This is a modern-English version of Lessons in the Art of Illuminating: A Series of Examples selected from Works in the British Museum, Lambeth Palace Library, and the South Kensington Museum. With Practical Instructions, and a Sketch of the History of the Art, originally written by Loftie, W. J. (William John).
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ILLUMINATING.
Lighting Up.
By W. J. LOFTIE
By W.J. Loftie
LESSONS IN THE ART OF ILLUMINATING.
LESSONS IN THE ART OF LIGHTING.
Plate IX.—FACSIMILE PAGE OF A BOOK OF HOURS, 15th Century.
Plate IX.—FACSIMILE PAGE OF A BOOK OF HOURS, 15th Century.
VERE FOSTER'S WATER-COLOR SERIES.
Vere Foster's Watercolor Series.
LESSONS IN THE ART OF ILLUMINATING
A Series of Examples selected from
Works in the British Museum, Lambeth Palace Library, and
the South Kensington Museum.
With
PRACTICAL INSTRUCTIONS,
AND A SKETCH OF THE HISTORY OF THE ART,
By
W. J. LOFTIE, b.a., f.s.a.,
A Collection of Examples chosen from
Works in the British Museum, Lambeth Palace Library, and
the South Kensington Museum.
Including
PRACTICAL GUIDELINES,
AND AN OVERVIEW OF THE HISTORY OF THE ART,
By
W. J. LOFTIE, b.a., f.s.a.,
AUTHOR OF "A HISTORY OF LONDON," "MEMORIALS OF THE SAVOY PALACE," "A CENTURY OF BIBLES," "A PLEA FOR ART IN THE HOUSE," ETC.
AUTHOR OF "A HISTORY OF LONDON," "MEMORIALS OF THE SAVOY PALACE," "A CENTURY OF BIBLES," "A PLEA FOR ART IN THE HOUSE," ETC.
London: BLACKIE & SON; Glasgow, Edinburgh, and Dublin.
London: BLACKIE & SON; Glasgow, Edinburgh, and Dublin.
The Colored Illustrations are Printed by W. G. BLACKIE & CO., Glasgow, from Drawings by J. A. BURT.
The colored illustrations are printed by W. G. BLACKIE & CO., Glasgow, based on drawings by J. A. BURT.
The Ornamental Border and Initial of the Title-page are interesting examples of Italian work of the fifteenth century. They are from the Harleian Collection, British Museum (3109 and 4902) different works, but evidently executed by the same hand. The Colors are represented in the engraving by means of lines (as explained on page 18), so that by the aid of these directions the student can reproduce them in the colors employed in the original MSS.
The ornamental border and the initial on the title page are fascinating examples of Italian art from the fifteenth century. They come from the Harleian Collection at the British Museum (3109 and 4902), which are different works, but clearly created by the same artist. The colors are shown in the engraving using lines (as explained on page 18), so with these instructions, the student can recreate them in the colors used in the original manuscripts.
CONTENTS
The outlined initials on pp. xv, 9, 13, 21, 25, 29, and 33 are taken from a manuscript of the fifteenth century, preserved at Nuremberg. The originals are very highly but delicately colored, the ground being gold; the body of the letter, black; and the scroll work and foliage pink, blue, green, and yellow. The book, which is dated 1489, is a treatise entitled the "Preservation of Body, Soul, Honour, and Goods." The tailpieces throughout represent heraldic animals, from the Rows Roll and other authentic sources.
The initials found on pages xv, 9, 13, 21, 25, 29, and 33 are from a 15th-century manuscript kept in Nuremberg. The originals are beautifully colored, featuring a gold background, black text, and scrollwork and foliage in pink, blue, green, and yellow. The book, dated 1489, is titled "Preservation of Body, Soul, Honour, and Goods." The tailpieces throughout display heraldic animals from the Rows Roll and other genuine sources.
Heraldic Boar.
Heraldic Boar.
THE ART OF ILLUMINATING.
GENERAL SKETCH.
GENERAL SKETCH.
PERHAPS the art of Illumination, although it is closely connected with that of Writing, may be entitled to a separate history. Men could write long before it occurred to them to ornament their writings: and the modern student will find that what he looks upon as genuine illumination is not to be traced back many centuries. True, one or two Roman manuscripts are in existence which may be dated soon after a.d. 200, and which are illustrated rather than illuminated with pictures. But the medieval art, and especially that branch of it which flourished in our own country, has a different origin, and sprang from the system, not of illustration, but of pure ornamentation, which prevailed in Ireland before the eighth century, but which reached its highest development among the Oriental Moslems. The works of the Irish school were for long and are sometimes still called "Anglo-Saxon," and there can be no doubt that the Irish missionaries brought with them to Iona and to Lindisfarne the traditions and practice of the art, which they taught, with Christianity, to the heathens of England. I will therefore refer the reader who desires to know more of palæography in general, and of the principal foreign schools of the art of writing, to the great works of M. Sylvestre, of Messieurs Wyatt and Tymms, of Henry Shaw, and Miss Stokes, and to various isolated papers in the Transactions of the Antiquarian Societies; and I will begin with the earliest practice of the art in our own country and by our own ancestors.
PERHAPS the art of illumination, while closely linked to writing, deserves its own history. People could write long before they thought to embellish their texts. Modern students will find that what they consider true illumination doesn’t go back many centuries. It’s true that there are a few Roman manuscripts from around CE 200 that are illustrated rather than illuminated with images. However, the medieval art, especially the version that thrived in our country, has a different origin; it developed not from illustration but from pure ornamentation that existed in Ireland before the eighth century, reaching its peak among the Oriental Muslims. The works of the Irish school were often labeled "Anglo-Saxon" for a long time, and there’s no doubt that Irish missionaries brought the art and its traditions to Iona and Lindisfarne, teaching it along with Christianity to the pagan people of England. Therefore, I encourage readers who want to learn more about paleography in general and about the main foreign schools of writing to consult the significant works of M. Sylvestre, Messieurs Wyatt and Tymms, Henry Shaw, and Miss Stokes, as well as various individual papers in the Transactions of the Antiquarian Societies. I will begin with the earliest practices of the art in our country and by our own ancestors.
During the eighth century rivalry to Irish art sprung up in the south; and the immediate followers of St. Augustine of Canterbury founded a scriptorium which produced many fine specimens. In less than two centuries a very high standard had been reached, and many of my readers will remember the Utrecht Psalter, as it is called,[Pg viii] which, though it is one of the oldest Anglo-Saxon MSS. now preserved, is full of spirited drawings of figures and of illuminated capital letters. The volume formerly belonged to England, but was lost, and subsequently turned up in Holland. By the tenth century the art had reached such a pitch of perfection that we find a charter of King Edgar wholly written in letters of gold. The Duke of Devonshire possesses a volume written and illuminated for Ethelwold, bishop of Winchester from 963 to 984, by a "scriptor" named Godemann, afterwards Abbot of Thorney, the first English artist with whose name we are acquainted, if we except his more famous contemporary, Archbishop Dunstan, whose skill in metal work is better remembered than his powers as an illuminator. The wonderful Irish MSS. the Book of Kells, which is in the library of Trinity College, Dublin, the Book of Durham, and others more curious than beautiful, belong to a slightly earlier period, perhaps to the ninth century, as Miss Stokes has suggested.
During the eighth century, competition in Irish art emerged in the south. The immediate followers of St. Augustine of Canterbury established a scriptorium that created many remarkable works. In less than two centuries, a very high standard was achieved, and many of you may recall the Utrecht Psalter, as it’s called,[Pg viii] which, although it is one of the oldest preserved Anglo-Saxon manuscripts, is filled with lively drawings of figures and decorated capital letters. The volume once belonged to England but was lost and later found in Holland. By the tenth century, the art had reached such a level of perfection that we come across a charter of King Edgar that is entirely written in letters of gold. The Duke of Devonshire owns a volume that was written and illuminated for Ethelwold, the bishop of Winchester from 963 to 984, by a "scriptor" named Godemann, who later became Abbot of Thorney and is the first English artist we know of, aside from his more famous contemporary, Archbishop Dunstan, whose metalwork skills are better remembered than his abilities as an illuminator. The amazing Irish manuscripts, such as the Book of Kells, housed in the library of Trinity College, Dublin, the Book of Durham, and others that are more unusual than beautiful, belong to a slightly earlier period, possibly in the ninth century, as Miss Stokes has suggested.
Many schools of writing throughout England were destroyed in the Danish wars, and the princes of the Norman race did little to encourage literary art. Though one or two interesting MSS. of this period survive, it is not until the accession of the Angevins that English writing makes another distinct advance. By the beginning of the thirteenth century the art had risen to the highest pitch it has ever reached. The scriptorium of St. Albans was the most celebrated. The works of Matthew Paris written there are still extant, and testify, by the character of the pictures and colored letters, to a purity of style and to the existence of a living and growing art which has never been surpassed in this country. It is believed that the numerous little Bibles of this period were chiefly written at Canterbury, and certainly, as examples of what could be done before printing, are most marvellous. One of these MSS. is before me as I write. The written part of the page measures 2-5/8 inches in width and 3-3/4 inches in height, and the book is scarcely more than an inch thick, yet it contains, on pages of fine vellum in a minute almost microscopic hand, the whole Bible and Apocrypha. The beginning of each book has a miniature representing a Scripture scene, and a larger miniature, representing the genealogy of the Saviour, is at the beginning of Genesis. Although this is the smallest complete Bible I have met with, others very little larger are in the British Museum, and with them one, of folio size, exquisitely ornamented in the same style, which bears the name of the artist, "Wills. Devoniensis," William of Devonshire. Besides Chronicles and Bibles the thirteenth century produced Psalters, the form and character of which[Pg ix] were eventually enlarged and grew into the well-known "Horæ," or books of devotional "Hours," which were illuminated in the fifteenth and sixteenth centuries.
Many writing schools across England were destroyed during the Danish wars, and the Norman princes did little to promote literary creativity. Although a few interesting manuscripts from this time still exist, it wasn’t until the Angevins took over that English writing made a significant comeback. By the early thirteenth century, the art had reached its highest level ever. The scriptorium at St. Albans was the most famous one. The works of Matthew Paris created there still exist and showcase a pure style through their illustrations and colored letters, illustrating a vibrant and thriving art that has never been surpassed in this country. It's believed that many of the small Bibles from this time were mainly produced in Canterbury, and certainly, as examples of pre-printing capabilities, they are truly remarkable. One of these manuscripts is right in front of me as I write. The written area of the page measures 2-5/8 inches wide and 3-3/4 inches tall, and the book is barely more than an inch thick, yet it contains the entire Bible and Apocrypha on fine vellum pages written in an almost microscopic hand. Each book starts with a small illustration depicting a Biblical scene, and a larger illustration representing the genealogy of the Savior appears at the beginning of Genesis. Although this is the smallest complete Bible I’ve encountered, there are others slightly larger in the British Museum, along with a beautifully decorated folio-sized one that bears the artist's name, "Wills. Devoniensis," William of Devonshire. In addition to Chronicles and Bibles, the thirteenth century also produced Psalters, which eventually evolved in form and character into the well-known "Horæ," or books of devotional "Hours," illuminated in the fifteenth and sixteenth centuries.
Placing side by side a number of Psalters and Hours, and tracing by comparison the prevalence of single sets of designs—all, however, originating in the wonderful vitality of the thirteenth century—is a very interesting study, though seldom possible. It was possible to make such a comparison, however, in 1874, when a large number of magnificently illuminated books were exhibited together at the rooms of the Burlington Club in London. It was then seen that when the form and subject of a decoration were once invented they remained fixed for all generations. A Psalter of the thirteenth century, probably of Flemish execution, which was in the collection of Mr. Bragge, was ornamented with borders containing grotesque figures, and had a calendar at the beginning, every page of which represented a scene appropriate to the month, with the proper sign of the zodiac. Thus, under January there was a great hooded fire-place, and a little figure of a man seated and warming himself. The chimney formed a kind of border to the page, and at the top was a stork on her nest feeding her brood. This MS. was so early that some good judges did not hesitate to assign it to the end of the twelfth century. Close to it was a Book of Hours, written in the fifteenth if not early in the sixteenth century, and under January we have the self-same scene, though the grotesqueness, and indeed much of the quaint beauty of the design has disappeared. It is the same with scriptural and ritual scenes. The Bibles always had the same set of pictures; the Psalter and Hours the same subjects; and the same arrangement of colors was handed down as suitable for the representation of certain scenes, and was unvaried.
Placing several Psalters and Books of Hours next to each other and comparing their designs—despite all originating from the incredible creativity of the thirteenth century—is a fascinating study, though rarely feasible. However, this kind of comparison was possible in 1874, when a large collection of beautifully illuminated books was displayed at the Burlington Club in London. It was then observed that once a particular decoration style was created, it stayed the same through the generations. A thirteenth-century Psalter, likely made in Flanders and part of Mr. Bragge's collection, featured borders with grotesque figures, and included a calendar at the start, with each page displaying a scene appropriate for the month along with the corresponding zodiac sign. For January, there was a large, hooded fireplace with a small figure of a man sitting by it, warming himself. The chimney served as a kind of border for the page, and at the top, there was a stork on her nest feeding her chicks. This manuscript was so early that some experts confidently placed it at the end of the twelfth century. Nearby was a Book of Hours, dated to the fifteenth or possibly early sixteenth century, where January depicted the same scene, although much of the eccentric charm of the design had faded. The same applies to scriptural and ritual imagery. Bibles consistently featured the same set of illustrations; the Psalters and Books of Hours had identical subjects; and the arrangement of colors used to represent certain scenes remained unchanged.
It may enable the reader to form a clearer idea of what these highly ornamented volumes were like if I extract the full description of one which was lately in the catalogue of an eminent London bookseller:—It was a Book of Hours, written in France at the beginning of the sixteenth century, or, say during the reign of our Henry the Seventh, 1485 to 1509. It consisted of seventy-seven leaves of vellum, which measured about seven inches by five, with an illuminated border to every page. There were twenty miniatures, some the size of the full page and some smaller. The borders were composed of flowers and fruit, interspersed with grotesque animals, birds, and human figures, most eccentrically conceived. Both the capital letters and the borders were heightened[Pg x] with gold, sometimes flat, and sometimes brilliantly burnished.[1] This is, of course, an unusually rich example. About the same period great pains were taken to ornament the calendar with which these books usually commenced. Some of these Calendars consist simply of a picture in a gold frame, the composition so arranged that it does not suffer by a large blank space being left in the middle. In this space the calendar was written; and the rest of the page was occupied with an agricultural scene, emblematic of the season. In the sky above, painted in gold shell on the blue, was the sign of the zodiac appropriate to each month. In some the border was in compartments. One compartment contained the name of the month in gold letters or a monogram. Another contained an agricultural scene, another the zodiacal sign, another a flower, and the rest the figures of the principal saints of the month.
It might help the reader get a better sense of what these highly decorative books were like if I share a full description of one that was recently listed by a well-known London bookseller:—It was a Book of Hours, written in France at the start of the sixteenth century, around the reign of Henry the Seventh, from 1485 to 1509. It had seventy-seven leaves made of vellum, measuring about seven inches by five, with an illuminated border on every page. There were twenty miniatures, some the size of a full page and others smaller. The borders featured flowers and fruits, mixed with quirky animals, birds, and human figures, all very uniquely designed. Both the capital letters and the borders were highlighted[Pg x] with gold, sometimes flat and sometimes richly burnished.[1] This is, of course, an especially ornate example. Around the same time, a lot of effort was put into decorating the calendars with which these books typically began. Some of these calendars consist simply of a picture in a gold frame, arranged in a way that makes a large blank space in the middle look intentional. In this space, the calendar was written, while the rest of the page depicted an agricultural scene that represented the season. In the sky above, painted with gold on a blue background, was the zodiac sign for each month. In some, the border was divided into sections. One section contained the month's name in gold letters or a monogram. Another held an agricultural scene, a third featured the zodiac sign, another showed a flower, and the rest represented the main saints of the month.
