A THEORY OF ILLUMINATION
Illumination — “Barbaric, or Colour-Work, Illumination” — “Filigree,
or Pen-Work, Illumination” — “Natural, or Limner’s, Illumination.”
ILLUMINATION
It is convenient to give a wide meaning to the word when we speak
of an “_illuminated_ manuscript,” for the scribe works with a very
free hand, and when he wishes to decorate his pages he can [p194]
write the words themselves in red, green, or blue, as easily as he
could have written them in black. He can take a clean pen and a new
colour and initial and “flourish” any part of the work to his heart’s
content. He may acquire the art of laying and burnishing gold, and no
possible brilliance of effect is denied him—within the limits of his
skill as an illuminator (see also pp. 298–299).
A limited number of specially prepared printed books can likewise be
illuminated. But the greater the number of copies, the less labour
may be spent on each one, and the more their illumination tends to be
simple “rubrication”—adding coloured capitals, flourishes, and the
like (see p. 127). And, if a large edition is to be decorated, the
printer must be content to use black, or black and red, in woodcut or
“process” work (see pp. 365, 372).
Illumination proper may be defined as the decoration by hand, in
bright gold or colours, of writing or printing.
There are three broad types of illumination, which for want of better
terms I distinguish as “_Barbaric_” (or colour-work), “_Filigree_”
(or pen-work), and “_Natural_” (or limner’s). These types run
naturally one into another, and they may be blended or combined in
every possible way, but it is convenient to consider them and the
distinctive treatments which they involve separately.
“BARBARIC, OR COLOUR-WORK, ILLUMINATION”
(_See also pp._ 203, 208, 209, 215–18, 414, 421, 422)
This is mainly a colour treatment in which forms seem to be regarded
chiefly as vehicles for [p195] colour. Its effect appeals to the
senses, rather than to the imagination; and such interest as the
forms have lies greatly in their skilful disposal or intricate
arrangement. Sometimes in their fantasy—where organic forms are
introduced—as the “great fish” in the act of swallowing Jonah (in
order to make the _T_ of ET), Plate XII. This type of illumination
appears to have reached its climax of barbaric splendour in the
twelfth and thirteenth centuries.
Though its revival nowadays might seem a little out of keeping
with the more sedate and grown-up point of view of modern life, we
cannot doubt that it is still _lawful_ to decorate our work with
the brilliance and splendour of gold and colours. Whether it is
_expedient_ or not depends upon how it is done: to justify our work,
it must succeed; it must be bright and splendid, and really gladden
our eyes. And we must really take pleasure in the making of it, for
if we do not, we can hardly expect that it will give pleasure to
others.
_Simple and Complex Forms._—Between _simple forms_—which are in a
sense permanent—and _complex forms_—which are always changing—it is
necessary to make a careful distinction.
An _equilateral triangle_ drawn by “Euclid” and one drawn by a modern
Senior Wrangler are, or ought to be, practically the same thing. If
the ancients made an ornamental band of geometrical forms, that is
no bar to us; we also are at liberty to make decorative bands of
circles, lozenges, or triangles.
The ancient Romans made a capital A—its _essential form_ (see fig.
142) two strokes sloped together and joined by a cross-bar (very like
the [p196] “_Pons Asinorum_”), it could hardly be simpler—they used
chisels and pens, which gave it its more characteristic and finished
form. If we use chisels and pens properly we shall get a similar
result—not absolutely the same—for no two chisels or two hands can
be quite the same—but closely resembling it and belonging to our own
time as much as to any other.
The essential form of the “Roman” A is a purely abstract form, the
common property of every rational age and country,[41] and its
characterisation is mainly the product of tools and materials not
peculiar to the ancient Romans.
But when there is any real _complexity_ of form and arrangement, or
sentiment, we may reasonably suppose that it is peculiar to its time,
and that the life and virtue of it cannot be restored.
It was common enough in the Middle Ages to make an initial A of two
_dragons_ firmly locked together by claws and teeth. Such forms
fitted the humour of the time, and were part of the then natural
“scheme of things.” But _we_ should beware of using such antique
fantasies and “organisms”; for medieval humour, together with its
fauna and flora, belong to the past. And our own work is only honest
when made in our own humour, time, and place.
There are, however, an infinite variety of simple abstract forms and
symbols, such as circles, crosses, squares, lozenges, triangles, and
a number of Alphabets, such as Square and Round Capitals, [p197]
Small Letters—upright and sloping—which—weeded of archaisms—we may
use freely. And all these forms can be diversified by the tools with
which they are made, and the manner in which the tools are used, and
be glorified by the addition of bright colours and silver and gold.
Very effective “designs” can be made with “chequers” and diaper
patterns, and with the very letters themselves. And I have little
doubt that an excellent _modern_ style of illumination is quite
feasible, in which the greatest possible richness of colour effect is
achieved together with extreme simplicity of form.
“FILIGREE, OR PEN-WORK, ILLUMINATION”
(_See also pp._ 205–208, 209, 218–20, 425, 428–29; figs. 79, 92,
125–26, 150, 188–89; Plates XI., XIII., XIV., XVII.)
This is a type of illumination which can safely be attempted by one
who, having learnt to write, is desirous of illuminating his writing;
for it is the direct outcome of penmanship (see p. 204), and consists
mainly of pen flourishes, or semi-formal lines and shapes which can
be made with a pen, suitably applied to the part to be decorated.
