_Painting_.
[Sidenote: Materials for Colouring.] The materials required are as
follows:--
[Sidenote: Blue.] 1. BLUE (intense). German (or French) blue, in
powder, at 6_d._ per ounce. It is at first rather troublesome to use,
requiring to be mixed with plenty of gum-water, to prevent rubbing.
Smalt, 5_s._; or French blue, 3_s._[7] These are prepared as moist
colours in covered pans.
[7] Half-cakes of all the colours are sold equally good.
The German blue, however, is the most economical, and very useful.
[Sidenote: Red.] 2. RED. What is called "Carmine" powder, at 1_s._
per oz., will be found very useful, but the genuine colour is much
more expensive. Vermilion, ditto, 6_d._ per oz. Both of these are
necessary.
[Sidenote: Purple.] 3. PURPLE (violet). For the colour ready
prepared, "violet carmine," moist cake, 2_s._ To compose the colour,
crimson lake, a little to be mixed with cobalt blue. This is very
rarely used.
[Sidenote: White.] 4. WHITE. Chinese white, in a tin tube, 1_s._ This
is little used except on tinted cardboard.
[Sidenote: Green.] 5. GREEN (emerald). Moist colour, 1_s._
[Sidenote: Black.] 6. BLACK (lamp). Ditto.
[Sidenote: Grey.] 7. GREY. For bright grey, smalt mixed with Chinese
white; for a duller tint add a very little brown madder. This is a
colour seldom used in illuminating large scrolls, and only suitable
for grounding.
[Sidenote: Neutral Tint.] A cake of _neutral tint_ (to mix with
cobalt) for shading white flowers, or a white dove.
[Sidenote: Gold.] [Sidenote: Bessemer's Gold Paint.] GOLD. For
beginners, "Bessemer's Gold Paint."[8] This includes two bottles, one
of gold powder, the other of oil; price 1_s._ 6_d._ The powder always
outlasts the oil, but the latter can be bought separately, 6_d._ per
bottle. Very little of the powder and oil must be mixed at a time,
as it dries up very quickly, requiring the occasional addition of a
drop of the oil. If too much oil is added, the gold will look thin
and poor, leaving greasy edges on the cardboard. It is a good plan to
employ two little saucers, placing the powder in one and oil in the
other.
[8] This gold will discolour in time, but with care in keeping the
brush and saucer quite clean, it will retain its brightness at
least a year.
[Sidenote: Spirits of Turpentine.] A small quantity of _spirits of
turpentine_ is required, with which the brush and saucer must be
washed perfectly clean, immediately after use; wipe them dry with
a piece of rag or soft paper. If this rule be neglected, the gold
hardens, and brush and saucer become useless.
[Sidenote: Shell Gold.] Shell gold (with which water only is
employed) is not suitable for large works.
[Sidenote: Liquid Gold.] Chinese metallic ink, or liquid gold 1_s._
per bottle, is an excellent preparation. When thoroughly mixed by
shaking, pour a little into a small saucer, stirring it up each time
the brush is filled. At first, great care is requisite to prevent
blots. It works most easily when nearly dry, by the addition of a
little water in the brush.
[Sidenote: Water-gold Size.] [Sidenote: Gold-leaf.] Leaf-gold is
considered the most durable, is beautifully bright, and repays the
trouble of its application. A "book" containing 25 leaves costs 1_s._
6_d._, or 100 leaves for 4_s. Water-gold size_ seems to be the
simplest preparation, 1_s._ 6_d._ per box. This size is used like a
moist colour, with water. Paint the surface to be gilded, smoothly
and rather thickly, carefully preserving the edges clear and sharp.