[1] The miniatures were as follows:—1. The Annunciation, a beautiful miniature with the border painted upon a gold ground; this is the case with all the borders containing miniatures. 2. The Meeting of Mary and Elizabeth. 3. The Infant Jesus lying in the manger at the Inn at Bethlehem, Joseph and the Virgin Mary kneeling in adoration. 4. The Announcement of the Birth of the Saviour to the Shepherds by night. 5. The Worship of the Magi. 6. The Presentation in the Temple. 7. The Journey into Egypt. 8. The Coronation of the Virgin. 9. The Crucifixion. 10. The Descent of the Holy Spirit on the Day of Pentecost. 11. Saint Anthony; a small miniature. 12. The Martyrdom of Saint Sebastian; a small miniature. 13. King David at his devotions in a chamber within his Palace. 14. The Raising of Lazarus. 15. The Virgin Mary with the Infant Jesus, guarded by angels; a small miniature. 16. The body of Jesus taken down from the Cross. 17. Saint Quentin the Martyr. 18. Saint Adrian. 19. Mater Dolorosa. 20. The Virgin and Child. The four last were small.
[1] The miniatures were as follows:—1. The Annunciation, a stunning miniature with a border painted on a gold background; this is true for all the borders containing miniatures. 2. The Meeting of Mary and Elizabeth. 3. The Infant Jesus lying in the manger at the Inn in Bethlehem, with Joseph and the Virgin Mary kneeling in adoration. 4. The Announcement of the Birth of the Savior to the Shepherds at night. 5. The Worship of the Magi. 6. The Presentation in the Temple. 7. The Journey into Egypt. 8. The Coronation of the Virgin. 9. The Crucifixion. 10. The Descent of the Holy Spirit on the Day of Pentecost. 11. Saint Anthony; a small miniature. 12. The Martyrdom of Saint Sebastian; a small miniature. 13. King David at prayer in a chamber within his Palace. 14. The Raising of Lazarus. 15. The Virgin Mary with the Infant Jesus, watched over by angels; a small miniature. 16. The body of Jesus taken down from the Cross. 17. Saint Quentin the Martyr. 18. Saint Adrian. 19. Mater Dolorosa. 20. The Virgin and Child. The last four were small.
The student turns with relief from this comparative monotony to Chronicles in which historical scenes are given. One of the oldest is among the Harleian Manuscripts in the British Museum, and relates to the deposition of Richard II. It has been engraved in Archæologia, vol. xx., so that it is accessible wherever there is a good library. A little later French romances were similarly decorated, and we have innumerable pictures to illustrate the manners and costumes of the knights and ladies of whom we read in the stirring pages of Froissart.
The student turns with relief from this somewhat dull routine to the Chronicles, which depict historical events. One of the oldest is found among the Harleian Manuscripts in the British Museum and tells the story of the deposition of Richard II. It has been published in Archæologia, vol. xx., making it available in any decent library. Shortly after, French romances were also illustrated, and we have countless images that show the customs and clothing of the knights and ladies we read about in the exciting pages of Froissart.
Illumination did not decline at once with the invention of printing. On the contrary some exquisite borders and initials are found in books printed on vellum, one very well known example being a New Testament in the Lambeth Library, which was long mistaken for a manuscript, though it is, in reality, a portion of the Great Bible supposed to have been printed at Mentz before 1455, and to be the earliest work of the press of Fust and Schoyffer. A few wealthy people had Prayer-books illuminated for their own use down to a comparatively recent period. The celebrated Jarry wrote exquisite little volumes [Pg xi]for Louis XIV. and his courtiers. A very fine Book of Hours was in the Bragge Collection, and must have been written in the sixteenth century, perhaps for some widow of rank in France. It contained sixteen miniatures which closely resembled Limoges enamels, the only decided color used being the carnation for the faces, the rest of the design being in black, white, gold, and a peculiar pearly grey. Each page had a border of black and gold. From another manuscript, a Book of Hours written in France in the fourteenth century (and exhibited at the Burlington Club by Mr. Robert Young), we have some outline tracings of the ivy pattern (see page 12). The famous illuminations of Giulio Clovio (a native of Croatia, who practised in Italy 1498-1578) hardly deserve the admiration they receive. They are in fact small pictures, the colors very crude and bright, and without the solemnity which attaches to ancient religious art. An illuminated work by Clovio was recently sold in London for the enormous sum of £2050. It had been long in the possession of an old Lancashire family, and is believed to have been illuminated for Cardinal Alexander Farnese, and by him presented to his uncle Paul III., who was pope between 1534 and 1550. In England the latest illuminators became the first miniature painters; and the succession of English artists is carried on from Godemann and Paris, through Nicholas Hilliard (1547-1619) and Isaac Oliver (1556-1617), to the school of Cooper (1609-1672) and Dobson, whose portraits are on vellum.
Illumination didn't disappear immediately after the invention of printing. In fact, some beautifully decorated borders and initials can be found in books printed on vellum, like a famous New Testament in the Lambeth Library, which was often mistaken for a manuscript. However, it is actually part of the Great Bible believed to have been printed in Mentz before 1455, and it is considered the earliest work from the press of Fust and Schoyffer. A few wealthy individuals continued to have Prayer-books illuminated for their personal use up until relatively recently. The renowned Jarry created exquisite little volumes for Louis XIV and his courtiers. There was a very fine Book of Hours in the Bragge Collection, likely written in the sixteenth century for a noble widow in France. It featured sixteen miniatures that closely resembled Limoges enamels, using only carnation for the faces, while the rest of the design was done in black, white, gold, and a unique pearly grey. Each page had a black and gold border. From another manuscript, a Book of Hours written in France in the fourteenth century (displayed at the Burlington Club by Mr. Robert Young), we have some outline tracings of the ivy pattern (see page 12). The famous illuminations by Giulio Clovio, a Croatian who worked in Italy from 1498 to 1578, hardly merit the praise they receive. They are essentially small pictures with very bright and crude colors, lacking the solemnity associated with ancient religious art. An illuminated piece by Clovio was recently sold in London for an astonishing £2050. It had been in the possession of an old Lancashire family for a long time and is thought to have been created for Cardinal Alexander Farnese, who presented it to his uncle Paul III, pope from 1534 to 1550. In England, the latest illuminators became the first miniature painters, and the lineage of English artists continues from Godemann and Paris, through Nicholas Hilliard (1547-1619) and Isaac Oliver (1556-1617), to the schools of Cooper (1609-1672) and Dobson, whose portraits are on vellum.
Conversion of St. Paul,
by Giulio Clovio.
From "St. Paul's Epistle
to the Romans,"
in the Soane Museum.
The Conversion of St. Paul,
by Giulio Clovio.
From "St. Paul's Epistle
to the Romans,"
in the Soane Museum.
Short as is this survey of the history of Illumination, it will not do to omit all reference to Heraldry. Heraldic manuscripts, it is curious to remark, are rarely illuminated with borders or initials; but in the Chronicles of Matthew Paris shields of arms are frequently introduced with good effect. Occasionally in Books of Hours the arms of the person for whom the work was undertaken are placed in the border. Some fine examples of this kind are to be found in the so-called Bedford Missal, which is really a Book of Hours, and was written for John,[Pg xii] Duke of Bedford, the brother of Henry V. Most of the manuscripts now extant on the subject are of late date and rude execution, consisting chiefly of rolls of arms, catalogues with shields in "trick"—that is, sketched with the colors indicated by a letter, or lists of banners, of which last a fine example is in the library of the College of Arms. Heraldry may be studied to advantage by the modern illuminator, who should endeavour to become so conversant with the various charges that in making a border or filling a letter he may be able to introduce them artistically without violating the strict laws of the "science." A late but very beautiful MS., in four little square volumes, which belongs to Mr. Malcolm of Poltalloch, has been identified as having been written for Bona of Savoy, duchess of Milan, who died in 1494. This identification has been made by means of the frequent occurrence of her badge and mottoes in the borders, many of which contain other devices of a semi-heraldic character, such as a phoenix, which is known to have been a favourite emblem of the duchess, an ermine, a rabbit, and a child playing with a serpent or dragon, all of them allusive to the heraldry of the lady and her husband. The study of heraldry has a further advantage in offering certain fixed rules about the use of colors which may help the student to attain harmony, and also in accustoming the eye and the hand to adapting certain forms to the place they have to fill, as for instance, the rampant lion within his shield, so as to leave as little vacant space as possible.
Even though this overview of the history of Illumination is brief, it’s important not to overlook Heraldry. Interestingly, heraldic manuscripts are rarely decorated with borders or initials; however, in the Chronicles of Matthew Paris, shields of arms are often featured effectively. Sometimes in Books of Hours, the arms of the person the work was created for are displayed in the border. A few great examples of this can be found in the so-called Bedford Missal, which is actually a Book of Hours, written for John,[Pg xii] Duke of Bedford, brother of Henry V. Most of the existing manuscripts on the subject are from later periods and are roughly made, consisting mainly of rolls of arms, catalogs with shields drawn in "trick"—that is, sketched with the colors indicated by letters—or lists of banners, one fine example of which is in the library of the College of Arms. Modern illuminators can benefit from studying heraldry, as they should strive to familiarize themselves with various charges so that when creating a border or filling a letter, they can introduce them artistically while adhering to the strict principles of the "science." A more recent but very beautiful manuscript, in four small square volumes, owned by Mr. Malcolm of Poltalloch, has been identified as written for Bona of Savoy, duchess of Milan, who passed away in 1494. This identification comes from the frequent appearance of her badge and mottos in the borders, many of which feature other symbols of a semi-heraldic nature, such as a phoenix, known to be a favorite emblem of the duchess, along with an ermine, a rabbit, and a child playing with a serpent or dragon, all of which reference the heraldry of her and her husband. The study of heraldry also has the added benefit of providing certain established rules regarding color usage that can help the student achieve harmony, as well as training the eye and hand to adjust certain forms to fit their designated spaces, such as the rampant lion within its shield, minimizing any empty space.
Some examples of animals treated in heraldic style will be found interspersed in this work as tailpieces. One of these, at the end of the Contents, represents a wild boar, to whose neck a mantle, bearing a coat of arms, is attached. It will be understood that what are called in heraldry "supporters" were a knight's attendants, who disguised themselves as beasts, and held their master's shield at the door of his tent at a tournament. The figures cannot, therefore, be too much conventionalized. (See the examples shown in Plate VII.) Some of the other designs are from the Rows Roll, a heraldic manuscript of the time of the Wars of the Roses. Some beautiful heraldic designs are to be found in Drummond's Noble Families. They were drawn by Mr. Montagu, the author of a charming volume on Heraldry.
Some examples of animals depicted in a heraldic style will be found scattered throughout this work as tailpieces. One of these, at the end of the Contents, shows a wild boar, to which a mantle featuring a coat of arms is attached. It's important to note that what are referred to in heraldry as "supporters" were a knight's attendants who disguised themselves as animals and held their master's shield at the entrance of his tent during a tournament. Therefore, the figures can't be overly stylized. (See the examples shown in Plate VII.) Some of the other designs come from the Rows Roll, a heraldic manuscript from the time of the Wars of the Roses. There are some beautiful heraldic designs found in Drummond's Noble Families. They were drawn by Mr. Montagu, the author of a delightful book on Heraldry.
Our facsimile reproductions of ancient manuscripts have been selected with a view to supply such examples as are most likely to prove useful to the student. For this purpose we have preferred in several instances to present the whole page with its writing complete, so that the modern illuminator may see[Pg xiii] how the ancient one worked, and how he arranged his painting and his writing with respect to each other.
Our facsimile reproductions of ancient manuscripts have been chosen to provide examples that are most likely to be useful for students. For this reason, we have often decided to present the entire page with its complete writing, so that the modern illuminator can see[Pg xiii] how the ancient one worked and how he arranged his painting and writing in relation to each other.
To this we may add, that for the rest we have chosen our examples as much as possible because they were pretty, instructive, and of English workmanship, a majority of our pictures being copied from manuscripts written in our own country. I need only call attention to the well known but very beautiful style usually called the "English flower pattern," which admits of an endless series of variations and even improvements, and which is as characteristic of our mediæval painters as the Perpendicular style in Gothic is of our architects, both having flourished here and here only during a long period.
To this, we can add that we've selected our examples as much as possible because they are attractive, informative, and of English craftsmanship, with most of our pictures being based on manuscripts created in our own country. I just want to highlight the well-known but incredibly beautiful style typically referred to as the "English flower pattern," which allows for countless variations and even enhancements, and is as representative of our medieval painters as the Perpendicular style in Gothic architecture is of our architects, both having thrived here for an extended period.
And in conclusion I should be inclined to advise the illuminator against stiffness. We are too fond of a vellum which is like sheets of ivory, and of working on it with mathematical precision. The old illuminators used a material much more like what is now called "lawyer's parchment," but perfectly well adapted for taking color and gold. A moment's inspection of our examples will show the freedom and ease of the old work, and the dislike evinced by almost every ancient book painter to having his work confined within definite lines. Such freedom and ease are only attained by careful study combined with experience. Every one has not the ability to originate, but without great originality it may still be found possible to avoid servility. "Who would be free himself must strike the blow;" but those who aspire to climb must first be certain that they can walk. The thing that most often offends the eye in modern illumination is that the artist, to conceal his own want of style, mixes up a number of others. Incongruity is sometimes picturesque, but this kind of incongruity is always disagreeable, from the staring and inharmonious evidence of ignorance which it betrays.
And in conclusion, I would advise the illuminator to avoid being too rigid. We have a tendency to prefer vellum that resembles sheets of ivory and to work on it with mathematical precision. The old illuminators used a material much more like what we now call "lawyer's parchment," which was perfectly suited for holding color and gold. A quick look at our examples will reveal the freedom and ease of the old work, as well as the almost universal preference among ancient book painters to keep their work from being confined within strict lines. This kind of freedom and ease can only be achieved through careful study and experience. Not everyone has the ability to create something new, but even without great originality, it’s still possible to avoid being servile. "Who would be free himself must strike the blow," but those who want to succeed must first ensure they can walk. What often catches the eye in modern illumination is that the artist, to hide their lack of style, mixes various styles together. Incongruity can sometimes be visually appealing, but this type of incongruity is always unpleasant, revealing a glaring and discordant ignorance.
Heraldic Bear from the Rows Roll.
Heraldic Bear from the Rows Roll.
SIXTEENTH-CENTURY WRITING—From "Albert Durer's Prayer-Book."]
16th-Century Writing—From "Albert Durer's Prayer Book."
PRACTICAL INSTRUCTIONS.
UNLESS when intended for mere practice, all illuminated work should be
executed upon Vellum; its extreme beauty of surface cannot be
imitated by any known process of manufacture, while its durability is
well known. Bristol Board approaches nearest to it in appearance, is
equally pleasing to work upon, and for all practical purposes of the
amateur is quite as good. But, if even that is not attainable,
excellent work may be done on any smooth grained drawing paper.
UNLESS it's just for practice, all illuminated work should be done on Vellum; its stunning surface can't be matched by any known manufacturing process, and its durability is well recognized. Bristol Board is the closest in appearance, is just as enjoyable to work with, and is perfectly adequate for all practical purposes for beginners. However, if that's not available, great results can still be achieved on any smooth grained drawing paper.
Brushes.—Red Sable Brushes are preferable to all others for illuminating purposes, and are to be had in goose, duck, and crow quills,—the larger for laying on washes of color, or large grounds in body color,—the duck and crow for filling in the smaller portions of color, for shading and general work. One of the smallest size should be kept specially for outlining and fine hair-line finishings. For this purpose all the outer hairs should be neatly cut away with the scissors, leaving only about one-third of the hair remaining.
Brushes.—Red Sable Brushes are the best choice for painting and can be found in goose, duck, and crow quills. The larger ones are great for applying washes of color or for broad areas with solid color, while the duck and crow brushes work well for filling in smaller details, shading, and general tasks. It’s a good idea to keep one of the smallest brushes for outlining and fine details. For this, trim away the outer hairs with scissors, leaving about one-third of the hair intact.
Drawing-pen—Circle or Bow-pen.—For doing long straight lines or circles these instruments are indispensable; they give out ink or color evenly, making a smooth, true line of any thickness required for lining any portion of the work, as in border margins, or any part requiring even lines, unattainable by the hand alone. It is necessary to put the ink or color into the pen with the brush after mixing it to the proper consistency for use. Ink or body color may be used with equal facility. Before starting, the pen should always be tried upon a piece of loose paper, to test the thickness of the line, and also to see if the ink in the pen is not too thick or too thin: if too thick, it will not work evenly, while, if too thin, it will flow too rapidly, and run upon a color ground as if on blotting paper.
