ advantage of working │
│ well in the pen, which│
│ the others will not │
│ do. │
───────────────────┼─────────────────────────┼────────────────────────
NEUTRAL TINTS, │ GREENS. │ GOLDS.
PURPLES, &c. │ Emerald green— │ The ordinary shell
Permanent blue, │ Use permanent blue │ gold; but it will
mixed with lake, │ for the shading. │ be found most
will be found │ │ economical to
best suited for │ │ purchase it in the
illumination. │ │ larger quantities,
The neutral tint │ │ as soldin Porcelain
sold in the shops│ │ pans and saucers.
is too heavy, │ │ There is also a gold
so is that │ │ medium, the use of
ordinarily made │ │ which as well as of
up of indigo and │ │ the agate burnisher,
light red. │ │ will be explained
│ │ under the head of
│ │ ‘Tricks.’
───────────────────┴─────────────────────────┴────────────────────────
[Illustration]
Pencils, Pens, Drawing Instruments, &c.
The pencil being only used for sketching the subjects, those marked
F, H, and HH, will be found sufficient. A few ordinary fine-pointed
steel pens will do very well for outlining. For the benefit of any
learner not conversant with the use of the pen with colour, it may be
added that the method is, to mix the colour, very liquid, in a saucer;
and then filling a camel’s hair brush with some, to draw the brush
across the shoulder of the pen, which is to be held with the open part
upwards. It will be found that enough colour is thus scraped off, as it
were, to charge the pen: by a similar method the drawing pen is charged.
It will be well to have a drawing pen, a pair of compasses with pen and
pencil legs, a few drawing pins; a drawing board, 2 feet by 18 inches,
or smaller; a =T= square; three set squares (one 45°, the other
two 70° and 20°) and respectively 3 inches, 6 inches, and 9 inches in
length. The latter will be found more practically useful than all sorts
of parallel rulers; but as their use is not generally familiar to any
but architectural and engineering draftsmen, it may be useful to add an
explanation of it.
Having adjusted the cardboard by means of the =T= square on the
drawing board, secure it by pins. To draw any number of parallel lines
it is now merely necessary to lay the =T= square across the
cardboard, in a direction perpendicular to that of the desired lines,
taking care, of course, that the cross piece of the =T= is well
against the edge of the drawing board, and kept firm by a weight;
and then keeping one side of the set square against the side of the
=T=, to slide it up and down as occasion shall require.
It will be found very useful both for keeping the =T= square
steady, and for tracing and other purposes, to have a couple of small
weights—lead is the best material—about the size of a child’s large
toy brick, or—say—3 inches long, 2 inches wide, and ½ an inch deep.
Any plumber can cast them. Cover each of them with a piece of foolscap,
or other paper not too smooth, folding it up like a parcel, and sealing
the ends down on the upper side. The advantage of this plan is, that
the envelope can be removed and renewed as it gets dirty. Handles to
weights, or thick weights, are a mistake; they catch the hand.
As greater neatness and accuracy in curves are sometimes necessary
than can be attained by any but the most practised hand, it will be
found useful to have a few French curves; these can be procured at any
artists’ colour shop, or drawing instrument maker’s.
Three brushes will be enough. Washing, as in water-colour drawing,
being never used in illuminating, no large brushes are needed; the
largest need not be more than half the size of a lead pencil, the
second of course smaller, and the third a very fine one. They should be
of sable; and carefully selected for firmness, compactness, even point,
and absence of straggling hair.
A slab or palette for the colours, and a separate saucer or slab for
Indian ink should be provided.
It will be necessary also to have an ivory point for tracing off, and a
small agate for burnishing and other purposes; both are to be procured
at the artists’ colour shop.