Let it stand until, on touching the size lightly with the finger, it
is found to be sticky, _but not moist_, so as to smear. While the
size is drying, take a piece of common writing-paper (not too highly
glazed), rub it over slightly and briskly with a piece of white wax
(in two or three strokes), lay it on a leaf of gold which will adhere
to the paper.[9] With a large, _sharp_ pair of scissors, cut both
paper and gold-leaf into a piece rather larger than the surface to
be gilded, and the size being just sticky, lay the gold down upon
it, keeping the paper still in its place; press it _very gently_ and
smoothly all over with a ball of cotton-wool, as if you were pasting
it down: breathe on the paper, then remove it, and let the gold
remain undisturbed about half an hour, or longer. Then, with a large,
dry brush, in light, sharp touches, brush away the superfluous gold,
and the work is completed.
[9] Another method is to pass the piece of writing-paper sharply
and briskly over your hair, two or three times, which, charging it
slightly with electricity, will make the paper adhesive, so that
the gold-leaf will be taken up by it.
There are other methods of applying gold-leaf, but this is given as
the simplest. A gilder's tip (a flat brush) is generally used, but
requires skill in handling, which remark applies also to the gilder's
palette and knife.
Any corners to which the gold has not adhered may be retouched with
the size, and gilded as before. Be careful not to touch the gold with
the fingers, or it will be quite spoilt. If the leaf curls up upon
the paper, it can be blown down with a gentle breath.
[Sidenote: Raised Gold.] There is an "Illuminating Raising
Preparation" at 1_s._ 6_d._ per bottle, which may be found useful,
and may be painted over with Bessemer's, or water-gold; it would,
however, add to the difficulty of applying gold-leaf, unless the hand
were previously well practised.
[Sidenote: Silver.] SILVER is sold in shells; a water-colour, but it
quickly tarnishes.
[Sidenote: Aluminium.] Aluminium is sold in shells (a water-colour),
and is a good substitute for silver; although not equal in beauty, it
is said not to tarnish. Being a recent discovery, it has not yet had
the test of long experience. Aluminium is used in touches upon white
flowers, or the emblem of the dove, previously softly shaded with
neutral tint. These shell metals cost about 6_d._ and upwards.
[Sidenote: Saucers.] _Saucers_, 2 inches in diameter, should be
procured for the red and blue powder colours. A smaller saucer, 1
inch in diameter, for Bessemer's gold, will prevent much waste, and
another for Chinese white would be useful. Price 1_d._ each, or less.
[Sidenote: Compound Red.] In proceeding to illuminate the scroll,
place a little vermilion-powder, and quite twice as much carmine, in
a saucer, with a drop or two of thick gum-water; mix it well with a
brush, adding water as required.[10] Stir the paint up now and then
during use, as the vermilion has a tendency to sink.
[10] One or two drops of ammonia improves the carmine.
[Sidenote: German Blue.] German blue, as already mentioned, must be
mixed with a good proportion of gum-water, stirred well into the
powder: it is best to mix a little at a time, say half a teaspoonful
of the powder, as it hardens, and becomes more troublesome to use.
This blue, prepared as a _moist_ colour, would be most valuable for
illuminating, if it did not lose its opacity.
[Sidenote: Succession of Colours.] Paint all the black in the scroll
first, the red next, and, if German blue, blue last, as, with every
precaution, it is apt to rub--in which case, remove the blemishes
with crumbs of bread. If the text should consist of two lines, finish
the upper one first (all but the gold), to prevent injury to the
lower one by rubbing. Fresh water should be provided for each colour,
in order to preserve its brightness.
Bessemer's gold paint may be applied last of all, but leaf-gold
should be laid on before _any_ colour.
The following remarks on the subject of ancient illuminations are
valuable, having been made by Mr. Ruskin at a meeting of the Society
of Antiquaries, held on the 6th of June, 1861. He observed that
the best designs were contrived so as to give the greatest effect
to arrangements of pure and beautiful colour. He explained the
excellence of the best specimens as arising from simplicity of design
and colour--_the latter being left wholly unclouded by shade_. He
did not deny the high excellence of the naturalistic treatments in
the illuminations of the 15th and 16th centuries and later--but he
viewed illumination in this condition as fallen into decay, and by
the introduction of _shading_ was effected the final destruction of
what had constituted its essential principles and glory in the 13th
century.