Drawing pen—Circle or Bow pen.—These tools are essential for creating long straight lines or circles. They release ink or color evenly, which helps produce a smooth, straight line of any thickness needed for lining sections of your work, like border margins or any area that requires even lines that can't be achieved by hand alone. You need to load the ink or color into the pen with a brush after mixing it to the right consistency for use. Ink or body color can be used just as easily. Before you begin, always test the pen on a scrap piece of paper to check the thickness of the line and to see if the ink in the pen is too thick or too thin: if it’s too thick, it won’t flow evenly, and if it’s too thin, it will flow too quickly, causing it to run on a colored background like it’s on blotting paper.
Straight-edge, Parallel-ruler, &c.—A thin wooden straight-edge, or, what is better, a parallel-ruler, and also a set square (a right-angled triangular piece of thin wood), will be found necessary for planning out the work.
Straightedge, parallel ruler, etc.—A thin wooden straight-edge or, even better, a parallel ruler, along with a set square (a right-angled triangular piece of thin wood), will be essential for planning the work.
Burnisher and Tracer.—Agate Burnishers are to be had at the artists' colormen's, either pencil or claw shaped; the former will be most useful to a beginner. An ivory style, or point, is requisite for tracing, and useful for indenting gold diapers.
Burnisher and Tracer.—Agate Burnishers can be found at art supply stores, available in either pencil or claw shapes; the pencil shape is the most helpful for beginners. An ivory stylus or point is needed for tracing and is also useful for indenting gold patterns.
Pens.—For text or printing, either the quill or the steel pen may be used; both require special manipulation to fit them for the work. It will be most convenient, however, for the amateur to use the quill, as being more easily cut into the shape required; though a steel pen, once made, will last for years if taken care of. The point must be cut off slightly at an angle, such as may be found most convenient. If a steel pen is used, it will be necessary, after cutting off the point, to rub the pen carefully on an oilstone to smooth the roughened edges, and prevent it from scratching the[Pg xvi] paper. The text pen, when properly made, should work smoothly, making every stroke of equal thickness. It is well to have text pens of different widths, to suit for lettering of various thicknesses of body stroke. The pen should be held more upright than for ordinary writing. A broad, almost unyielding point, will give a fine upward and a firm downward or backward stroke with equal facility. For finer writing the pen should be cut with a longer slope in the nib. Fine-pointed pens, for finishing and putting in the hair lines into the text, should also be provided. For this the fine mapping, or lithographic, pen, made by Gillott and others, is most suitable.
Writing tools.—For writing or printing, you can use either a quill or a steel pen; both need specific handling to work properly. However, it's usually easier for beginners to use a quill since you can shape it easily. A steel pen, once shaped, can last for years if you take care of it. The tip should be cut at a slight angle that feels comfortable for you. If you’re using a steel pen, after cutting the tip, you need to rub it gently on an oilstone to smooth out the rough edges and prevent it from scratching the [Pg xvi] paper. A well-made text pen should glide smoothly, making each stroke the same thickness. It's good to have text pens in different widths for various stroke thicknesses. Hold the pen more upright than you would for regular writing. A broad, nearly rigid tip allows for a smooth upward stroke and an easy downward or backward stroke. For more delicate writing, the nib should be cut with a longer slope. You should also have fine-pointed pens for adding details and hairlines to the text. The fine mapping or lithographic pen, made by Gillott and others, is particularly suitable for this.
Text or Printing Letters.—This is a kind of penmanship which the amateur will, at first, find very difficult to write with regularity, as it requires much special practice to attain anything like proficiency in its execution. But as much of the beauty and excellence of the illuminating depends upon the regularity and precision of the text, it is well worth all the application necessary to master it. The styles of text usually introduced within the illuminated borders are known under the names of "Black Letter," "Church Text," "Old English," and "German Text."
Text or Print Letters.—This is a style of handwriting that beginners will find quite challenging to write consistently at first since it demands a lot of specific practice to achieve any level of skill in it. However, since much of the beauty and quality of the illumination relies on the uniformity and accuracy of the text, it's definitely worth the effort required to learn it. The types of text typically used within the illuminated borders are referred to as "Black Letter," "Church Text," "Old English," and "German Text."
Indian Ink and Lamp Black are the only paints generally used for black text; the difference being that Indian Ink is finer, and therefore better adapted for writing of a fine or delicate character. It works freely, and retains a slight gloss, while Lamp Black gives a full solid tint, and dries with a dull or mat surface;—a little gum-water added will help the appearance in this respect. Some illuminators recommend a mixture of Indian Ink and Lamp Black, with a little gum-water, as the best for text of a full black body, working better than either alone. The mixture should be well rubbed together in a small saucer with the finger before using. If a portion of the text is to be in red, it should be in pure vermilion. If in gold, it must be shell gold, highly burnished with the agate, as hereafter described.
Indian Ink and Lamp Black are the main paints typically used for black text; the main difference is that Indian Ink is finer, making it more suitable for finer or delicate writing. It flows smoothly and retains a slight shine, while Lamp Black provides a deep, solid color and dries with a dull or matte finish; adding a bit of gum-water can enhance its appearance. Some illuminators suggest mixing Indian Ink and Lamp Black with a little gum-water as the best option for writing in a strong black, performing better than either one alone. The mixture should be thoroughly blended in a small saucer with your finger before use. If part of the text is going to be red, it should be pure vermilion. If it’s gold, it must be shell gold, polished to a high shine with an agate, as described later.
Colors.—Not to confuse the learner with a multiplicity of pigments, we will only mention such as are essential, and with which all the examples in the following studies may be copied. As experience is gained by practice, the range of colors may be increased as requirements may dictate.
Colors.—To avoid overwhelming the learner with too many pigments, we'll only mention the essential ones needed to replicate all the examples in the upcoming studies. As you gain experience through practice, you can expand your color palette as needed.
| Gamboge. | Crimson Lake. | Burnt Umber. | Prussian Blue. |
| Indian Yellow. | Sepia. | Lamp Black. | Burnt Sienna. |
| Vermilion. | Emerald Green. | Chinese White. | Cobalt. |
| Yellow Ochre. |
A little experimental practice with the colors will do more to show the various combinations of which they are capable than any lengthy exposition. Various portions of color may be tried, particularly for the more delicate tints, for greys, neutrals, and quiet compounds, where great purity is required, and the most pleasing noted for future use.
A bit of hands-on practice with the colors will reveal more about the different combinations they can create than any detailed explanation. You can experiment with different color sections, especially for lighter shades, grays, neutrals, and subtle mixes, where high purity is essential, and keep track of the most appealing ones for future reference.
There are two methods or styles of coloring, which are used either alone, or in conjunction. In the Celtic, and other early styles, including that of the fourteenth century, where the colors are used flat—no relief by shading being given—it is purely a surface decoration, the colors well contrasted, merely graduated from deep to pale, and outlined with a clear, black outline. The masses of color or gold are here usually enriched by diapers, while the stems, leaves, &c., are elaborated by being worked over with delicate hair-line finishings on the darker ground. The other method of treating ornamental forms embraces[Pg xvii] a wide range of style of illuminating, approaching more nearly to Nature in treatment, the ornament being more or less shaded naturally, or conventionalized to some extent. It is important to lay the color evenly in painting, not getting it in ridges, or piling it in lumps, as the amateur is apt to do. This will be best attained by painting as evenly as possible with the brush, mostly in one direction, and not too full of color, and refraining from going back over the parts just painted, if it can be avoided. Patches always show, more or less, and can hardly ever be made to look smooth.
There are two methods or styles of coloring that can be used individually or together. In the Celtic and other early styles, including those from the fourteenth century, colors are applied flat—without any shading for relief—making it purely a surface decoration. The colors are well contrasted, transitioning from deep to pale, and outlined with a clear black line. Color or gold areas are usually enhanced with patterns, while the stems, leaves, etc., are detailed with delicate hairline finishes on a darker background. The other method for ornamental forms includes[Pg xvii] a wide range of illuminating styles that more closely resemble nature, with the ornament being more or less naturally shaded or somewhat stylized. It's important to apply color evenly when painting, avoiding ridges or clumps, which is a common mistake for beginners. This can be best achieved by painting as evenly as possible with the brush, mostly in one direction, using just enough color, and avoiding going back over areas that have just been painted if possible. Patches will always be noticeable and are hard to make look smooth.
Gold, Silver, &c.—To the inexperienced, the laying on of gold or silver may seem a difficult affair; but it is really comparatively easy, especially when gold and silver shells, sold by artists' colormen, are used. These contain the pure metal ground very fine with gum, and need no preparation. When a drop of water is added, the gold can be removed from the shell, and used with the brush in the ordinary way as a color. One brush should be kept for painting gold or other metallic preparations. As silver is liable to turn black, we would advise the use of aluminium instead, which is not affected by the atmosphere. It can be had in shells in the same manner. In applying gold, or other metal, it should be painted very level and even, especially if it is to be burnished, which make irregularities more prominent. Gold that is to be burnished should be applied before any of the coloring is begun, as the burnisher is apt to mark and injure the effect of the adjoining parts. When the gold is laid on, put a piece of glazed writing paper over it, and, with the burnisher, rub the paper briskly, pressing the particles of gold into a compact film: this gives it a smooth even surface. In this way it is principally used, and is called mat gold. For burnished gold, the paper is removed, and the agate rubbed briskly upon the gold surface, not dwelling too long upon any one part, until a fine, evenly-bright metallic surface is produced. Rubbing the gold lightly with the finger, after touching the skin or hair, facilitates the action of the burnisher.
Gold, Silver, etc.—For those who are new to it, applying gold or silver might seem challenging, but it’s actually quite simple, especially when you use gold and silver shells sold by artists' color suppliers. These contain finely ground pure metal mixed with gum and require no extra preparation. Just add a drop of water, and you can take the gold from the shell and use it with a brush like any other paint. It’s a good idea to keep one brush specifically for applying gold or other metallic paints. Since silver tends to tarnish, we recommend using aluminum instead, as it doesn’t react with the atmosphere. It’s available in shells just like the gold. When applying gold or other metals, make sure to paint it smoothly and evenly, especially if you plan to burnish it, as any irregularities will stand out more. Gold that will be burnished should be applied before any other colors, because the burnisher can leave marks and damage the surrounding areas. Once the gold is applied, place a piece of smooth writing paper over it, and use the burnisher to rub the paper briskly, pressing the gold into a smooth layer: this creates an even surface. This method is mainly used and termed mat gold. For burnished gold, the paper is taken off, and an agate is rubbed swiftly over the gold surface, being careful not to linger too long in one spot until a fine, evenly bright metallic surface is achieved. Rubbing the gold lightly with your finger, after it has come into contact with skin or hair, also helps the burnisher work better.
Preparing for Work, &c.—The vellum or paper having been strained, the surface will, when dry, be perfectly flat and smooth. If the paper or vellum is to be much worked upon, it will be found advantageous to fasten it to a board by drawing-pins or by glueing the edges, having previously damped the back; when this is dry, the surface will be perfectly level, and not apt to bag in working. Paper so mounted should be larger than the size required, to allow for cutting off the soiled margin when completed. To prevent the margins being soiled, a sheet of paper should now be fastened as a mask over the page, with a flap the size of the work cut in it, by folding back portions of which any part of the surface may be worked upon without exposing the rest.
Getting Ready for Work, etc.—Once the vellum or paper has been stretched, the surface will be completely flat and smooth when dry. If you're going to do a lot of work on the paper or vellum, it’s helpful to secure it to a board with drawing pins or by gluing the edges, making sure to dampen the back first; when it dries, the surface will be perfectly level and won’t sag while you work. The paper should be larger than the final size you need so you can trim off any dirty edges when you’re done. To keep the margins clean, you should now attach a sheet of paper as a mask over the page, with a flap cut out the size of your work; by folding back parts of this flap, you can work on any part of the surface without exposing the entire area.
It is almost impossible to erase pencil lines from vellum. The black lead, uniting with the animal matter of the skin, can never be properly got out—India rubber or bread only rubbing it into a greasy smudge. It is, therefore, better to prepare a complete outline of the design upon paper first, which can afterwards be transferred to the strained sheet. For this purpose tracing paper is required, possessing this advantage, that corrections upon the sketch can be made in tracing, and, in placing it upon the vellum, if the sheet has been previously squared off for the work, its proper position can be readily seen and determined. The tracing paper should be about one inch larger each way, to allow of its being fastened to the mask over the exposed surface of the page. A piece of transfer paper of a convenient size is then placed under the tracing. When the tracing is fixed in its proper position by a touch of gum or paste at the upper corners, slip the transfer paper, with the chalked side[Pg xviii] downwards, between the vellum and the tracing, and tack down the bottom corners of the tracing in the same way, to prevent shifting. Seated at a firm table or desk of a convenient height, with the strained paper or drawing board slightly on an incline, the amateur may consider all ready for work. All the lines of the tracing are first to be gone over with the tracing point, or a very hard pencil cut sharp will answer the purpose. A corner may be raised occasionally to see that the tracing is not being done too firmly or so faintly as to be almost invisible. A piece of stout card should be kept under the hand while tracing, to avoid marking the clean page with the prepared transfer paper underneath, by undue pressure of the fingers.
It’s nearly impossible to completely remove pencil lines from vellum. The black lead binds with the animal fibers in the skin and can never be fully erased—using an eraser or bread only smudges it into a greasy mark. Therefore, it’s better to prepare a complete outline of the design on paper first, which can later be transferred to the stretched sheet. For this, you need tracing paper, which has the advantage of allowing corrections on the sketch to be made while tracing, and when placing it on the vellum, if the sheet has been squared off for the work, its correct position can easily be seen and confirmed. The tracing paper should be about an inch larger on all sides, so it can be secured to the mask over the exposed surface of the page. A piece of transfer paper of a convenient size is placed under the tracing. Once the tracing is set in its proper position with a bit of glue or paste at the upper corners, slide the transfer paper, chalked side[Pg xviii] down, between the vellum and the tracing, and secure the bottom corners of the tracing in the same way to prevent shifting. Sitting at a sturdy table or desk at a comfortable height, with the stretched paper or drawing board slightly inclined, the beginner can consider everything ready to work. First, go over all the lines of the tracing with a tracing point, or a very hard pencil sharpened for the job will work too. Occasionally lift a corner to check that the tracing isn’t being done too hard or so faintly that it’s almost invisible. Keep a sturdy piece of cardboard under your hand while tracing to avoid leaving marks on the clean page from the pressure of your fingers against the prepared transfer paper underneath.
For larger work, not requiring such nicety of detail, the sketch may be transferred direct—especially if the paper is thin—without the use of tracing paper, by merely chalking the back of the drawing, and going over the lines with the tracing point; but the other method is best, and the transfer paper may be used over and over again.
For bigger projects that don't need such precise details, you can transfer the sketch straight onto the surface—especially if the paper is thin—without using tracing paper. Just chalk the back of the drawing and trace over the lines with a tracing point. However, the other method is better, and you can reuse the transfer paper multiple times.
When the subject is carefully traced on the prepared page, and the tracing and transfer paper removed, it will be best to begin with the text. The experienced illuminator will generally, after arranging his designs and spacing out his text, with the initial letters in their proper places, transfer all to his vellum, and do the writing before he begins coloring, covering up all the page except the portion he is working upon. When the lettering is complete, it will in its turn be covered, to prevent its being soiled while the border is being painted.
When the subject is carefully outlined on the prepared page and the tracing and transfer paper are removed, it's best to start with the text. The experienced illuminator will usually arrange their designs and space out the text, placing the initial letters correctly, transfer everything onto the vellum, and do the writing before starting the coloring, covering all the page except for the section they're working on. Once the lettering is done, it will be covered to keep it clean while the border is painted.
Work out the painting as directed under "Colors," beginning with the gold where it is in masses, burnishing it level when dry, as before explained: smaller portions can more readily be done afterwards. Paint each color the full strength at once, keeping in mind that it becomes lighter when dry, and finishing each color up to the last stage before beginning another.
Work on the painting as instructed under "Colors," starting with the gold where it's in large areas, and smooth it out when it's dry, as explained earlier: smaller sections can be more easily done later. Apply each color at full strength all at once, remembering that it will appear lighter when dry, and complete each color before moving on to the next one.