Of course tracing paper will be required—the French is the best—as
well as a sheet of red paper for tracing off. Red paper, though readily
procurable in the artists’ colour shops, and perhaps most conveniently
so, is nevertheless simply and easily constructed. Any one who is
desirous of making his own, has merely to take a sheet of foreign post
paper, scrape a piece of red chalk over it, and then rub in with a
piece of soft chamois leather or wadding, until the paper is evenly
covered, not making it too thick, or it will trace off clumsy lines.
The beginner being now furnished with all necessary materials, the
shortest and most comprehensible way of instructing him in the use of
them, will be to take two or three of our own examples, and ask him to
follow us through the process of executing them. To take a very simple
one first, we will select any one of the letters in No. 3. The piece of
cardboard is supposed to be laid on the drawing board, and kept steady
by a single pin in the centre of its upper side, there being no need
for perfect rigidity as there are no squaring or parallel lines in this
illumination. Proceed to trace the initial from the example by laying
a piece of tracing paper over it, with weights to steady it, the same
weights may be easily so arranged as to keep the book open as well.
Run over every line with your softest pencil with a fine point, and a
light hand. Remove the tracing paper, and adjust it over the cardboard,
so as to bring the tracing over the desired spot. Adjust the weights,
slip the red paper underneath, take your ivory point and begin tracing
off; and of this, let it be remarked, that nothing but practice can
give the beginner the requisite skill to make a good tracing. A heavy
hand, or a broad point will produce a coarse tracing; too light a
hand, too faint a tracing, and too fine a point will cut through the
tracing paper. It will be well to make a few trials first, and even
during the progress of a tracing, especially if it be an elaborate one,
to lift the lower corner of the tracing paper carefully now and then,
so as not to disturb the weights, and to see that all is going on as
it should. The tracing being complete, proceed next to outline it in
Indian ink, with a pen. For this purpose prepare some ink in the manner
already described, on its separate slab. The ink outline should be
complete—strong and weak where needed, as in the outline illustration
of our specimen, and should be clean and firm—all this while keep a
_clean_ piece of paper under the working hand.
The outline being completed, the next thing will be to prepare the
colours. For either of the initial letters in Example 3, red, green,
and gold are the only colours needed; and this may be the most
suitable place for introducing a few words about what is technically
called ‘body colour.’ Body colour is very largely used in all ancient
illumination, whether English, French, Italian, or Oriental; but is
most prominently observable in the Italian. It is obtained by simply
mixing a small quantity of some opaque substance with the colour. Zinc,
or Chinese white, are most commonly employed for the purpose; and the
best mode of construction is to have the white in one of the metal
tubes, squeeze a drop about the size of a pea on to the slab, and then
rub the colour over it. Of course it will be necessary to introduce
some colour a little darker than the hue desired, as the white will
lighten it: thus for instance, in order to obtain an ordinary blue,
it will be necessary to add a touch or two of permanent blue, or the
ultramarine will turn out too pale. The advantages of body colour are
twofold—first, any body colour will lie flat; next, being opaque, it
can when needful be worked over other colour.
For the purposes of the illumination now under consideration then,
it will merely be necessary to rub in scarlet vermillion and emerald
green. Be careful to rub plenty, for it is a rule in illuminating that
the colours should be laid on thick and powerful; there are no faint
transparent tints, as in water-colour drawing, but even in miniature
scenes, light colours are obtained not by diluting the colour with
water, but by adding white to it. Another rule is, to lay on the
largest body of colour first: thus in the instance before us—first put
in the reds, taking care to lay on plenty of colour, to keep within the
ink outline carefully, close to it but not encroaching on it, and to
see that your colour lies evenly or ‘flat.’ Next, put in the greens,
observing the same rules, and finally the gold, for it is another rule
to leave the gold to the last to avoid rubbing as much as possible.