[Sidenote: Frames.] Scrolls can be very suitably mounted in frames
of plain oak--"Oxford frames"--which cost 3_s._ 6_d._ each, glass
included, the size being about 22 by 6 or 7 inches.
[Sidenote: Directions for Packing.] For transmission by railway, &c.
cardboard scrolls must be protected either by a thin piece of wood
of the same size, or by two pieces of stout millboard, well wrapped
round with paper. Even a dozen large scrolls packed together have
been ruined for want of these precautions.
_Illuminating in Oil-Colours on Zinc for Churches._
[Sidenote: Isa. lx. 13.]
[Illustration: To beautify the place of My Sanctuary.]
[Sidenote: Materials.] The following materials are required:--
[Sidenote: Zinc.] Zinc, in strips, average price 10_d._ per square
foot.
[Sidenote: Oil paints, &c.] Oil-paints, in tubes.
Vermilion, 6_d._ }
Crimson lake, 4_d._ } these may be mixed.
French ultramarine, 1_s._
Blue black, 4_d._
Emerald green, 4_d._
Ivory white, 4_d._ This cream-coloured white has the richest and
best effect.
1 Bottle of pale drying oil, 6_d._
1 Bottle of spirits of turpentine, 6_d._
[Sidenote: Brushes.] Brushes--Red sable, various sizes, from 4_d._
to 1_s._ 2_d._ each.
[Sidenote: Palette, &c.] A wooden palette, 1_s._ 6_d._
A palette-knife, 1_s._ 6_d._
Tailor's chalk, or "pipe-clay," 2_d._
A carpenter's 2-foot rule, 1_s._ or 1_s._ 6_d._
[Sidenote: Zinc.] In churches where the walls are damp, or otherwise
unsuited for receiving colour, it is found that zinc is an excellent
material for illuminating texts from Holy Scripture, to be fixed to
the wall when completed. This method is much less expensive than
painting in fresco.
[Sidenote: Foundation Coat of Paint.] Zinc can be procured of _any
ordinary plumber_, at an average price of 10_d._ per square foot;
it requires no particular preparation for illuminating, excepting
a foundation-colour (or ground), which can be laid on by any
house-painter far better than by the amateur. This should be done at
the workshop, as the smell of so large a body of paint would be very
injurious to those unaccustomed to it.
[Sidenote: Tints to match or contrast.] The foundation-colour
should either match the tint of the wall to which the scroll will
be affixed, or present a decided contrast. Care must be taken in
matching the colour of a plastered wall, that the paint should be
_lighter_ in tint, as it has a tendency to darken, while the plaster
is likely to become rather lighter, especially in new buildings.
Foundation-colours, &c. suitable to particular seasons of the Church
will be enumerated at the end of this article.
[Sidenote: Size of Letters.] The size, shape, and length of a scroll
must, of course, vary with the position it is intended to occupy. In
a text composed entirely of capitals, the size of the letters should
be about half the depth of the zinc: the latter being 6 inches,
including the border, the capitals would be 3 inches high. Small
letters would bear, of course, their usual proportion, as in other
illuminations. [Sidenote: Distinctness.] It is quite a mistaken idea
that the larger the printing, the plainer will be the text; clearness
is rather attained by keeping the letters close to each other, and
leaving a sufficient space between each word. It will be found,
as a general rule, that, with the exception of the letter I, all
capitals are contained in a square--if 3 inches high, 3 wide. It is
very useful to bear this in mind in calculating the number of words
to be printed in a given space, especially when it is difficult to
judge of the effect till complete. Texts for large churches, to be
placed round arches, or at any great height, are generally printed in
capitals.