Outlining and Finishing.—When the work is at this stage, the colors will have a dull and hopeless appearance; but, as the outline is added, it changes to one more pleasing. The addition of the fine white edging and hair-line finishings (as in fourteenth-century style), still further heightens the effect, giving the appearance of great elaborateness and brilliancy to the coloring, and beauty and decision to the forms. In the conventional style of treatment in coloring, a careful outline is an imperative necessity, and, in this part of the work, practice in the use of the brush is essential. Sometimes objects are outlined in a deeper shade of the local color—as a pink flower or spray with lake, pale blue with darker blue, &c.; but this is not very usual. In the real or natural treatment of the objects forming the subject of the illumination, an outline is seldom used, everything being colored and shaded as in Nature. Lamp black with a little gum water will be found the best medium, being capable of making a very fine or a firm line, at the same time retaining its intense glossy black appearance. A little practice will enable the learner to know the best consistency to make the ink. As it evaporates, a few drops of water may be added, and rubbed up with the brush or finger. For hair-line finishing, either light lines upon a darker ground or vice versâ, the same kind of brush will be used as for outlining. For diapers of a geometrical character, the drawing-pen and small bow-pen will be of great use, either upon color or gold grounds. The ivory tracing point is used to indent upon gold scrolls or diapers. Sometimes there is put over the entire back-ground a multitude of minute points of gold, but not too close together, and punctured with the point of the agate or tracing-point, producing a beautiful glittering effect.
Outlining and Completing.—At this stage, the colors will look dull and lifeless; however, as you add the outline, it transforms into something much more appealing. Adding fine white edges and delicate line work (like in fourteenth-century style) enhances the overall effect, making the colors appear rich and vibrant, and giving clarity and beauty to the shapes. In conventional coloring techniques, a careful outline is absolutely necessary, and practicing with the brush is crucial at this point. Occasionally, objects are outlined in a darker shade of the local color—such as a pink flower outlined with a deeper pink, or pale blue with a darker blue—but this is not very common. In the real or natural approach to coloring, outlines are rarely used; instead, everything is colored and shaded to reflect nature. Lamp black mixed with a little gum water is the best medium, as it can create both very fine and firm lines while maintaining a deep glossy black look. With a bit of practice, you'll learn the right consistency for the ink. As it evaporates, you can add a few drops of water and mix it with your brush or finger. For hair-line finishing, whether it's light lines on a dark background or the other way around, you'll use the same brush as for outlining. For diapers with geometric designs, a drawing pen and small bow pen will be extremely useful, whether working on colored or gold backgrounds. The ivory tracing point is used to mark out gold scrolls or geometric designs. Sometimes, a multitude of tiny gold dots is applied over the entire background, spaced out enough to avoid overcrowding, using the point of the agate or tracing point to create a stunning glittering effect.
DESCRIPTION OF PLATE I.
DESIGNED by English illuminators of the twelfth and thirteenth centuries, the initials on this Plate must be separately described. Those at the left top corner are the oldest, and show a certain stiffness of form and dulness of color which contrasts strongly with the spirit and lightness of the letters to the right side of the Plate. These letters, which may be found in manuscripts of many different periods, should be carefully studied. There are some examples in which the initial is simply red or blue, as the case may be. Next it is red and blue combined, the two colors being carefully kept apart by a narrow line of white, which the student will do well not to mark with white paint but to leave out by delicate manipulation. Next the edge of the letter both within and without is followed with a line of red or blue drawn a little way from it and never touching. Then the space so marked within the letter is filled by a tracery of slight flourishes in red and blue, the latter always predominating in the whole design so as to obtain the more harmony of effect. The blue and gold letters are very sparingly treated with red. The blue is Prussian, but very deep in tint in the original. (Addl. MSS. 11,435.)
DESIGNED by English illuminators of the twelfth and thirteenth centuries, the initials on this Plate need to be described separately. The ones in the top left corner are the oldest and show a certain stiffness in their shape and dullness in color that contrasts sharply with the lively and light letters on the right side of the Plate. These letters can be found in manuscripts from various periods and should be studied carefully. Some examples feature an initial that is simply red or blue, depending on the case. Next, there's a combination of red and blue, with a narrow line of white keeping the two colors separate; students should avoid marking this line with white paint and instead achieve it through careful manipulation. Then, the edge of the letter, both inside and outside, is outlined with a line of red or blue drawn slightly away from it and never touching. After that, the space marked inside the letter is filled with delicate flourishes in red and blue, with blue typically being the dominant color to create a more harmonious effect. The blue and gold letters use red very sparingly. The blue is Prussian but appears very deep in tint in the original. (Addl. MSS. 11,435.)
The initial S in the lower left-hand corner is of earlier date. It will probably, like the letters above it, be seldom used for ornamental purposes, and it will suffice here to mention that the colors used are as follows:—Cobalt raised with Chinese White for the blue parts; for the red, Vermilion shaded with Lake; and for the cool pale olive tint, Indigo and Yellow Ochre, toned with Chinese White.
The initial S in the lower left corner is from an earlier time. Like the letters above it, it will likely be used infrequently for decorative purposes. It's enough to note that the colors used are: Cobalt mixed with Chinese White for the blue parts; Vermilion blended with Lake for the red; and a cool pale olive tint made from Indigo and Yellow Ochre, lightened with Chinese White.
The large initial E shows a sacred scene, and is of English late thirteenth century work, in a private collection. The harmony is studiously correct, and the original, which is slightly larger, glows with color. It is rather more than four inches square. The figures are firmly outlined, as are their draperies. The gold is leaf, the architectural portion being left very flat, but the nimbus and the border[Pg 2] are burnished. It has been found impossible to reproduce exactly the pattern of the ground in chromo-lithography, but as it may readily be done by hand, a description taken direct from the original will be acceptable to the pupil. The blue ground within the letter is dark: on it is ruled a square cross-bar of deep olive lines of great fineness. Intersecting them, and so to speak keeping them down, is a net-work of very fine nearly white lines, the points of intersection being marked by minute circles. Within the little spaces thus divided are minute circles of vermilion. The outer groundwork is of olive diapered with a deeper shade of the same color. The ground outside the letter is pink divided into squares by brown lines, each square having a little red circle in it. The edges of the draperies are marked by minute white lines, and there is less shading than in the reproduction. Altogether this letter represents the best work of the period, and is an admirable example of the painstaking care by which alone great effects are produced. Even a genius, such as was the artist who produced this little picture, must condescend to take infinite trouble if he would obtain an adequate reward.
The large initial E depicts a sacred scene and is a piece from late 13th century England, currently in a private collection. The composition is expertly arranged, and the original, which is slightly larger, vibrates with color. It's just over four inches square. The figures and their draperies are clearly defined. The gold is applied as leaf, with the architectural parts kept very flat, but the nimbus and border[Pg 2] are polished. It's been found impossible to replicate the background pattern exactly in chromo-lithography, but it can easily be done by hand, so a description taken directly from the original will work for the student. The blue background within the letter is dark and features a squared cross-bar of deep olive lines that are very fine. Intersecting them is a network of nearly white lines, with tiny circles marking the intersection points. Inside the small sections created are tiny circles of vermilion. The outer background is olive patterned with a darker shade of the same color. The space outside the letter is pink, divided into squares by brown lines, each square featuring a small red circle. The edges of the draperies are outlined with tiny white lines, and there’s less shading compared to the reproduction. Overall, this letter showcases the finest work of its time and is an excellent example of the meticulous effort that leads to significant outcomes. Even a genius like the artist who created this small picture must be willing to put in a tremendous amount of effort to achieve deserving results.
Heraldic Popinjay.
Heraldic Parrot.
Plate I.—INITIALS BY ENGLISH ILLUMINATORS, 12th and 13th Centuries
Plate 1.—INITIALS BY ENGLISH ILLUMINATORS, 12th and 13th Centuries
LETTERS FROM AN ALPHABET OF THE FIFTEENTH CENTURY.
(The remainder of the alphabet is shown in colors in Plate II.)
LETTERS FROM AN ALPHABET OF THE FIFTEENTH CENTURY.
(The rest of the alphabet is displayed in colors in Plate II.)
DESCRIPTION OF PLATE II.
EXECUTED in the fifteenth century, probably in the north of France, the small manuscript from which the twelve initial letters are taken is in a private collection. It consists of twenty-four leaves of rather stout vellum, measuring 4-3/8 inches by 3 inches, and has evidently been a sampler or pattern book for a school of illumination. It contains two alphabets. The letters in the plate are selected from one of them. Outlines of the rest of this alphabet are on the back of Plate I. In copying them for color the student will remember that those letters which contain blue flowers are red, and vice versâ. Each letter is painted on a ground of leaf-gold highly burnished, and is ornamented with a natural flower. We may recognize the rose, the pansy, the strawberry, the columbine, the wall-flower, the corn-flower, the sweet pea, the iris, the daisy, the thistle, and others. Pinks, dog-roses, and forget-me-nots also occur, and the little volume forms, in this respect, a curious and interesting record of the produce of the flower garden so long ago as the time of the English "Wars of the Roses."
EXECUTED in the 15th century, probably in northern France, the small manuscript from which the twelve initial letters are taken is part of a private collection. It consists of twenty-four leaves of thick vellum, measuring 4-3/8 inches by 3 inches, and was clearly a sampler or pattern book for a school of illumination. It contains two alphabets. The letters in the plate are selected from one of them. Outlines of the rest of this alphabet are on the back of Plate I. When copying them for color, the student should remember that the letters with blue flowers are red, and vice versa. Each letter is painted on a background of highly burnished leaf-gold and is decorated with a natural flower. We can identify the rose, pansy, strawberry, columbine, wall-flower, corn-flower, sweet pea, iris, daisy, thistle, and more. Pinks, dog-roses, and forget-me-nots also appear, and this little volume provides a curious and interesting record of the blooms found in gardens during the time of the English "Wars of the Roses."
The second alphabet is of a wholly different character, the letters, not the ground on which they are placed, being gilt, and the ground colored red or blue. Over the red and the blue is a scroll pattern in white, but the red is sometimes decorated with a pattern in body-yellow, which produces an exceedingly gorgeous effect. In two or three cases the ground is green, worked over in a darker olive tint heightened with yellow. In one, a flower or scroll of grey is placed on a ground of blue dotted all over with minute gold spots.
The second alphabet is completely different; the letters themselves are gold, and the background is red or blue. On top of the red and blue, there's a white scroll pattern, but sometimes the red is decorated with a yellow pattern, which creates a stunning effect. In a few cases, the background is green, layered with a darker olive shade enhanced with yellow. In one example, there's a grey flower or scroll on a blue background covered with tiny gold dots.
The blue used in copying these initials for the plate was Prussian, mixed with Chinese White, and shaded with pure color. The green is a mixture of Indian Yellow and Prussian Blue. The pink is Lake and White shaded with pure Lake. The red terminals which appear in some of the letters are of Vermilion, shaded with Lake. Chinese White body color is largely used in working diapers over the letters of both colors.
The blue used for copying these initials on the plate was Prussian, mixed with Chinese White, and shaded with pure color. The green is a mix of Indian Yellow and Prussian Blue. The pink is Lake and White shaded with pure Lake. The red endings that show up in some of the letters are made from Vermilion, shaded with Lake. Chinese White body color is mainly used in working details over the letters of both colors.
These letters are good examples of the form chiefly in use for illuminated manuscripts and in ornamental sculpture all over northern Europe from the twelfth century to the sixteenth. They are generally called "the Lombardic character," from some real or fancied connection with Lombardy. Such names must be cautiously accepted. "Arabic numerals," for example, have been proved to be somewhat modified Greek letters. But the Lombardic capitals, whatever their origin, lend themselves readily to the exigencies of the illuminator, and are all the more effective from the contrast they present to the text.
These letters are great examples of the style primarily used for illuminated manuscripts and decorative sculpture throughout northern Europe from the twelfth to the sixteenth century. They are commonly referred to as "the Lombardic character," due to some real or imagined link with Lombardy. Such names should be accepted with caution. "Arabic numerals," for instance, have been shown to be somewhat modified Greek letters. However, the Lombardic capitals, regardless of their origin, easily adapt to the needs of the illuminator and are even more striking because of the contrast they provide to the text.
It is now almost universally acknowledged that all the forms of the mediæval and modern alphabet may be traced to Egyptian hieroglyphics. A very interesting passage in Mr. Isaac Taylor's learned book on "The Alphabet," shows us the development of the letter M from the Egyptian picture of an owl. "It will be noticed," he says, "that our English letter has preserved, throughout its long history of six thousand years, certain features by which it may be recognized as the conventionalized picture of an owl. In the capital letter M the two peaks, which are the lineal descendants of the two ears of the owl, still retain between them a not inapt representation of the beak, while the first of the vertical strokes represents the breast." It would be easy to show the same ancient origin for many other letters, and for most of those in the Greek alphabet. F was a horned snake. G was a basket with a handle. K was a triangle. L was a lion seated. N was a zigzag line, of which only three strokes have survived. P was a faggot of papyrus. There is no perceptible difference between the long S still sometimes in use and the hieroglyphic form. U was a quail. Z was a serpent.
It is now almost universally accepted that all forms of the medieval and modern alphabet can be traced back to Egyptian hieroglyphics. A very interesting section in Mr. Isaac Taylor's insightful book, "The Alphabet," illustrates how the letter M developed from the Egyptian image of an owl. "It will be noted," he states, "that our English letter has kept, throughout its long history of six thousand years, certain features by which it can be recognized as the stylized picture of an owl. In the capital letter M, the two peaks, which are the direct descendants of the two ears of the owl, still represent the beak, while the first of the vertical strokes symbolizes the breast." It would be simple to demonstrate the same ancient origins for many other letters and for most letters in the Greek alphabet. F was a horned snake. G was a basket with a handle. K was a triangle. L was a seated lion. N was a zigzag line, of which only three strokes have survived. P was a bundle of papyrus. There is no noticeable difference between the long S still sometimes in use and the hieroglyphic form. U was a quail. Z was a serpent.
The initial E at the beginning of the previous page is of English work, and represents Edward the Black Prince receiving a charter from the hands of his father King Edward III. The prince places one knee on his helmet, and has on his head only the ornamental cap called a "bonnet." His arms and those of the king are colored on their respective "tabards."
The initial E at the top of the last page is from English work and shows Edward the Black Prince receiving a charter from his father, King Edward III. The prince kneels on one knee and wears only the decorative cap known as a "bonnet." His coat of arms and that of the king are colored on their respective "tabards."
The large letter M on the back of Plate II. is from a volume now in the British Museum (Harl. MSS. 3045), which was written in Germany in the twelfth century. It is illuminated in three colors. The ground is emerald green; the letter itself red; and the scroll-work also in red outline, a pale purple ground being substituted for the green in the circular spaces. It would be instructive to the student to color the outline from this description.
The big letter M on the back of Plate II is from a book that's currently in the British Museum (Harl. MSS. 3045), which was created in Germany in the twelfth century. It's decorated in three colors. The background is emerald green; the letter itself is red; and the scrollwork is also in red outline, with a light purple background replacing the green in the circular areas. It would be helpful for the student to color the outline based on this description.
Plate II.—INITIAL LETTERS FROM FRENCH MANUSCRIPT, 15th Century.
Plate 2.—INITIAL LETTERS FROM FRENCH MANUSCRIPT, 15th Century.
LARGE INITIAL LETTER OF TWELFTH CENTURY.
Harleian MSS. 3045, British Museum.
LARGE INITIAL LETTER OF TWELFTH CENTURY.
Harleian MSS. 3045, British Museum.
DESCRIPTION OF PLATE III.