Our next example will be No. 7. Trace and outline as before. Proceed
next to put in the ultramarine blues in the acanthus and flowers;
next the permanent blue in the darker hues of both as well as in the
initial, taking care, both in acanthus and flowers, to keep the curves
clean and bold. Now colour the green leaves with emerald green, the
darker lines as directed with permanent blue. The reds in the flowers
follow next—all, except that in the right hand lower corner—with
crimson lake, the darker hues being touched in with permanent blue,
which, combining with the lake, will produce the neutral tint
before referred to. The excepted corner flower will require crimson
vermillion, shaded with sepia and lake. Crimson vermillion will also
furnish the colour for the red flowers in the initial. Lastly, put in
the golds, shading with sepia and lake.
The last Example we select is No. 9. Here, as in No. 3, proceed to
trace, &c. as directed, only in this case the =T= square and set
squares will come into play for the outlines of the border, both in
tracing, tracing off, and in outlining—use the drawing pen for the
last. The fruit, flowers, &c. must next be carefully executed with the
requisite colours, according to the table given above; the gold then
laid on, and afterwards the shade worked _over_ the gold with a neutral
tint, made of sepia and lake, as directed.
[Illustration]
[Illustration]
There are a few ‘Tricks’ which will be found generally useful to bear
in mind. The agate is a useful auxiliary; with the side of it you can
burnish your golds and silvers (platina) by gently rubbing them until
they acquire the requisite brilliancy; and with the point of it several
very pretty methods of breaking and enriching a flat gold or silver
surface may be put in force, either by covering it with dots, or with
dots in combination with straight or curved lines, or with a sort of
Arabesque work, or—indeed, with any sort of pattern according to the
designer’s fancy.
Sparks of white may be with advantage introduced to throw up the edge
of a leaf, or the most prominent portion of a stalk, or even to bring
out the lighter edge of a letter from the background. In the latter
case be careful not to obliterate the outline. The white should come
just outside it, and between it and the background.
A large initial or surface of heavy colour may be very easily lightened
by the introduction of a powdering of minute gold dots. These may be
produced by laying on the dots, first of all, with either Chinese
white, or with an article sold in the artists’ colour shops, called the
gold medium; and in either case touching the dots, when dry, with shell
gold. The effect will be that they will stand out in strong relief from
the ground on which they are laid, and will produce a very rich effect.
Finally, whilst observing the general rule to keep your work as flat as
possible, be careful that it do not degenerate into tameness—rather
than this—and especially with foliage, fruit, flowers, &c. do not be
afraid to introduce into the deepest corners of the heaviest shades
good, strong, telling touches, of almost black colour.
But above all, when in a difficulty, study the specimens enumerated
above; rather err on the side of imitation than of invention.
The second point is the parallel of the first, in connexion with what
may be called the manipulatory part of the treatise. Here again we
must warn our readers that the book is but a Primer. The work already
referred to contains no less than seven and twenty imperial octavo
pages, about colours and gilding, and brushes, and other practical
matters. This will furnish some idea of the magnitude of this part of
the subject. But our little volume merely pretends to put beginners
in the way of acquiring the power of learning more. And let us here
remark, that in some particulars the colours selected, and the
directions given differ, we observe, from the recommendations of other
writers; and without therefore pretending for one moment to sit in
judgment on those who differ with us, we will take the liberty of
informing readers that our directions are based on the experience and
observations of many years’ extensive practice of the art in question.
We may also add that, though the Primer is intended to enable beginners
to teach themselves, (and if its directions are carefully attended to,
will have that effect,) still it is advisable, when practicable, to
carry out those directions under the eye of a master at first, even if
such supervision only amount to submitting to him the results of the
earlier efforts, that he may point out the secrets of any failures.
Above all, the golden rule for the student of illumination is, not
to attempt too much at first. Far more real progress is made by
carefully, patiently, and accurately completing a single copy of one
simple letter, such for example as the N in Example No. 3, than in
hurrying over half a dozen more ambitious studies, in a way which may
produce a certain effect at a distance, but will not bear looking
into. Like Burke, rather aim to be ‘slow and elaborate,’ than dashing
and effective; but be industrious, and let your motto be,—“_Festina
lente_.”