[Sidenote: Outlines to be traced.] Outlines should not be drawn upon
the zinc in the first instance, but upon a strip of paper (which
may be several sheets pasted together at the edges), wider than the
scroll, so that it may be folded firmly over it, and the letters
traced, as already explained (page 7). Any thin common paper answers
for this purpose: tissue would be too thin. Tracing is recommended,
because the process of erasing pencil-marks, although easily effected
with spirits of turpentine, is apt to leave a smear, and spoils the
smooth clearness of the foundation-colour.
[Sidenote: Chalk-tracing.] On a dark-coloured ground the following
method is pursued. Draw the text, as usual, on common cartridge-paper
(3 or 4 inches wider than the zinc, so that the edges may be turned
down firmly over it): with pointed scissors cut the letters out
and put them aside, as they are not required: lay the remaining
paper-groundwork on the zinc, and with red or white tailor's
pipe-clay trace carefully round the outlines of the spaces which
form the letters. When all are traced, remove the paper, and with a
handkerchief brush away, _very_ lightly, the superfluous chalk.
[Sidenote: Dry Foundation-Colours.] Special care must be taken not
to begin the lettering until the foundation-colour be perfectly
hardened, otherwise the pressure of the pencil will make indented
lines which cannot be removed, should correction be necessary. In
cold, damp weather, the paint dries and hardens very slowly, so that
the foundations should be prepared at least a week before they are
required for illuminating.
[Sidenote: To paint the Letters.] In proceeding to paint the letters,
squeeze out a small quantity of the colour on to the wooden palette,
and with the flexible palette-knife mix it with a little of the pale
drying oil, and a very little spirits of turpentine. The latter _can_
be dispensed with, if the smell of it be found injurious; otherwise
it contributes to brighten the colours, and makes them dry more
quickly. In painting keep the brush full, laying on the colour in
long steady sweeps, not in short, hasty touches, which would leave
irregularities of surface.
[Sidenote: Corrections.] Spirits of turpentine, used alone, will
serve to remove the colour, if correction be necessary; but care must
be taken not to apply enough to remove the foundation-colour at the
same time. If a wrong colour be accidentally applied, another can be
painted over it, but, of course, this should be avoided if possible.
[Sidenote: Gold-leaf.] Gold-leaf is applied in the manner already
explained (page 9), but with _oil_ gold-size. Plain vermilion, used
in the same way as size, is said to answer the purpose equally well.
Bessemer's gold paint only answers for a time, as it soon becomes
discoloured on metal.
[Sidenote: Number of Coats of Paint.] Letters painted in white will
require three coats of colour; in blue and green, at least two; in
black, two coats.[11] Vermilion is generally brighter if laid on in
sufficient quantity at once, without retouching.
[11] Each coat must be allowed to dry before another is laid on.
The time will vary according to damp or dry weather.
The writer has occasionally had the colours mixed for use by a
village-painter, but this would only be done on an emergency.
[Sidenote: Best Colours for Effect.] For effect, it is best not to
employ many colours; red and black, with a _little_ blue or green,
invariably look best at a distance.
[Illustration: Quatrefoil Border.]
[Sidenote: Borders.] Elaborate borders on zinc scrolls are quite
unsuitable; an edge of _quatrefoil_ (three-quarters of an inch in
depth), or something equally simple, having by far the best effect;
this also must not be placed too near the letters, or it will
interfere with the distinctness of the text. The border should be
drawn at the edge of the zinc, unless the ground-colour contrast with
the wall, in which case a narrow margin may be left.
[Sidenote: To clean Palette and Brushes.] The palette and brushes
must be washed quite clean after daily use, with spirits of
turpentine. If the paint is allowed to harden (as it will in a few
hours), it cannot be removed.
[Sidenote: Health.] For the preservation of health, this description
of illuminating should, in summer, be carried on with widely-opened
windows, and in winter beside a large fire, which purifies the air of
the room, and prevents the smell of the turpentine, &c. from being
injurious to delicate persons.
_Colours for Special Seasons._
[Sidenote: Advent.] For the season of Advent, violet ground, with red
and white letters.