THE beauty of the work executed in the thirteenth century in England,
and that part of what is now France which then belonged to England,
can hardly be exceeded. In this Plate are gathered a few examples of
the period. They are from two books, both in the British Museum, but
one probably written in France and the other at Canterbury. The
initials from the French manuscript may be readily distinguished. The
scroll-work is irregular and even wild, and in some examples the
artist seems to have aimed at nothing less than startling the reader
by his eccentricities. The volume is numbered in the Catalogue,
Additional MSS. 11,698, and contains a treatise on the art of war. The
letters numbered in the Plate 6, 7, and 8, are from this book. The
student will observe the simple scale of harmonious coloring, blue
predominating, as is necessary, and both yellow and also gold being
used to heighten the effect. In copying them the artist used these
colors, besides Chinese White and shell gold: namely, Prussian Blue,
Lake, Indian Red, Emerald Green, Indian Yellow, shaded with Burnt
Sienna, and Burnt Umber, with Sepia for the outlines. In imitating or
copying these initials, the student will find a firm but delicate and
even outline of the greatest importance. If the hand is very steady it
may be put in with a small brush, which is particularly useful in the
erratic flourishes in which this writer rejoiced so much.
THE beauty of the work created in the thirteenth century in England and in that part of what is now France, which was then part of England, is truly remarkable. This Plate showcases a few examples from that period. They come from two books, both housed in the British Museum, though one was likely written in France and the other in Canterbury. The initials from the French manuscript are easily identifiable. The scroll-work is irregular and even wild, and in some instances, the artist seems to have aimed to surprise the viewer with his eccentricities. The volume is cataloged as Additional MSS. 11,698, and contains a treatise on the art of war. The letters numbered in Plate 6, 7, and 8 are from this book. The student will notice the simple yet harmonious color scheme, with blue being predominant, as required, and both yellow and gold used to enhance the overall effect. In reproducing them, the artist employed these colors along with Chinese White and shell gold: specifically, Prussian Blue, Lake, Indian Red, Emerald Green, Indian Yellow, shaded with Burnt Sienna, and Burnt Umber, using Sepia for the outlines. When imitating or copying these initials, the student will find that a firm but delicate and even outline is of utmost importance. If the hand is very steady, it can be applied with a small brush, which is particularly useful for the erratic flourishes that this writer so dearly loved.
The English letters are much more sober and rectilinear in character. The T (fig. 5) commences the prologue of the Book of Wisdom, for the volume is a Bible (Bibl. Reg. 1 D. 1), and a small portion of the text is given with the initial as a guide to the arrangement. The colors are the same as in the French examples. The lines and dots in white are very delicate, and may be closely imitated by the use of Chinese White with a very fine brush, care being taken not to disturb the underlying color. This is the book mentioned in the General Sketch as being the work of a writer named "Wills. Devoniensis," or William of Devonshire.[Pg 10] It is a small folio in size and is written in double columns. At the commencement of the book of Psalms there is a magnificent illumination covering the greater part of the page, and showing, with much scroll-work by way of border, a series of small vignettes, which include a crucifixion, and a number of scenes from the life of St. Thomas of Canterbury, better known in history as Thomas Becket.
The English letters are much more straightforward and linear in style. The T (fig. 5) starts the introduction of the Book of Wisdom, since the book is a Bible (Bibl. Reg. 1 D. 1), and a small portion of the text is included with the initial to help with the layout. The colors are the same as in the French examples. The white lines and dots are very delicate and can be closely replicated using Chinese White with a very fine brush, making sure not to disturb the underlying color. This is the book mentioned in the General Sketch, attributed to a writer named "Wills. Devoniensis," or William of Devonshire.[Pg 10] It is a small folio and is written in double columns. At the beginning of the book of Psalms, there is a stunning illumination that covers most of the page, featuring elaborate scrollwork borders and a series of small vignettes, including a crucifixion and various scenes from the life of St. Thomas of Canterbury, better known in history as Thomas Becket.
A somewhat similar Bible, but not so delicate in workmanship, is also in the British Museum (1 B. 12), and was written at Salisbury in 1254 by William de Hales.
A similar Bible, though not as finely crafted, is also in the British Museum (1 B. 12) and was written in Salisbury in 1254 by William de Hales.
The writing of the thirteenth century differs considerably from that of the two following centuries. It is not so stiff, but much more legible. The distinction will be apparent from a comparison of this Plate with those two which are copied from manuscripts at Lambeth (Plates IV. and IX.) Modern illuminators seem to have preferred the later style, but the advantages of the early should recommend it. The Chronicles written at St. Albans by and under the superintendence of Matthew Paris are all in this style. Facsimiles of several pages are given in the volumes published under the direction of the Master of the Rolls.
The writing of the thirteenth century is quite different from that of the two centuries that followed. It's not as stiff and is much more readable. You can see this difference by comparing this Plate with the two taken from manuscripts at Lambeth (Plates IV. and IX.) Modern illuminators seem to prefer the later style, but the benefits of the earlier one should make it appealing. The Chronicles written at St. Albans by and under the supervision of Matthew Paris are all in this style. Facsimiles of several pages can be found in the volumes published under the direction of the Master of the Rolls.
The initial T on the previous page is from a beautiful Nuremberg treatise of 1489 on the "Preservation of Body, Soul, Honour, and Goods."
The initial T on the previous page is from a beautiful Nuremberg treatise from 1489 on the "Preservation of Body, Soul, Honor, and Property."
On the back of Plate III. are two pages in outline from a small Book of Hours in the collection of Robert Young, Esq., Belfast. This kind of work is known as the "Ivy Pattern." It was exclusively practised in France in the fourteenth century. The coloring is usually of a very sober character: the prevailing colors being blue and gold only.
On the back of Plate III, there are two outlined pages from a small Book of Hours in the collection of Robert Young, Esq., Belfast. This style of artwork is called the "Ivy Pattern." It was only used in France during the fourteenth century. The coloring tends to be quite subdued, with blue and gold as the main colors.
Hart, Badge of Richard II.
Hart, Richard II Badge.
Plate III.—EXAMPLES OF THIRTEENTH-CENTURY WORK.
Plate III.—EXAMPLES OF 13TH-CENTURY WORK.
PAGES FROM A BOOK OF HOURS OF FOURTEENTH CENTURY.
PAGES FROM A BOOK OF HOURS OF THE FOURTEENTH CENTURY.
DESCRIPTION OF PLATE IV.
OUR next Plate is from a manuscript in the Lambeth Library. Leave to copy it was readily granted to us by the lamented Archbishop Tait. It is No. 459 in the Library Catalogue, and contains no fewer than twenty miniatures, as well as borders like this one. It belongs like Plate IX. (the Frontispiece) to the English flower pattern style of the fifteenth century, and is remarkable for the sober effect of the gorgeous colors employed, and for the delicacy of the scroll-work in black.
OUR next Plate comes from a manuscript in the Lambeth Library. We quickly received permission to copy it from the late Archbishop Tait. It’s No. 459 in the Library Catalogue and includes at least twenty miniatures, along with borders like this one. It belongs, like Plate IX (the Frontispiece), to the English flower pattern style of the fifteenth century and is notable for the understated impact of the rich colors used, as well as the intricate scroll-work in black.
A great deal of this effect is due to the application of gold. The illuminators employed both what we call "shell gold" and leaf. They attached the greatest importance to skill in gilding, and the result is that their "raising" survives after centuries, when that executed at the present day often cracks off after a few weeks or months, if not very carefully handled. Many books, containing the secret of making these preparations, and sizes of all kinds, are in existence; and show that while the same end was attained by many different kinds of processes, one ingredient was never omitted, namely, great care and pains, and the gradual gathering of skill through experience.
A lot of this effect comes from the use of gold. The artists used both what we now call "shell gold" and gold leaf. They placed a high value on their gilding skills, and as a result, their "raising" lasts for centuries, while the work done today often chips off after just a few weeks or months unless it's handled very carefully. There are many books out there that reveal the secrets to making these preparations and various types of adhesives, showing that while there were many different techniques to achieve the same results, one ingredient was never left out: great care and effort, along with the gradual accumulation of skill through experience.
It is difficult to explain the method of using gold-leaf without an actual demonstration: and the student will learn more in ten minutes by watching a competent gilder than by reading a library of books on the subject. The "raising" is to be obtained from any artist's colorman, and nothing but practice long and assiduous can secure the power to use it. The same rule must be laid down for burnishing, which is an art not to be acquired in a day. It might be well to commence with the dotted work, common in the fourteenth century, and when we have learned to make a burnished dot with our agate point we may go on and burnish a larger surface. The effect of burnished leaf gold cannot be given in chromo-lithography, but it may be worth while to remark that all the gilding in the original illumination from which this Plate is copied is burnished on a raised surface, even the small letters in the text.
It’s hard to explain how to use gold leaf without showing it in person; a student will learn more in ten minutes by watching a skilled gilder than they would by reading a whole library of books on the topic. The "raising" can be obtained from any artist's color supplier, and only long and dedicated practice can develop the skill to use it. The same goes for burnishing, which is not something you can master in a day. It’s a good idea to start with dotted work, which was common in the fourteenth century, and once you’ve learned how to create a burnished dot with your agate point, you can move on to burnishing a larger area. The effect of burnished gold leaf can't be achieved through chromo-lithography, but it’s worth noting that all the gilding in the original illumination from which this Plate is copied is burnished on a raised surface, including the small letters in the text.
The colors employed by the copier were of a more mixed and complicated character than those for the other page from the Lambeth Library. The reason is apparent in a moment on comparing the two. In this page the brilliancy is so tempered as to produce a comparatively subdued effect. In the General Sketch mention has already been made of miniatures in which the artist restricted himself to the use of certain colors, so as to insure a peculiar and delicate effect. Here there has been no such restriction, but each color has been softened and so worked over with patterns and lines in body white or in pale yellow, that there is no glare or contrast. The student should be careful how he obtains harmony by this method, as he may find all his work weakened and paled; but, skilfully used, the system may be made to produce the most charming results.
The colors used by the copier were more varied and complex than those on the other page from the Lambeth Library. The reason becomes clear when comparing the two. In this page, the brightness is toned down to create a more subdued effect. In the General Sketch, it's already mentioned that some miniatures have limited color palettes to achieve a unique and delicate effect. However, in this case, there were no such limitations, and each color has been softened and blended with patterns and lines in bright white or light yellow, eliminating any harshness or strong contrasts. Students should be cautious when using this method to achieve harmony, as it might cause their work to become diluted and lack vibrancy; yet, when used skillfully, this technique can yield beautiful results.
The blue is Prussian, over which are dots and lines of Chinese White. The pink is obtained by mixing Lake and Chinese White, shaded with darker Lake, and also heightened with white lines and dots. The orange is pale Indian Yellow shaded with Burnt Sienna, and with an admixture of Lake in the deeper shadows. The green in this example is obtained by mixing Prussian Blue and Indian Yellow in different proportions.
The blue is Prussian Blue, with dots and lines of Chinese White on top. The pink comes from mixing Lake and Chinese White, shaded with darker Lake and highlighted with white lines and dots. The orange is a light Indian Yellow shaded with Burnt Sienna, and has some Lake mixed in for the deeper shadows. The green in this example is created by mixing Prussian Blue and Indian Yellow in varying amounts.
On the back of Plate IV. are two more outlines from Mr. Robert Young's little French Book of Hours. They are admirable models of a kind of work which for fully half a century was to France what the "flower pattern" was to England. The branches are generally dark blue delicately lined with white. The leaves are sometimes gold, that is where there is not already a gold ground, and sometimes yellow, red, and blue. The prevailing tint is blue, and in some pages no other color, besides the gilding, is employed.
On the back of Plate IV are two more outlines from Mr. Robert Young's small French Book of Hours. They are excellent examples of a style of work that, for over fifty years, was to France what the "flower pattern" was to England. The branches are usually dark blue, finely outlined in white. The leaves can be gold, where there isn’t already a gold background, and sometimes yellow, red, and blue. The main color is blue, and in some pages, no other colors are used aside from the gold.
Some outline borders and ornaments of the same period and style are to be found on the back of Plates V. and VI. The coloring of some of them will be indicated by a reference to Plates III. and I.
Some outline borders and decorative elements from the same period and style can be found on the back of Plates V and VI. The colors of some of these will be referenced in Plates III and I.
Bull, Badge of Neville.
Bull, Neville's Badge.
Plate IV.—FACSIMILE OF MANUSCRIPT IN LAMBETH PALACE LIBRARY, 15th Century.
Plate IV.—FACSIMILE OF MANUSCRIPT IN LAMBETH PALACE LIBRARY, 15th century.
PAGES FROM A BOOK OF HOURS OF FOURTEENTH CENTURY.
PAGES FROM A BOOK OF HOURS FROM THE FOURTEENTH CENTURY.
DESCRIPTION OF PLATE V.
PLATE V. shows three ornaments from manuscripts of late date, all in the National Collections.
PLATE V. displays three decorations from later manuscripts, all in the National Collections.
The border with the raspberries is from a Missal of the sixteenth century in the British Museum (Addl. 18,855), and was probably written and illuminated in the Low Countries. We have already mentioned the extraordinary freedom and ease of the Flemish work of that period. Every beautiful object was made use of for pictorial effect. Children, birds, jewels, shells, as well as fruit and flowers, are to be found. They particularly excelled in painting pearls. One border is green, with chains and ropes of pearls strewn all over it. The calendar represents domestic scenes, each strongly surrounded with a double gold line, the written part being simply left out in the middle, so that the scene forms its border. The gold ground presents a slightly different appearance from that shown in our engraving, as it is flat, being painted with shell-gold not put on very thickly. The shadows are of Burnt Umber, which has a very transparent effect on the gold ground.
The border with the raspberries comes from a 16th-century Missal in the British Museum (Addl. 18,855) and was likely created in the Low Countries. We've already noted the remarkable freedom and ease of Flemish work from that time. Every beautiful object was used for visual impact. You'll find children, birds, jewels, shells, as well as fruit and flowers. They especially excelled at painting pearls. One border is green, with chains and ropes of pearls scattered all over it. The calendar features domestic scenes, each framed by a double gold line, with the written part intentionally left out in the middle, allowing the scene to create its own border. The gold background looks slightly different from what we see in our engraving, as it is flat, painted with shell-gold applied in a thin layer. The shadows are in Burnt Umber, which creates a very transparent effect on the gold background.
Beside this border is a fine letter of somewhat earlier date from a chorale book, German work in all probability, which, with many others, Italian and Flemish as well as German, were ruthlessly cut up into fragments, perhaps at the Reformation, perhaps more recently, and are now in the Art Library of the South Kensington Museum. They are much rubbed and faded, and our chromo-lithograph represents this initial C as it appeared when first finished. In much of the northern work of this period—about the middle of the fifteenth century, say 1450—there is a beautiful style of ornamental scroll-work, which some have proposed to call the "Leather Pattern." It may represent the cut leather work of the mantling of[Pg 18] a knight's tilting helmet. A small specimen of it is shown in the turned-back petals of the flowers in this letter, but whole volumes are to be seen entirely decorated with it, and some of the best work of the period was accomplished in it.
Beside this border is a nice letter from a chorale book, probably of German origin, which, along with many others from Italy, Flanders, and Germany, was brutally cut into pieces, perhaps during the Reformation or maybe more recently. These fragments are now housed in the Art Library of the South Kensington Museum. They are quite worn and faded, and our chromo-lithograph shows this initial C as it looked when it was first completed. Much of the northern work from this time—around the middle of the fifteenth century, say 1450—features a beautiful style of ornamental scrollwork, which some have suggested calling the "Leather Pattern." It may represent the cut leather designs used in the mantling of a knight's tilting helmet. A small example of this can be found in the turned-back petals of the flowers in this letter, but entire volumes decorated with it can also be seen, and some of the best work from this period was created using this style.
The third of these ornaments is also from the collection in the South Kensington Museum. In this design the thing to be most noticed is perhaps that which is least prominent, namely, the gold spots, with black filaments, as it were, floating from them. They serve to eke out and fill up the composition, and in some books are used with fine effect on almost every page. They should be thickly gilt on a raised surface, and should have dark outlines, and the filaments rapidly and lightly drawn, either with a pen or with a very fine brush, pruned down almost to a single hair. Many other pretty effects may be obtained by early training the hand and eye to draw single lines in this way. The letters in one of our other Plates (No. I.) are entirely filled with tracery of the kind, and the patterns principally in use are easily learned. Anything free is preferable to servile imitation and tracing, and these diapers in particular lose more than almost anything else in the whole art of illumination by direct copying. The student should learn to adapt his delicate lines—chiefly in red and blue—to any form of letter, and while drawing them should not let his hand falter or hesitate for a moment. It is the same with the lace-like patterns in white which were so much in vogue for heightening the edges of letters in the thirteenth and fourteenth centuries. They are very necessary to the effect, but must be painted in with a light touch and great rapidity, or they lose all spirit.