In conclusion, it maybe as well to impress upon the reader two points:
the first is, in great part, a mere repetition of the introductory
sentences of our little volume, but cannot be too repeatedly urged on
his attention. There is no pretension whatever in this slight practical
essay, to give anything approaching to a complete dissertation on the
art of illumination; such a task would occupy a score of such volumes
as ours, and be then capable of almost illimitable further expansion.
We have indeed already remarked that the subject is inexhaustible;
and the last notable work published on the art well observes, that
‘men of the profoundest learning have devoted, some whole lives, and
many of them long years, to the study of those precious pages, on the
decoration of which the highest efforts of the illuminists of old were
lavished; and have yet one and all confessed the partial and incomplete
mastery of the subject which they, with all their labour, have been
able to acquire.’ It is not to be expected, therefore, that within the
comparatively tiny dimensions of a Primer anything more than the merest
outline was practicable, all that has been attempted then has been
to furnish just such a description and dissertation as is absolutely
essential to the due comprehension of what the art is, and of what it
is applicable to, leaving the student to search for further information
among such of the larger and more abstruse works on the subject, as may
be accessible to him at the reading room of the British Museum,[13] or
elsewhere. Even at the risk of being accused of repetition, it has been
thought wise to impress this point strongly on the reader’s attention.
His motto should be an amalgamation of two well known ones—
[Illustration: nec temere nec timide semper labore.]
[13] We have, to our surprise, found so much misconception abroad on
the subject, that we think it worth while to inform our lady readers
that in this room there are seats specially set apart for ladies.
Appendix.
The following Extract from a Letter to the Editor, gives a general and
comprehensive view of all the old service books, as far as illumination
is concerned:—
“I think where and when the Missal came into use as an
altar book, the Breviary was compiled as a Morning, Day
and Evening Service-book, for use in the Quire, as well
as for the private recitation of the several offices. The
Gradual was to the Missal what the Antiphonary was to
the Breviary. I think the main books of private devotion
were the Horæ B. M. V. I do not think that the common
Horæ or Hour-books, which were simply Breviaries without
lessons, were ever popular, or even of much use among
the laity. When the great Colbert would have a book
to himself, he compiled a brief Breviary, _i. e._, a
Breviary abbreviated. Men of more unction and less sense
used ‘Hours of the Blessed Virgin,’ and they were often,
especially in the Calendar, very gorgeously illuminated.
Horæ Diurnæ or Diurnales were hand-books for clerks, to
say all the hours from, except matins; they were easy to
carry. Indeed, my experience of illuminated books has run
thus:—
=_Horæ B. M. V._=—These seem to me most numerous and
elaborate in the 15th and 16th century work.
=_Evangelisteria._=—Books of Gospels next, of very much
older execution.
=_Missalia._=—Comparatively recent; rich in the Canon and
Preface illuminations.
=_Breviaria_= richly and profusely illuminated are really
scarce. One wonders at it; but so it is. Every now and
then a handsome 15th or 16th century Breviary, commonly
of French art, turns up, but not very frequently, and
then not prodigally illuminated.
I have been told that some of the huge Spanish Graduals
or Mass Anthem books are grandly illuminated in the way of
capitals. I have seen several mutilated copies which seem
to affirm the same thing.”