[Sidenote: Lent.] For Lent, a warm or pinkish-grey ground, letters
all white, with black edges.
[Sidenote: Festivals.] Long scrolls for festivals have the best
effect with white ground. Short scrolls look very handsome with gold
letters upon red or blue ground.
[Sidenote: Ground Tints.] The tint of the ground-colours must, in a
great measure, depend upon the light in which they will be seen. In
some cases crimson is preferable to scarlet, and the blue or violet,
if placed in a dark part of the church, would require to be much
paler than usual.
_Symbolism of Colours._
[Sidenote: Isa. liv. II.]
[Illustration: Behold, I will lay thy stones with fair colours.]
I have ventured to prefix these sacred words to this part of my
subject, in order to point out how manifestly the emblematic
significance of colour has its foundation and authority in the Holy
Scriptures. The fact is first brought to our notice in the inspired
account of the making of the Tabernacle, under the Divine commands,
and subsequently in the building of the Temple. The colours,
numbers, and many other particulars of the Mosaic dispensation, were
symbolical types--"a shadow of good things to come," long since
fulfilled [Sidenote: Heb. x. 1.]; but the symbolical application
of colours and other types of "heavenly things" is not therefore
ended, inasmuch as they are largely so employed throughout the New
Testament. These combined facts furnish an argument to my own mind
most convincing, that we may, with all reverence, continue to regard
colours symbolically, as types of heavenly attributes and virtues.
Mrs. Jameson[12] says, "In very early art we find colours used in
a symbolical or mystic sense, and until the ancient principles and
traditions were wholly worn out of memory, or set aside by the later
painters, certain colours were appropriate to certain subjects and
personages, and could not arbitrarily be applied or misapplied. In
the old specimens of stained glass, we find these significations
scrupulously attended to."
[12] In _The Poetry of Sacred and Legendary Art_.
The precise tints of the colours mentioned in the Holy Scriptures
must ever be a subject of doubt, but enough can be gathered from
ancient writings to bring them within certain degrees of probability.
In an interesting article in Dr. Kitto's _Cyclopædia of Biblical
Literature_, we read:--"Josephus evidently takes the Hebrew word,"
translated "blue," "to mean 'sky-colour,' for, in explaining the
colours of the vail of the Temple, and referring to the blue (Exod.
xxvi. 31), he says that it represented the air or sky." We must
not, however, be led away by our own modern term "sky-blue," which
represents a pale colour, but recollect that (to quote again from
Dr. Kitto) "in proportion as the sky is clear and serene, it assumes
a dark appearance, which is still more observable in an eastern
climate."
The blue of ecclesiastical colouring is always dark and intense.
_Purple_ is the term of most doubtful signification, being frequently
applied to crimson, scarlet, and blue. The famous "Tyrian purple" was
manufactured from the juice of shell-fish,--principally the _Murex
trunculus_ of Linnæus and Lamarck,--and was compared by Pliny to "the
rich, fresh, and bright colour of deep-red purple roses." The same
writer observes, that "_violet_, purple, and scarlet, were nowhere
dyed so well as at Tyre, whose shores abounded with the best kinds
of purples." It seems, to my judgment, reasonable to suppose that
the "purple" employed in the curtains of the Tabernacle, &c. was
"violet," as that colour would best unite with "scarlet" and "blue,"
which are separately enumerated. It is interesting also to read that
Pliny describes "red" as distinguished from "purple," and calls it "a
gay, lively bright, approaching the colour of fire."
But this is a long digression; to resume:--In the Divine commands
relative to the making of the Tabernacle in the wilderness, this
verse occurs (Exod. xxviii. 5), "And they shall take gold, and
blue, and scarlet, and purple, and fine linen"--that is, white. The
symbolical meaning which may be gathered from these words is very
striking and beautiful. There are three colours mentioned (white
is not a _colour_); of these, two are primary--that is, original,
not formed by any combination--red and blue. Purple (or violet)
is made by a combination, _proceeding from_ these two; and so in
these foundation-colours of the Tabernacle, I would reverently see
a symbolical representation of the Three Most Holy Persons of the
Godhead. To complete the symbol, we have also white, signifying
perfect righteousness, the emblem and colour of light; and gold,
typifying glory. Thus, in the first and highest sense, are colours
symbolical.