The third ornament also comes from the collection at the South Kensington Museum. In this design, the most noteworthy aspect might actually be the least noticeable: the gold spots with black threads seemingly floating from them. They help to complete and fill out the composition, and in some books, they are used very effectively on almost every page. They should be thickly gilded on a raised surface and have dark outlines, with the threads drawn quickly and lightly, either with a pen or a very fine brush, trimmed down to almost a single hair. Many other attractive effects can be achieved by early training of the hand and eye to draw single lines in this manner. The letters in one of our other Plates (No. I.) are entirely filled with this kind of tracery, and the patterns primarily used are easy to learn. Anything free-form is better than strict imitation and tracing, and these patterns, in particular, lose a lot in the art of illumination if copied directly. The student should learn to adapt his delicate lines—mainly in red and blue—to any letter form, and while drawing them, he should not let his hand waver or hesitate for a moment. The same goes for the lace-like patterns in white that were popular for outlining the edges of letters in the thirteenth and fourteenth centuries. They are essential for the overall effect but must be applied with a light touch and great speed, or they lose all their vitality.
The initial P on the previous page, and also the initials in pages vii. and 1, have been taken from MSS. illuminated with the "English flower-pattern." An attempt has been made to represent the colors employed by means of lines. This system was first applied to heraldry in the first half of the seventeenth century. Horizontal lines represent blue; vertical, red; cross hatching, black; dotting, gold or yellow. Green is denoted by lines "in bend dexter," and purple by lines "in bend sinister."
The initial P on the previous page, as well as the initials on pages vii and 1, come from manuscripts decorated with the "English flower-pattern." We've tried to show the colors used with lines. This method was first applied to heraldry in the early seventeenth century. Horizontal lines indicate blue; vertical lines indicate red; cross-hatching indicates black; and dotting indicates gold or yellow. Green is represented by lines running diagonally to the right, and purple by lines running diagonally to the left.
The bands and borders on the back of Plate V. are of the fourteenth century, but similar ornaments were common at all times. They are chiefly red or blue, with patterns in white lines and dots, and in highly burnished gold. They are employed both as borders and to fill up incomplete lines of writing.
The bands and borders on the back of Plate V. are from the fourteenth century, but similar designs were popular throughout history. They are mainly red or blue, featuring patterns of white lines and dots, as well as highly polished gold. They are used both as borders and to complete unfinished lines of text.
Plate V.—ORNAMENTS AND LARGE INITIAL, 15th and 16th Centuries.
Plate 5.—ORNAMENTS AND LARGE INITIAL, 15th and 16th Centuries.
BANDS AND BORDER ORNAMENTS—Fourteenth Century.
BANDS AND BORDER ORNAMENTS—14th Century.
DESCRIPTION OF PLATE VI.
A PAGE of writing and five separate initials from a book of "Hours," written in Flanders or Holland at the end of the fifteenth century, are here shown, with a border of the same period from another volume. The first book, which is in a private collection, affords an example of the kind of illumination which is styled by the French "grisaille," a word which may be translated "grey-work." In this style, which consists usually in the artist restricting himself to certain colors, or to black, grey, and white only, very few books were ever written. I have already, in the General Sketch, mentioned one which had pictures in imitation of Limoges enamels. A volume apparently illuminated by the same hand as those in our MS. is in the Burgundian Library at Brussels. The figure pictures in both look as if they were not painted by the same artist as the writing and illumination of the letters, and it is probable two or more were employed in the production.
A PAGE of writing and five separate initials from a book of "Hours," created in Flanders or Holland at the end of the fifteenth century, are displayed here, along with a border from another volume of the same period. The first book, which is part of a private collection, serves as an example of the type of illumination known in French as "grisaille," which translates to "grey-work." This style typically involves the artist limiting themselves to a specific palette, often using only black, grey, and white. Very few books were ever created in this style. I've already mentioned one in the General Sketch that features illustrations mimicking Limoges enamels. A volume seemingly illuminated by the same artist as those in our manuscript can be found in the Burgundian Library in Brussels. The figure illustrations in both seem to have been created by a different artist than the one responsible for the writing and letter illumination, suggesting that two or more artists were likely involved in the production.
There was great activity in all the arts in the Low Countries during the fifteenth century, and the most gorgeous books ever illuminated were written there at that period. At Dortrecht, at Bruges, and other places there were schools of illuminators, and the practice of the art was not confined, as in England, to ecclesiastics and the cloister. The books written were, however, mainly religious; and the same designs were used over and over again. It would, in fact, be easy to identify each guild of miniature painters by their employment of the same set of forms. This eventually led to deterioration, and only the introduction of oil painting, by turning the minds of the artists into a wider channel, saved Flemish art. The masters of the Van Eycks, of Memling, of Matsys, of Van Romerswale were undoubtedly the teachers of illumination in books.
There was a lot of activity in all the arts in the Low Countries during the fifteenth century, and the most beautiful illuminated books ever created were produced there at that time. In Dordrecht, Bruges, and other cities, there were schools for illuminators, and the practice of this art wasn’t limited, like in England, to clergy and monasteries. However, the books that were written were mainly religious, and the same designs were reused repeatedly. In fact, it would be easy to identify each guild of miniature painters by their use of the same set of forms. This eventually led to a decline in quality, and only the introduction of oil painting, which broadened the perspectives of the artists, saved Flemish art. The masters like the Van Eycks, Memling, Matsys, and Van Romerswale were definitely the instructors of illumination in books.
The artist in "grisaille" always took especial pains with his draperies. He had so little wherewith to produce his effect that he sometimes almost reached the chiaro-scuro of a later period. Some of the pictures of this school which I have seen look as if they were intended to represent moonlight views. In the present[Pg 22] volume the effect of the soberly coloured figure subjects is greatly enhanced by the rich colors of the border, and the brilliantly burnished gilding. The ground on which the letter O is gilded in Plate VI., is quartered into red and blue, and the outer part "counter-changed," as they say in heraldry. A delicate pattern is worked over the colors in body-white. The small leaves are painted with thick coats of Emerald Green.
The artist using "grisaille" always paid special attention to his drapes. He had so little to work with that he sometimes almost achieved the chiaro-scuro that would come later. Some of the paintings from this style I've seen seem like they were meant to depict moonlit scenes. In this[Pg 22] volume, the impact of the subdued colored figures is greatly enhanced by the rich colors of the border and the brightly polished gold. The background where the letter O is gold-plated in Plate VI. is divided into red and blue quarters, and the outer part is "counter-changed," as it's called in heraldry. A delicate pattern is layered over the colors in body-white. The small leaves are painted with thick coats of Emerald Green.
The border is from a Book of Hours in the British Museum. The gilding in the original is laid on with shell, worked very flat and very thin, so as rather to impart a yellow tone to the ground than to give it any special lustre. There are other borders in the book of a similar character, and some which, on a green or a purple ground, show jewels of various kinds, especially pearls, sometimes strewn irregularly over the ground, sometimes worked up into ornaments, or made to look as if they were mounted in richly designed gold settings. In fact, at that age the artist let nothing escape him that would go to enhance the beauty or brilliancy of his page. In the original this border enclosed a very elaborate miniature. These miniatures are very carefully and delicately painted, but perhaps by a different hand, as they are not equal in refinement to the borders. The Office for the Dead is ornamented with a black border, on which is architectural tracery in gold on which skulls are arranged, one of them with a pansy or heartsease and forget-me-not, beautifully painted, growing out of the hollow eyes. The border of the picture of the Annunciation is made with a tall lily growing from an ornamental vase at the side.
The border comes from a Book of Hours at the British Museum. The gilding in the original was applied with shell, worked very flat and thin, giving it more of a yellow tint to the background rather than a shiny finish. There are other similar borders in the book, and some with a green or purple background feature various jewels, especially pearls, sometimes scattered randomly across the surface, sometimes crafted into decorations, or designed to look like they were set in intricately styled gold frames. Truly, during that time, the artist spared no detail to enhance the beauty and brilliance of the page. In the original, this border enclosed a highly detailed miniature. These miniatures are painted with great care and delicacy, but they might have been created by a different artist, as they don’t match the refinement of the borders. The Office for the Dead has a black border adorned with architectural patterns in gold, where skulls are arranged, one of which has a pansy or heartsease and forget-me-not, beautifully depicted, growing from its hollow eyes. The border around the picture of the Annunciation features a tall lily growing from a decorative vase on the side.
The Dutch and Flemish illuminators at this period excelled in manipulation, and many of the books which they painted have all the merit and almost all the importance of pictures. Anything and everything was used as ornament. In some no two pages are even in what can be called the same style; but delicacy of workmanship, the faces especially being finished as real miniatures, is characteristic of all. It is probable that whole schools of artists worked on a single volume, dividing the labour according to the skill of each artist.
The Dutch and Flemish illuminators during this time were masters of their craft, and many of the books they illustrated have the value and significance of actual paintings. Everything was used as decoration. In some cases, no two pages share the same style; however, they all feature delicate workmanship, with faces often detailed like real miniatures. It's likely that entire groups of artists collaborated on a single book, dividing the work based on each artist's skill.
On the back of Plate VI. will be found some further examples of the ornaments, letters, and "line finishings" of the thirteenth and fourteenth centuries, chiefly from French books. The A and the Z are from the same MS. as Nos. 6 and 7 on Plate III. The KL united form the heading of the Calendar in a book with ivy pattern borders.
On the back of Plate VI, you'll find more examples of the ornaments, letters, and "line finishings" from the 13th and 14th centuries, mostly taken from French books. The A and Z come from the same manuscript as Nos. 6 and 7 on Plate III. The united KL forms the heading of the Calendar in a book with ivy-patterned borders.
Plate VI.—PAGE AND INITIALS (Low Countries, 15th Century).
BORDER from MS. in British Museum.
Plate 6.—PAGE AND INITIALS (Low Countries, 15th century).
BORDER from manuscript in the British Museum.
FRENCH INITIAL LETTERS AND BORDER ORNAMENTS—Fourteenth Century.
FRENCH INITIAL LETTERS AND BORDER ORNAMENTS—14th Century.
DESCRIPTION OF PLATE VII.
PICTORIALLY considered the illustrations on Plate VII., it must be admitted, are more quaint than beautiful. All the subjects on this page are, with the exception of the thirteenth and fourteenth century borders (6), (4), more or less heraldic in character. It will be best to take them in the order in which they are numbered.
PICTORIALLY speaking, the illustrations on Plate VII. are more charming than beautiful. All the subjects on this page, except for the thirteenth and fourteenth-century borders (6), (4), are primarily heraldic in nature. It’s best to review them in the order they are numbered.
The lady seated (1) holds in either hand the arms of the Duke of Burgundy, slightly varied as to quarterings. The picture is taken from the famous "Bedford Missal" in the British Museum, which is not a missal at all, but a Book of Hours, illuminated in France for the Duke of Bedford, one of the brothers of Henry V. It therefore belongs to the fifteenth century. The lady is sitting on what in heraldry is called "a mount vert," which in turn is supported by the little half architectural scroll-work below; her dress is purple, shaded with grey, in opaque color; the arms are painted in Prussian Blue and Vermilion, the gold being shell.
The lady sitting (1) holds in each hand the arms of the Duke of Burgundy, with slight variations in the quarterings. The image is taken from the famous "Bedford Missal" in the British Museum, which is actually not a missal but a Book of Hours, beautifully illustrated in France for the Duke of Bedford, a brother of Henry V. This work dates back to the fifteenth century. The lady is positioned on what heraldry refers to as "a mount vert," supported by a small half architectural scroll-work below; her dress is purple, shaded with grey, in a matte finish; the arms are painted in Prussian Blue and Vermilion, with the gold rendered in shell.
The gentleman to the right (2) is Sir Nele Loring, a Knight of the Garter. Some time in the fourteenth century a monk of St. Albans, Thomas Walsingham, compiled a list of the benefactors of the abbey, and as far as possible presented his readers with a portrait of each. They are rather rough but eminently picturesque. The book is particularly interesting from the curious particulars it gives us as to the expenses of the illuminator. One Alan Strayler, it tells us, "worked much upon this book," and the editor or compiler ran up a debt with him of the comparatively large sum of three shillings and fourpence, equal to at least £3, 10s. 0d. of our money, for the colors he had used. The book came into the possession of the great Lord Verulam, better known as Lord Chancellor Bacon, and by him it was given to Sir Robert Cotton, who collected the Cottonian MSS. It is known in the British Museum as "Nero D. vii." from its place in the book-case of Sir Robert Cotton which bore the effigy of that Cæsar. Sir Nele, or Nigel, Loring died in 1386, having given the abbey many gifts, and as he was K.G. he is represented in a white robe diapered with "garters."
The man to the right (2) is Sir Nele Loring, a Knight of the Garter. Sometime in the 14th century, a monk from St. Albans named Thomas Walsingham put together a list of the abbey's benefactors and, as much as he could, included a portrait of each one. They are a bit rough, but very striking. The book is especially interesting because it includes details about the costs incurred by the illuminator. It mentions that one Alan Strayler "worked a lot on this book," and the editor or compiler ended up owing him a relatively large amount of three shillings and fourpence, which is equivalent to at least £3, 10s. 0d. in today’s money, for the colors he used. The book eventually belonged to the great Lord Verulam, more commonly known as Lord Chancellor Bacon, who then gave it to Sir Robert Cotton, who collected the Cottonian MSS. It is known in the British Museum as "Nero D. vii." because of its spot in Sir Robert Cotton’s bookcase, which featured the statue of that Cæsar. Sir Nele, or Nigel, Loring died in 1386 after making many donations to the abbey, and since he was K.G., he is depicted in a white robe patterned with "garters."
Our next picture (3) is from a very curious and beautiful, but much injured manuscript, reckoned the number ii. in the collection at Heralds' College. By the kindness of "Somerset Herald" we are allowed to copy it. The book is a list of banners used probably at a tournament in the reign of Henry VIII. Heraldry became more or less the kind of "science" it still is under the last of the Plantagenet kings, and was kept up in great glory by their successors, the first two Tudors. The banner here given is that of Henry Stafford, who was made Earl of Wiltshire in 1509. It shows the swan, the crest of the Staffords, with a crown round its neck and a chain, and the ground, partly black and partly red, the colors of the family, is powdered with "Stafford knots," their badge. Across, in diagonal lines, is the motto "D'Umble et Loyal." These banners, which might well be imitated in modern illumination, are made up of livery colors, with crests and badges, and are usually accompanied by the coat of arms of the person to whom each belonged.
Our next picture (3) comes from a very interesting and beautiful, but heavily damaged manuscript, listed as number ii. in the collection at Heralds' College. Thanks to the kindness of "Somerset Herald," we have permission to reproduce it. The book contains a list of banners likely used at a tournament during the reign of Henry VIII. Heraldry started to develop into the "science" it is today during the last of the Plantagenet kings, and it was maintained in great splendor by their successors, the first two Tudors. The banner shown here belongs to Henry Stafford, who was made Earl of Wiltshire in 1509. It features a swan, the Stafford crest, adorned with a crown around its neck and a chain, and the background, which is partly black and partly red—the family colors—is dotted with "Stafford knots," their badge. Across it, in diagonal lines, is the motto "D'Umble et Loyal." These banners, which could easily be replicated in modern illumination, are composed of livery colors, along with crests and badges, and they are typically accompanied by the coat of arms of the individual to whom each belonged.
The last of the heraldic features of the page (5) is also the earliest. It represents part of the border of a Psalter made, it is believed, in honour of the intended marriage of Prince Alphonso, the son of Edward I., with a daughter of the King of Arragon. He died at the age of ten years in 1282; but it is possible that the illuminations refer to the intended marriage of his sister, the princess Eleanor, with Alphonso, the young King of Arragon. In any case the manuscript certainly belongs to the middle of the thirteenth century. To the right we see a knight in the chain armour of the period with his shield hung over his arm. Small gold crosses, alternating with "lions rampant" on a blue ground, form part of the border, the other part consisting of "lions passant" on a red ground. Two shields bear, one, the arms of the son of King Edward, "England, differenced with a label, azure," and the other, those of Leon. Crests and mottoes had not been invented, and the artist had little scope for his fancy. But it may not be out of place to call attention to the fact that even at this early period heraldry was made use of for ornament, as in this border, and that it answered the purpose admirably.