[Illustration: =_Monograms. 7th and 8th Centuries._=]
[Illustration: =_From the Bible of Charles ye Bald. 9th Century._=]
[Illustration: =_From a Bible. 12th Century._=]
[Illustration: =_Opus Anglicum._=]
[Illustration: =_Hours of St. Louis._=]
[Illustration: =_Les Merveilles du Monde. 1409._=]
[Illustration: =_Chronicles of England. Edward IV._=]
[Illustration: =_Hours of Henry VII._=]
[Illustration: =_Hours of Anne of Brittany._=]
[Illustration: =_14th and 15th Centuries._=]
[Illustration: =_14th and 15th Centuries._=]
[Illustration: =_Italian and Initials. 15th and 16th Centuries._=]
[Illustration: =_From the Bible of Charles ye Bald. 9th Century._=]
[Illustration: =_From a Bible. 12th Century._=]
[Illustration: =_Opus Anglicum._=]
[Illustration: =_Hours of St. Louis._=]
[Illustration: =_Les Merveilles du Monde. 1409._=]
[Illustration: =_Chronicles of England. Edward IV._=]
[Illustration: =_Hours of Henry VII._=]
[Illustration: =_Hours of Anne of Brittany._=]
PRINTED IN COLOURS BY C. WHITING, LONDON.
Just Published.
ORNAMENTAL ALPHABETS, ANCIENT AND MEDIÆVAL, FROM THE
EIGHTH CENTURY, WITH NUMERALS, including Gothic, Church-Text,
large and small; German, Italian, Arabesque, Initials for Illumination,
&c., for the Use of Missal Painters, Illuminators, &c., &c. Drawn and
Engraved by F. DELAMOTTE. Royal 8vo, oblong, cloth, post free,
4s.
“A charming little volume this is—evidently a labour
of love with the artist, otherwise we should not have
seen combined in its production research the most
painstaking, with industry the most indefatigable. It
is a book that old Lord Monboddo would have hung over,
as he turned the leaves, delighted. It is designed, the
title-page tells us, for carvers, masons, engravers,
decorative painters, lithographers, architectural
and decorative draughtsmen, and others; or, as they
say in that little dry chip of Latin, almost part
and parcel of our vernacular, _cum cæteris paribus_.
Beyond these, however, it will hardly fail to interest
the linguist, the philologist, or the grammarian. The
work is, in simple truth, a curiosity. An examination
of it would not have been disdained by scholars old
or new, from Scaliger to Ruddiman, from Tooke to
Trench, from Crichton to Mezzofanti. Yet the work is
simply, as its title tells us, a book of ornamental
alphabets—alphabets ancient and mediæval, from the
eighth century, with numerals, Roman and Arabic. Among
the letters are Gothic, Church-Text, German, Italian,
Arabesque, Ornamental, and besides all these, Initials
for Illumination. There are fifty pages, or rather
plates, in all—each brilliantly emblazoned. The book
is complete. It is the successful realization of a
very happy thought, but one thus perfectly realized,
through how much toil and assiduous investigation!
We can very heartily commend it to the attention of
those for whom it has been especially intended by its
ingenious collector and designer, Mr. F. Delamotte.”—_Sun._
London: E. & F. N. SPON, 16, Bucklersbury.
EXAMPLES OF MODERN ALPHABETS, PLAIN & ORNAMENTAL, including German,
Old English, Saxon, Italic, Perspective, Greek, Hebrew, Court Hand,
Engrossing, Tuscan, Riband, Gothic, Rustic, and Arabesque, with
several Original Designs, and an Analysis of the Roman and Old English
Alphabets, Large and Small, and Numerals. Collected and Engraved by
F. DELAMOTTE. Royal 8vo, oblong, 4s. post free.
London: E. and F. N. SPON, 16, Bucklersbury.
DELAMOTTE’S DESIGNS FOR EMBROIDERY: Containing Initials, Emblems,
Cyphers, Monograms, Ornamental Borders, Ecclesiastical Devices. Royal
8vo, oblong, in Illuminated Boards, 2s. 6d., post free.
London: E. and F. N. SPON, 16, Bucklersbury.
COUNTRY COTTAGES: a Series of Designs for an IMPROVED CLASS OF
DWELLINGS FOR AGRICULTURAL LABOURERS. By JOHN VINCENT, Architect.
Imperial 4to, cloth, price 12s.
London: E. and F. N. SPON, 16, Bucklersbury.