[Sidenote: Emphasis by Colour.] To apply the subject to the art of
illumination. It has been already remarked that the emphasis of
a text is expressed in two ways--by prefixing capital letters to
the principal words, and also by distinction of colour. On the due
attention to a few simple rules respecting the value of certain
colours, and their just application, much of the beauty of an
illuminated work depends.
[Sidenote: Gold.] GOLD is of the highest value. It should be employed
_only_ for the letters forming the names of The Holy Trinity, or
Their attributes. For the sake of distinctness, however, the gold
must be either edged with blue or red, or the whole word may be
placed on a tablet of colour. Sprays of _fleurs-de-lys_, &c. in red,
twining between, but _not over_ the letters, will also assist in
making them distinct and marked.
In words referring to Heaven or Angels, gold stars or dots sprinkled
over the letters are appropriate.
Capitals should be edged entirely, or grounded, with gold. The small
letters are sometimes edged only on one side, which gives them a
raised appearance: it should be the side nearest the right hand.
Trefoils, and similar leaves, are generally painted in gold.
[Sidenote: Blue.] BLUE (intense, sapphire) is of first value in
colours, when used alone, but red is of equal value if used in
apposition.[13] It is pre-eminently a colour of remembrance.
The children of Israel were commanded to wear on their garments
fringes, and on the fringes "a riband of blue," that when they
looked upon it they might "remember all the commandments of the
LORD, and do them,"[14] and "be holy" unto their God. This colour
being worn by express command, "signified that the wearer was God's
own,"--typifying, therefore, adoption, sonship; further, being the
colour of the sky, it "reminded Israel of his home in Heaven: so
likewise in the curtains of the Tabernacle, the blue signified that
hope of Heaven which belongs to the true tabernacles of the living
God, that is, to holy hearts wherein God dwelleth."[15]
[13] For example, "As thy days, so shall thy strength be," the word
_days_ might be _red_, while _strength_ might be in _blue_; the
colours would then be equal in value; but in such a text as "My times
are in Thy Hand," _times_ being in _red_ and _Hand_ in _blue_, the
latter colour would be of the higher value.
[14] See Numbers, xv. 38-41.
[15] _Sermon on Church Colouring_, by the Rev. R. J. Spranger, M. A.
Published by Masters and Co., price 6_d._
BLUE may be employed to represent Heaven and holy Angels; heavenly
hope; heavenly rest; holiness; consecration; truth; remembrance;
adoption; peace; fidelity; constancy.
[Sidenote: Red.] RED (scarlet, crimson, or ruby, the colour of fire)
was anciently employed to typify the Holy Spirit, or the Creative
Power. It is thus the symbol of DIVINE LOVE: including help,
protection, zeal, and similar holy attributes. As the colour of
blood, it typifies REDEMPTION and forgiveness.
Mrs. Jameson informs us, that anciently our SAVIOUR and the Blessed
Virgin were represented in "the red tunic and blue mantle, as
signifying heavenly love and heavenly truth. The same colours were
given to St. John the Evangelist, with this difference, that he wore
the blue tunic and the red mantle."
[Sidenote: Purple or Violet.] PURPLE was anciently employed in
religious worship both by Jews and Gentiles. So early as in the Book
of Judges (viii. 26), we read of it as forming the attire of kings;
and many texts of Holy Scripture might be adduced shewing it to be
almost exclusively devoted to royalty. We read, in the _Cyclopædia_
already quoted, that Pliny records a similar use of it among the
Romans; and Homer speaks of purple as if it were almost peculiar to
kings. Suetonius relates that Julius Cæsar prohibited its use by
Roman subjects, except on certain days, and that Nero forbade it
altogether, on pain of death.