The last of the heraldic features on the page (5) is also the earliest. It shows part of the border of a Psalter that was likely created to celebrate the planned marriage of Prince Alphonso, the son of Edward I, to a daughter of the King of Aragon. He passed away at the age of ten in 1282; however, it’s possible that the illuminations refer to the planned marriage of his sister, Princess Eleanor, to Alphonso, the young King of Aragon. In any case, the manuscript definitely dates back to the middle of the thirteenth century. On the right, we see a knight in the chain armor of the time with his shield draped over his arm. Small gold crosses, alternating with "lions rampant" on a blue background, make up part of the border, while the other part features "lions passant" on a red background. Two shields display, one, the arms of the son of King Edward, "England, marked with a blue label," and the other, those of Leon. Crests and mottos hadn’t been invented yet, limiting the artist’s creativity. But it’s worth noting that even at this early stage, heraldry was used for decoration, as seen in this border, and it served that purpose excellently.
On the back of Plate VII. is the outline of an illumination of the Adoration of the Magi, from a French MS. of the 16th century. Borders of this type though very rich seldom occur in books ornamented in England. The branch work is in delicate black lines, with leaves and berries in gold or color. The scrolls are generally in blue, turned up with gold, red, or pink; blue being, however, always the predominant color, so as to insure a certain measure of harmony. The effect, however, depended more on the skill with which the branch work in black was disposed.
On the back of Plate VII is an outline of an illustration of the Adoration of the Magi, from a French manuscript dating back to the 16th century. Although borders of this type are very intricate, they rarely appear in books decorated in England. The branch work features fine black lines with leaves and berries in gold or color. The scrolls are usually blue, accented with gold, red, or pink; blue remains the dominant color to ensure a level of harmony. However, the overall effect relies more on the skill used in arranging the black branch work.
Plate VII.—BORDERS OF THIRTEENTH AND FOURTEENTH CENTURIES, AND HERALDIC DESIGNS.
Plate 7.—BORDERS OF THE 1300s AND 1400s, AND HERALDIC DESIGNS.
BORDER AND TEXT, with Adoration of the Three Kings—Sixteenth Century.
BORDER AND TEXT, with Adoration of the Three Kings—16th Century.
DESCRIPTION OF PLATE VIII.
NO book on this subject would be complete without something more than a passing reference to the earliest of all the fashions in illumination which have prevailed in our islands. This Plate gives some examples from the very curious manuscript in the Library of Trinity College, Dublin, known as the "Book of Kells." This venerable volume contains the four Gospels in Latin, and, it is sometimes asserted, dates from the seventh century, but more probably belongs to the ninth. The late Sir M. D. Wyatt says of it: "Of this very book Mr. Westwood examined the pages, as I did, for hours together, without ever detecting a false line, or an irregular interlacement. In one space of about a quarter of an inch superficial, he counted, with a magnifying glass, no less than one hundred and fifty-eight interlacements, of a slender ribbon pattern, formed of white lines, edged by black ones, upon a black ground. No wonder that tradition should allege that these unerring lines should have been traced by angels."
NO book on this topic would be complete without more than just a quick mention of the earliest styles of illumination that have been present in our islands. This plate shows some examples from the fascinating manuscript at the Library of Trinity College, Dublin, known as the "Book of Kells." This ancient volume contains the four Gospels in Latin and is sometimes said to date back to the seventh century, but it's more likely from the ninth. The late Sir M. D. Wyatt noted: "Of this very book, Mr. Westwood and I examined the pages for hours without ever finding a false line or an uneven interlacement. In one area about a quarter of an inch wide, he counted, using a magnifying glass, no less than one hundred and fifty-eight interlacements of a slender ribbon pattern, made of white lines edged with black ones on a black background. It's no surprise that tradition claims these perfect lines were traced by angels."
The examples before us are purposely taken from a less complicated page, but will be found sufficient to try the skill and patience of even the most painstaking student. The colors are rather more vivid than in the original, which has now greatly faded through age and ill-usage. There is little to be said as to the beauty of the design. Grotesques have an attraction in spite of their ugliness: but we can hardly expect the most enthusiastic admirer of antiquity to imitate these extraordinary complications of form and color, except as an exercise of skill and patience. In one respect, however, early manuscripts and especially manuscripts of this class, are well worthy of imitation. The writing is very clear and distinct. It is easier to read a charter of the seventh or the eighth century than one of the seventeenth. Illuminators might do worse than learn the old Irish alphabet, if only on this account.
The examples we're looking at are intentionally taken from a simpler page, but they'll definitely challenge the skill and patience of even the most dedicated student. The colors are a bit brighter than in the original, which has really faded over time due to wear and tear. There’s not much to say about the beauty of the design. Grotesques have a certain appeal despite their ugliness, but we can't really expect the most passionate admirer of history to replicate these complex forms and colors, except as a way to practice their skills and patience. However, in one way, early manuscripts, especially this type, are definitely worth imitating. The writing is very clear and easy to read. It's often easier to read a document from the seventh or eighth century than one from the seventeenth. Illuminators could benefit from learning the old Irish alphabet, just for this reason.
There is no gilding in the Book of Kells, but some occurs in the contemporary,[Pg 30] or nearly contemporary Book of Durham. The effect depends wholly on the skill of the scribe in using a very limited palette so as to make the most of it. The modern student would do well to remember this. A wide range of colors does not always conduce to bright or good coloring. Harmony is often found to follow from a sparing use of the more brilliant pigments at our disposal, with a careful eye to effect. The beginner too often imagines that he can make his border or his initial look well if he puts enough gold or vermilion on; but he should remember that the more sober and simple his scale of coloring the more splendid will the bright colors look when he does employ them. It is well to remember that absolute harmony is obtained by the use of blue, red, and yellow in these proportions:—blue, eight; red, five; yellow, three; and that all good pictures or illuminations must depend on this principle. White and black, and also in some cases gilding, may be treated as neutrals. There is usually a sufficiency of black in the lettering of a page. White, in the shape of dots and as heightening, may be largely employed if there is any want of harmony detected. Gold should not be used for this purpose, except in certain styles; and the student may rest assured that a design which does not look well without gold will not look better with it.
There’s no gold leaf in the Book of Kells, but some is found in the contemporary, or nearly contemporary, Book of Durham. The overall effect relies entirely on the scribe's skill in using a very limited color palette to maximize its impact. Modern students should keep this in mind. A wide range of colors doesn’t always result in vibrant or appealing designs. Harmony often arises from a careful, restrained use of the brighter pigments available, with a keen attention to the outcome. Beginners often think they can make their borders or initials look striking by simply adding more gold or vermilion, but they should remember that the more muted and straightforward their color choices, the more impressive the bright colors will appear when they are used. It’s important to note that true harmony is achieved by using blue, red, and yellow in these specific ratios:—blue, eight; red, five; yellow, three; and that all successful pictures or illuminations should follow this principle. White and black, along with gold in some instances, can be treated as neutral colors. There’s usually enough black in the text of a page. White, used as dots or highlights, can be applied generously if any imbalance in harmony is noticed. Gold should not be used for this purpose, except in certain styles, and students can be confident that a design that doesn't look good without gold won’t improve with it.
A few other specimens, without color, will be found on the back of Plate VIII. It might be good practice for the student to tint them in the style of the colored examples.
A few other specimens, without color, can be found on the back of Plate VIII. It could be useful for the student to color them in the style of the colored examples.
The Byzantine style, as it is called, prevailed about the same period in the countries of eastern and northern Europe. The books are of a very different but equally ungraceful character. The work is not so minute or complicated, but the lavish use of gold distinguishes them. Sometimes a page is written in gold letters on vellum stained purple; sometimes the page is entirely gilt. None of the examples in the British Museum are worth the trouble and indeed expense of copying, but they are curious as specimens of barbaric splendour.
The Byzantine style, as it’s known, was popular around the same time in the countries of eastern and northern Europe. The books from this period are quite different, yet equally lacking in elegance. The work isn’t as detailed or intricate, but the abundant use of gold sets them apart. Occasionally, a page is written in gold letters on purple-stained vellum; other times, the entire page is gilded. None of the examples in the British Museum are worth the effort and cost of copying, but they are interesting as examples of barbaric splendor.
Heraldic Lion.
Coat of Arms Lion.
Plate VIII.—EXAMPLES FROM THE BOOK OF KELLS, 9th Century.
Plate 8.—EXAMPLES FROM THE BOOK OF KELLS, 9th Century.
EARLY IRISH INITIAL LETTERS.
Early Irish initial letters.
DESCRIPTION OF PLATE IX.
(FRONTISPIECE.)
(FRONTISPIECE.)
SUCH measure of perfection as had been attained by English illuminators in the latest period is well illustrated by this Plate. It is from a Book of Hours in the library of the Archbishop of Canterbury at Lambeth. Leave to copy it was kindly accorded to us by His Grace the late lamented Archbishop Tait. The volume is square in shape and rather thick, the vellum not being of the fineness seen in the Bibles of the thirteenth century, already noticed. It is numbered 474 in the Catalogue, and is described by Mr. S. W. Kershaw, f.s.a., in his book on the Art Treasures of the Lambeth Library, who assigns it to the early part of the fifteenth century.
SUCH a level of perfection achieved by English illuminators in the latest period is well shown by this Plate. It comes from a Book of Hours in the library of the Archbishop of Canterbury at Lambeth. We were kindly given permission to reproduce it by His Grace, the late Archbishop Tait, whom we will always remember. The book is square and fairly thick, with vellum that isn’t as fine as what you would find in the Bibles from the thirteenth century that we've already mentioned. It is numbered 474 in the Catalogue and is described by Mr. S. W. Kershaw, f.s.a., in his book on the Art Treasures of the Lambeth Library, where he dates it to the early part of the fifteenth century.
The illuminations in this book are admirable examples of what is known as the English flower pattern, a style, as we have already observed, which was as peculiar to our insular artists as the Perpendicular style in architecture. It was used for all kinds of manuscripts, and even law deeds are sometimes to be seen thus ornamented. Even after the invention of printing it continued to flourish for a while; and books are sometimes found printed on vellum abroad, and illuminated in England with the beautiful native flower pattern in borders and initials.
The illustrations in this book are great examples of what's called the English flower pattern, a style that, as we've already noted, was unique to our island artists, much like the Perpendicular style in architecture. It was used for all kinds of manuscripts, and even legal documents are sometimes seen decorated this way. Even after printing was invented, it continued to thrive for a while; and you can still find books printed on vellum overseas that are illuminated in England with the beautiful native flower pattern in borders and initials.
Mr. Kershaw observes regarding the book from which the present page has been taken: "This, a very nice example, is fairly written, and ornamented with a profusion of beautiful illuminated initials of English art. The volume contains but two miniature paintings, the remainder usually found in MSS. of this class having been abstracted. The initial letters vary in size and pattern; they are all upon backgrounds of gold, and frequently form with their finials short marginal ornaments of elegant tracery work. Pink, blue, and orange brown are the prevailing colors, the blue being often heightened on the outer edge with flat white tints. The larger initials are rich in design and varied in their coloring, and would supply the artist or amateur with abundant materials for study."
Mr. Kershaw comments on the book from which this page is taken: "This is a lovely example, well-written, and decorated with a wealth of beautiful illuminated initials characteristic of English art. The volume includes just two miniature paintings, as most found in similar manuscripts have been removed. The initial letters vary in size and design; they all have gold backgrounds and often create short marginal decorations with elegant tracery. The main colors are pink, blue, and orange-brown, with the blue frequently enhanced on the outer edge with flat white accents. The larger initials are rich in design and diverse in color, providing artists or enthusiasts with plenty of material to study."
I would desire to call the student's attention to one or two points of[Pg 34] importance. In imitating or copying work of this kind it is well to observe that though the artist appears to have used the utmost freedom of line and direction, he has really been most careful in his composition. The initial O comes well out from among its surroundings, and is not overpowered by the weight of its dependent ornament. The scroll-work requires especial attention. That which fills the centre of the letter appears to press tightly against the edge, and is so arranged as to fill completely the vacancy for which it is intended. There is nothing limp about it. Too often modern work can be detected by its want of what I must call the crispness of the original.
I want to draw the student's attention to a couple of important points. When imitating or copying this type of work, it's important to notice that, although the artist seems to have used a lot of freedom in line and direction, they've actually been very careful with their composition. The initial O stands out well from its surroundings and isn't overwhelmed by the weight of its decorative elements. The scrollwork needs special attention. What fills the center of the letter seems to press tightly against the edge and is arranged perfectly to fill the space it's meant for. There's nothing floppy about it. Too often, modern work can be recognized by its lack of what I would call the crispness of the original.
With regard to the writing, it will be observed that a great change in the form of the letters has taken place since the thirteenth century. The difference between u and n is often hardly perceptible, and has led to many curious mistakes. Nevertheless, if the student is careful about such particulars, this is a very beautiful style, and admirably suited for modern requirements. The colors used by the artist who copied this page were as follows:—for the blue, Prussian, lined and dotted with Chinese White; for the pink, Lake and Chinese White, shaded with the same color darker; the deepest shadows are Lake; for the orange, pale Indian Yellow for the lights, shaded with Burnt Sienna, and Lake for the deepest shadows.
With regards to the writing, you'll notice that there has been a significant change in the letter forms since the thirteenth century. The difference between "u" and "n" is often barely noticeable, leading to many interesting mistakes. However, if the student pays attention to these details, this style is very beautiful and wonderfully suited for modern needs. The colors used by the artist who copied this page were as follows: for the blue, Prussian, lined and dotted with Chinese White; for the pink, Lake and Chinese White, shaded with a darker version of the same color; the deepest shadows are Lake; for the orange, pale Indian Yellow for the highlights, shaded with Burnt Sienna, and Lake for the deepest shadows.
In some books illuminated in this style the centre of the letter is occupied with a scene containing figures, and occasionally a picture extends across the page, the initial fitting close up to it. The picture, in this case, is always surrounded with a double line or framework of blue, or red, and gold; and the color has a delicate white line on it, and occasionally gives out a branch which, crossing the gold line, bursts into flower in the margin. This style was largely used for official documents for a long period, and many excellent facsimiles representing examples are to be found as frontispieces to the volumes of the Roll Series. It lasted with more or less modification until the reign of Charles I.
In some books designed this way, the center of the letter features a scene with figures, and sometimes a picture stretches across the entire page, with the initial placed closely next to it. The picture is always bordered by a double line or frame of blue, red, and gold; the color has a fine white line around it, and sometimes it branches out, crossing the gold line and blooming into flowers in the margin. This style was widely used for official documents for a long time, and many great reproductions of these examples can be found as frontispieces in the volumes of the Roll Series. It continued to be used, with some variations, until the reign of Charles I.
VERE FOSTER'S WATER-COLOR BOOKS.
Vere Foster's Watercolor Books.
"We can strongly recommend these volumes to young students of drawing."—The Times, Dec. 27, 1884.
"We highly recommend these volumes to young students of drawing."—The Times, Dec. 27, 1884.
PAINTING FOR BEGINNERS.—First Stage.
PAINTING FOR BEGINNERS — Stage One.
Teaching the use of One Color. Ten Facsimiles of Original Studies in Sepia, by J. Callow, and numerous Illustrations in Pencil. With full instructions in easy language. In Three Parts, 4to, 6d each; or one volume, cloth elegant, 2s. 6d.
Teaching the use of One Color. Ten Facsimiles of Original Studies in Sepia, by J. Callow, and many Illustrations in Pencil. With complete instructions in simple language. In Three Parts, 4to, 6d each; or one volume, elegant cloth, 2s. 6d.
PAINTING FOR BEGINNERS.—Second Stage.
PAINTING FOR BEGINNERS — Stage Two.
Teaching the use of Seven Colors. Twenty Facsimiles of Original Drawings by J. Callow, and many Illustrations in Pencil. With full instructions in easy language. In Six Parts 4to, 6d. each; or one volume, cloth elegant, 4s.
Teaching the use of Seven Colors. Twenty Copies of Original Drawings by J. Callow, and many Pencil Illustrations. With complete instructions in simple language. In Six Parts 4to, 6d. each; or one volume, elegant cloth, 4s.