Its effect may be very charming and restful: no colour standing out
as in a positive colour scheme, no individual form catching the eye;
but the whole having a richness of simple detail and smooth colouring
more or less intricate and agreeably _bewildering_.
It may be compared to the _tooling_ of a book-cover, both in the
method of producing it, and in its effect. A book-binder has a number
of stamps which bear the simplest forms and symbols, such as [p198]
little circles and “leaves” and stars and curved lines, and with
these simple _elements_ he builds up a pleasant “design,” which he
tools, usually in gold-leaf, upon the cover.
The scribe can vary the forms which his pen produces, and the colours
which he gives them, with a freedom that the set form and the method
of using the binder’s tools do not allow. But the skilled penman
will find that his pen (or, at any rate, his _penmanship_) largely
determines the forms of his freest flourishes and strokes, and that
the semi-formal nature of such ornament demands a certain simplicity
and repetition of form and colour, which do not unduly tax his skill
as a craftsman.
[Illustration: ‹Fig. 121.›]
Suppose, for example, that the scribe wishes to illuminate the border
of a page of writing. He may choose a limited number of simple,
pen-made forms for the elements of his design; say, a circle, a
“leaf,” and a “tendril,” and a few curved flourishes and strokes
(fig. 121), and with these cover the allotted space evenly and
agreeably. [p199]
[Illustration: ‹Fig. 122.›]
The ornament being treated as though it were a sort of floral growth,
requires a starting point or “root.” The initial letter is the
natural origin of the border ornament, the stalk of which generally
springs from the side or from one of the extremities of the letter.
The main stem and branches are first made with a very free pen,
forming a _skeleton pattern_ (fig. 122).
‹Note.›—The numbers in the diagram indicate the order in which
the strokes were made. The _main stem_ (111) sweeps over and
occupies most of the ground; the _secondary_ stem (222) occupies
the remainder; the main _branches_ (333, &c.) make the occupation
secure. [p200]
[Illustration: ‹Fig. 123.›]
Next the minor branches are added to cover the space evenly, and then
the _flowers_, _fruit_, and _buds_—made up of combinations of the
“leaves,” circles, &c.—are more or less evenly disposed in the spaces
formed by the large, round curves at the ends of the branches (fig.
123). [p201]
[Illustration: ‹Fig. 124.›]
The “leaves” are placed all over, wherever there is convenient room
for them (just as the leaves of a real plant are). Then the stalks of
the leaves are added, and, lastly, the interspaces are filled with
“tendrils,” which greatly contribute to the pleasant intricacy of the
design (fig. 124). [p202]
_Colour Schemes._—The safest treatment of such a “design” is in
black and gold (see p. 187). The leaves, which are kept rather flat,
may be outlined _after_ gilding. The flowers, &c., may be made up in
red and blue (tempered with white: see p. 182). This is the colour
treatment of the example, Plate XVII.
If the leaves are green, the stem and outline may be more delicately
drawn in pale or grey-brown ink, and the green may be a delicate
pale olive or grey-green. (A strong, black stem with bright green
leaves is apt to look crude and hard.) In such a delicate green
plant border, delicate blue and red flowers, and one or two rather
flat gold “berries” (single, or in threes) may be placed.
A very effective colour decoration of a much simpler type may be
made in red and green (or blue) pen-work—using the pen and the
colours with which the Versal letters and line-finishings are made.
A red flourished stem with red leaves or tendrils, and green berries
(or leaves), or a green stem with green leaves and red berries.
A floral pattern may also be made in plain burnished gold—both stem
and leaves—not outlined (p. 187 & Plate XXII.).
A more complex decoration resembling the “floral filigree” has a
“solid” stem in light or dark colour on a dark or light ground (or on
a gold ground), as suggested in the rough diagram, fig. 120.
The examples of Italian fifteenth-century work in Plates XVIII. and
XIX. show a related type of illumination, known as the “white vine
pattern.” Very carefully and beautifully drawn, it strongly suggests
natural form.
“NATURAL, OR LIMNER’S,[42] ILLUMINATION”
(_See also pp._ 212, 219–21, 227, 423–24, 426–28, 486; figs.
131a–141; Plates XV., XVI., XXIII.)
This, the finest type of illumination, has very great possibilities;
and it is to be hoped that some craftsmen, who have the necessary
skill, will find an opening for their work in this direction. [p203]
Plate XV. is a thirteenth-century example of the transition from
the “barbaric” to the “natural.” The dragon-tailed initial with
its wonderful scroll-work and “ivy-leaf” being the perfection of
barbaric form, carrying brilliant colour and serving to support and
frame the delicate and beautiful drawing which it contains.[43] But
in the drawing itself the skill of a fine illuminator combines with
the fancy of a cunning draughtsman to satisfy an æsthetic taste and
appeal to the imagination.
Plate XVI. shows a rare, and singularly beautiful, treatment of an
Italian fourteenth-century MS. decorated with plant and insect forms
(p. 427).
Plate XXIII. (_modern_) show a border of wild roses and climbing
plants: the colour treatment in the original is very brilliant (see
p. 486).
The “natural” type depends very much on the beauty and interest of
its form; and a draughtsman before he had become an illuminator,
might be content to decorate MSS. and printed books with pen drawings
only faintly coloured or tinted; but when he had mastered the
limitations which the craft would impose on his drawing for pure and
bright colour, there is no degree of brilliance, even unto “barbaric
splendour,” which he might not lay upon his trained and delicate
forms. [p204]