Purple (violet, or amethyst) signifies, therefore, first, royalty.
It was also the ancient symbol of love and truth, or passion and
suffering; "hence it was the colour often worn by the martyrs: in
the Spanish schools, the colour of our SAVIOUR'S mantle is generally
a rich deep violet". In some instances, our SAVIOUR, after His
resurrection, is habited in a violet instead of a blue mantle. This
would, doubtless, refer to its royal, victorious signification. The
Blessed Virgin is represented in "violet, after the crucifixion"--of
course in token of deepest mourning. "Mary Magdalene, who, as patron
saint, wears the red robe, as penitent wears violet and blue, the
colours of sorrow and constancy."
We may now easily understand why purple has been accepted as the
Church's mourning colour. Although so beautiful when represented in
the clearness of stained glass, purple is but little used in large
illuminations, excepting sometimes as a ground-colour; chiefly,
perhaps, because so difficult to produce in a sufficiently bright,
pure tint, as compared to the red and blue.
[Sidenote: White.] WHITE is essentially the emblem of light and
saintly purity. Of the first, because the finest light is white; of
the second, I need hardly quote the reason,--[Sidenote: Rev. xix. 8.]
"And to her was granted that she should be arrayed in fine linen,
clean and white: for the fine linen is the righteousness of the
saints."
[Sidenote: Isa. i. 18.] [Sidenote: Ps. li. 7.] Typical, also, of
forgiveness: "Though your sins be as scarlet, they shall be as white
as snow." "Wash me, and I shall be whiter than snow."
The symbol also of wisdom, innocence, faith, joy, integrity,
humility: of glory, perfection, and regeneration; for white contains
all colours. Solomon says, [Sidenote: Eccles. ix. 8.] "Let your
garments be always white."
Thus I have enumerated the colours more especially devoted to the
Church.
[Sidenote: Emerald Green.] EMERALD GREEN has been latterly
introduced; and though, from its inferior richness when contrasted
with other colours, it should be _sparingly_ employed in
illuminations, it may occasionally assist in producing a very
pleasing effect, especially in floriations and ornamental stops.
Beautiful emblematic meanings are attached to this colour,--namely,
hope in immortality, eternity, victory. This last, because green is
the colour of laurel and palm.
[Sidenote: Grey.] GREY, the colour of ashes, anciently signified
mourning, humility, and innocence accused. This colour is sometimes
employed in ground-work, not for letters.
[Sidenote: Black.] BLACK is, of course, employed only as being useful
and distinct, without symbolism. It is adapted to all words of minor
importance, and to intermediate stops; also, of course, for the
stalks and veins of leaves, and stems of branches, &c.
It may not be considered irrelevant to the subject, if I subjoin an
explanation of the colours employed in the services of the Church,
taken from Purchas's _Directorium Anglicanum_:--
WHITE.--From the evening of Christmas Eve to the Octave of Epiphany,
inclusive, except Feasts of St. Stephen and the Holy Innocents. From
the evening of Easter Eve to the Vigil of Pentecost; on Trinity
Sunday, Purification, Conversion of St. Paul, the Annunciation, St.
John Baptist, St. Michael, St. Luke, and All Saints.
RED.--Vigil of Pentecost to the next Saturday; Holy Innocents (if on
a Sunday), and all other Feasts.
VIOLET.--Ash Wednesday to Easter Eve; Advent to Christmas Eve; Ember
Weeks in September; Rogation Days; Holy Innocents, unless on Sunday;
on Septuagesima, Sexagesima, and Quinquagesima Sundays.
BLACK.--On Good Friday, and funerals, and on public fasts.
GREEN.--On all other days.
CLOTH-OF-GOLD is said to supply all other colours. It seems possible
that this is with reference to Psalm xlv. 9, 13.