SIMPLE LESSONS IN FLOWER PAINTING.
Basic Flower Painting Lessons.
Eight Facsimiles of Original Water-Color Drawings, and numerous Outline Drawings of Flowers. With full instructions for Drawing and Painting. In Four Parts 4to, 6d. each; or one volume, cloth elegant, 3s.
Eight facsimiles of original watercolor drawings and numerous outline drawings of flowers. With complete instructions for drawing and painting. In four parts, 4to, 6d each; or one volume, elegant cloth, 3s.
"Everything necessary for acquiring the art of flower painting is here; the facsimiles of water-color are very beautiful."—Graphic.
"Everything you need to learn the art of flower painting is here; the facsimiles of watercolor are really beautiful."—Graphic.
SIMPLE LESSONS IN MARINE PAINTING.
Basic Tips for Marine Painting.
Twelve Facsimiles of Original Water-Color Sketches. By Edward Duncan. With numerous Illustrations in Pencil, and Practical Lessons by an experienced Master. In Four Parts, 4to, 6d. each; or one volume, cloth elegant, 3s.
Twelve Facsimiles of Original Watercolor Sketches. By Edward Duncan. With many Pencil Illustrations and Practical Lessons from an experienced Master. In Four Parts, 4to, 6d. each; or one volume, elegantly bound in cloth, 3s.
"Must prove of great value to students. Nothing could be prettier or more charming than these sketches."—Graphic.
"Must be of great value to students. Nothing could be prettier or more charming than these sketches."—Graphic.
SIMPLE LESSONS IN LANDSCAPE PAINTING.
Easy Tips for Landscape Painting.
Eight Facsimiles of Original Water-Color Drawings, and Thirty Vignettes, after various artists. With full instructions by an experienced Master. In Four Parts 4to, 6d. each; or one volume, cloth elegant, 3s.
Eight facsimiles of original watercolor drawings and thirty vignettes from different artists. Includes complete instructions from an experienced master. Available in four parts at 6d each; or one elegant cloth-bound volume for 3s.
"As a work of art in the book line we have seldom seen its equal; and it could not fail to be a delightful present, affording a great amount of pleasurable amusement and instruction, to young people."—St. James's Gazette.
"As a piece of artwork in the literary world, we have rarely encountered its equal; and it would undoubtedly make a wonderful gift, providing a lot of enjoyable fun and learning for young people."—St. James's Gazette.
STUDIES OF TREES.
Tree Studies.
In Pencil and in Water-Colors, by J. Needham. A Series of Eighteen Examples in Colors, and Thirty-three Drawings in Pencil. With descriptions of the Trees, and full instructions for Drawing and Painting. In Eight Parts 4to, 1s. each; or First Series, cloth elegant, 5s.; Second Series, cloth elegant, 5s.
In Pencil and in Watercolors, by J. Needham. A Series of Eighteen Examples in Colors and Thirty-three Pencil Drawings. With descriptions of the Trees and complete instructions for Drawing and Painting. In Eight Parts 4to, 1s. each; or First Series, cloth elegant, 5s.; Second Series, cloth elegant, 5s.
ADVANCED STUDIES IN FLOWER PAINTING.
Advanced Flower Painting Studies.
By Ada Hanbury. Twelve beautifully finished Examples in Colors, and numerous Outlines in Pencil. With a description of each flower, and full instructions for drawing and painting by Blanche Hanbury. In Six Parts, 4to, 1s. each; or one volume, cloth elegant, 7s. 6d.
By Ada Hanbury. Twelve beautifully finished color examples and many pencil outlines. Includes a description of each flower and complete instructions for drawing and painting by Blanche Hanbury. In Six Parts, 4to, £1 each; or one elegant cloth volume, £7.6.
EASY STUDIES IN WATER-COLOR PAINTING.
Easy Watercolor Painting Techniques.
By R. P. Leitch and J. Callow. A Series of Nine Pictures executed in Neutral Tints. With full instructions for drawing each subject, and for sketching from Nature. In Three Parts 4to, 1s. 6d. each; or one volume, cloth elegant, 6s.
By R. P. Leitch and J. Callow. A Series of Nine Pictures completed in Neutral Tints. Includes detailed instructions for drawing each subject and for sketching from Nature. In Three Parts 4to, 1s. 6d. each; or one volume, elegant cloth, 6s.
SKETCHES IN WATER-COLORS.
Watercolor sketches.
By T. M. Richardson, R. P. Leitch, J. A. Houston, T. L. Rowbotham, E. Duncan, and J. Needham. A Series of Nine Pictures executed in Colors. With full instructions for drawing each subject, by an experienced Teacher. In Three Parts 4to, 1s. 6d. each; or one volume, cloth elegant, 6s.
By T. M. Richardson, R. P. Leitch, J. A. Houston, T. L. Rowbotham, E. Duncan, and J. Needham. A Series of Nine Colorful Pictures. With complete instructions for drawing each subject, provided by an experienced teacher. In Three Parts 4to, 1s. 6d. each; or one volume, elegant cloth, 6s.
"The names of the artists are quite sufficient to stamp these books with the highest qualities. The pictures are judicious in selection and artistic in execution, while the instructions are so full and clear as to almost supersede the need of a teacher."—Liverpool Courier.
"The names of the artists alone are enough to give these books top-notch quality. The images are carefully chosen and artistically done, while the instructions are so thorough and clear that they nearly make a teacher unnecessary."—Liverpool Courier.
ILLUMINATING.
Lighting up.
Nine examples in Colors and Gold of ancient Illuminating of the best periods of this interesting and almost forgotten art, with numerous Illustrations in Outline, historical and other Notes, and full descriptions and instructions by the Rev. W. J. Loftie, B.A., F.S.A. Immediately.
Nine examples in Colors and Gold of ancient illumination from the best periods of this intriguing and nearly forgotten art, with many outline illustrations, historical notes, and detailed descriptions and instructions by the Rev. W. J. Loftie, B.A., F.S.A.. Immediately.
Adopted by the Science and Art Department, South Kensington.
Adopted by the Science and Art Department, South Kensington.
VERE FOSTER'S DRAWING COPY-BOOKS.
Vere Foster's Drawing Workbooks.
GRADED AND PROGRESSIVE.
Graded and progressive.
With Instructions and Paper to Draw on.
With instructions and paper for drawing.
IN TWELVE PARTS AT ONE SHILLING EACH.
IN TWELVE PARTS AT ONE POUND EACH.
Part I.—ELEMENTARY LESSONS. Part II.—OBJECTS WITH CURVED LINES. Part III.—PLANTS AND FLOWERS. Part IV.—ORNAMENT, by F. E. Hulme. Part V.—TREES IN LEAD PENCIL. Part VI.—LANDSCAPE IN LEAD PENCIL. Part VII.—MARINE, by Callow, &c. Part VIII.—ANIMALS, by H. Weir. Part IX.—ANIMALS, by H. Weir (continued). Part X.—HUMAN FIGURE. Part XI.—PRACTICAL GEOMETRY. Part XII.—MECHANICAL DRAWING.
Part I.—BASIC LESSONS. Part II.—OBJECTS WITH CURVED LINES. Part III.—PLANTS AND FLOWERS. Part IV.—ORNAMENT, by F.E. Hulme. Part V.—TREES IN GRAPHITE. Part VI.—LANDSCAPE IN GRAPHITE. Part VII.—MARINE, by Naive, & etc. Part VIII.—ANIMALS, by H. Weir. Part IX.—ANIMALS, by H. Weir (continued). Part X.—HUMAN FIGURE. Part XI.—PRACTICAL GEOMETRY. Part XII.—MECHANICAL DRAWING.
PUBLISHED ALSO IN FIFTY NUMBERS AT THREEPENCE EACH.
PUBLISHED ALSO IN FIFTY ISSUES AT THREE PENCE EACH.
ELEMENTARY LESSONS. A 1 Initiatory Lessons. A 2 Letters and Numerals. B 1 Objects (Straight Lines). B 2 Domestic Objects (Simple).
ELEMENTARY LESSONS. A 1 Introductory Lessons. A 2 Letters and Numbers. B 1 Objects (Straight Lines). B 2 Household Objects (Basic).
OBJECTS WITH CURVED LINES. C 1 Domestic Objects (Flat Treatment). C 2 Domestic Objects (Perspective). D 1 Leaves (Flat Treatment). D 2 Leaves (Natural Treatment).
OBJECTS WITH CURVED LINES. C 1 Domestic Objects (Flat Treatment). C 2 Domestic Objects (Perspective). D 1 Leaves (Flat Treatment). D 2 Leaves (Natural Treatment).
PLANTS AND FLOWERS. E 1 Plants (Simple Forms). E 2 Plants (Advanced). G 1 Flowers (Simple Forms). G 2 Flowers (Advanced).
PLANTS AND FLOWERS. E 1 Plants (Simple Forms). E 2 Plants (Advanced). G 1 Flowers (Simple Forms). G 2 Flowers (Advanced).
ORNAMENT, by F. E. Hulme. I 1 Elementary Forms. I 2 Simple Forms (Fretwork, &c.) I 3 Advanced Forms (Carving, &c.). I 4 Ornament (Classic, &c.).
ORNAMENT, by F.E. Hulme. I 1 Basic Shapes. I 2 Simple Shapes (Fretwork, etc.) I 3 Complex Shapes (Carving, etc.). I 4 Decoration (Classical, etc.).
TREES IN LEAD PENCIL. J 1 Oak, Fir, &c. J 2 Beech, Elm, &c. J 3 Oak, Chestnut, Birch. J 4 Birch, Larch, Poplar, &c.
TREES IN LEAD PENCIL. J 1 Oak, Fir, etc. J 2 Beech, Elm, etc. J 3 Oak, Chestnut, Birch. J 4 Birch, Larch, Poplar, etc.
LANDSCAPE IN LEAD PENCIL. K 1 Rustic Landscape in Outline. K 2 Shaded Objects, &c. K 3 Shaded Landscape. K 4 Advanced Landscape.
LANDSCAPE IN LEAD PENCIL. K 1 Rustic Landscape in Outline. K 2 Shaded Objects, etc. K 3 Shaded Landscape. K 4 Advanced Landscape.
MARINE, by Callow, &c. M 1 Boats, Foregrounds, &c. M 2 Fishing Craft, Coasters, &c. M 3 Yachts and other Vessels. M 4 Drawing of Waves.
MARINE, by Naive, & etc. M 1 Boats, Foregrounds, & etc. M 2 Fishing Boats, Coasters, & etc. M 3 Yachts and Other Vessels. M 4 Drawing of Waves.
HUMAN FIGURE. Q 1 Features. Q 2 Heads, Hands, &c. Q 3 Rustic Figures, by Duncan. Q 4 Figure from the Antique.
HUMAN FIGURE. Q 1 Characteristics. Q 2 Heads, Hands, etc. Q 3 Country Figures, by Duncan. Q 4 Figure from Antiquity.
ANIMALS, by H. Weir. O 1 Birds and Quadrupeds. O 2 Poultry, various breeds. O 3 British Small Birds. O 4 British Wild Animals. O 5 Horses (Arab, Hunter, &c.). O 6 Horses (Racer, Trotter, &c.). O 7 Dogs (Seventeen Species). O 8 Cattle, Sheep, Pigs, &c. O 9 Lambs, Ass, Foal, &c. O 10 Foreign Animals, &c.
ANIMALS, by H. Weir. O 1 Birds and Mammals. O 2 Chickens, various breeds. O 3 British Small Birds. O 4 British Wildlife. O 5 Horses (Arabian, Hunter, etc.). O 6 Horses (Racers, Trotters, etc.). O 7 Dogs (Seventeen Breeds). O 8 Cattle, Sheep, Pigs, etc. O 9 Lambs, Donkeys, Foals, etc. O 10 Exotic Animals, etc.
PRACTICAL GEOMETRY. R 1 Definitions and Simple Problems. R 2 Practical Geometry. R 3 Applied Geometry.
PRACTICAL GEOMETRY. R 1 Definitions and Simple Problems. R 2 Practical Geometry. R 3 Applied Geometry.
PRACTICAL MECHANICAL DRAWING. T 1 Initiatory. T 2 Details of Tools, &c. T 3 Models for Working Drawings, &c. T 4 Details of Machines and Engines.
PRACTICAL MECHANICAL DRAWING. T 1 Introduction. T 2 Tool Details, & etc. T 3 Models for Working Drawings, & etc. T 4 Machine and Engine Details.
Z Blank Exercise Book.
Z Blank Notebook.
VERE FOSTER'S DRAWING CARDS.
Vere Foster's Drawing Cards.
Beautifully Printed on Fine Cards and done up in neat Packets.
Beautifully printed on high-quality cards and packaged carefully.
First Grade, Set I.—FAMILIAR OBJECTS, 24 cards, 1s. First Grade, Set II.—LEAF FORM, 24 cards, price 1s. First Grade, Set III.—ELEMENTARY ORNAMENT, 24 cards, price 1s. Second Grade.—ORNAMENT, by F. E. Hulme, 18 large cards, price 2s. Advanced Series.—ANIMALS, by Harrison Weir, 24 cards, price 1s. 6d.
First Grade, Set I.—FAMILIAR OBJECTS, 24 cards, £1. First Grade, Set II.—LEAF FORM, 24 cards, price £1. First Grade, Set III.—ELEMENTARY ORNAMENT, 24 cards, price £1. Second Grade.—ORNAMENT, by F. E. Hulme, 18 large cards, price £2. Advanced Series.—ANIMALS, by Harrison Weir, 24 cards, price £1.6.
OF VERE FOSTER'S DRAWING-BOOKS
Vere Foster's Drawing Books
The STANDARD says—There is no book of instruction in drawing, no matter what its price, so well calculated to aid self-help as Vere Foster's books. Even in schools that possess the advantage of apt and experienced teachers of drawing, their advantages will speedily become manifest. Mr. Vere Foster has done a public service by the production of this series.
The STANDARD says—There is no instructional book on drawing, regardless of its price, that is as effective for self-help as Vere Foster's books. Even in schools with skilled and experienced drawing teachers, the benefits of these books will quickly become clear. Mr. Vere Foster has provided a valuable service to the public by creating this series.
The GRAPHIC says—If any parent who reads these lines has a boy or girl who wishes to learn how to be an artist, let us boldly recommend Vere Foster's Drawing-Book. It is not only the cheapest, but by far the best that we have seen.
The GRAPHIC says—If any parent reading this has a son or daughter who wants to learn how to be an artist, we confidently recommend Vere Foster's Drawing-Book. It's not only the most affordable, but it's also by far the best one we've encountered.
The ART JOURNAL says—It would be difficult to overrate the value of this work—a work that is not to be estimated by its cost: one is great, the other very small. Any learner may find in it a huge volume of thought, his studies rightly directed by a competent practical teacher, who will teach him nothing by which he can be led astray, or that he will have to unlearn when he consults the great Book of Nature.
The ART JOURNAL says—It’s hard to overstate the value of this work—it shouldn’t be judged by its cost: one is significant, the other very minor. Any student can discover a wealth of ideas within it, guided by a skilled teacher who will ensure they don’t learn anything misleading or that they’ll have to unlearn when they refer to the great Book of Nature.
Adopted by the Science and Art Department, South Kensington.
Adopted by the Science and Art Department, South Kensington.
POYNTER'S SOUTH KENSINGTON DRAWING-BOOK.
Poynter's South Kensington Sketchbook.
This New Series of Drawing Copies has been issued under the direct superintendence of E. J. Poynter, R.A. The examples have been selected for the most part from objects in the South Kensington Museum, and the Drawings have been made under Mr. Poynter's careful personal supervision by Pupils of the National Art Training School.
This new series of drawing copies has been released under the direct supervision of E.J. Poynter, R.A. Most of the examples were chosen from items in the South Kensington Museum, and the drawings were created under Mr. Poynter's attentive personal oversight by students of the National Art Training Institute.
Each Book has Fine Cartridge Paper to draw on.
Each book has high-quality cartridge paper for drawing.
Two Books. ELEMENTARY FREEHAND DRAWING. Sixpence Each.
Two Books. ELEMENTARY FREEHAND DRAWING. 6 pence Each.
I.—Simple Geometrical Forms. II.—Conventionalized Floral Forms.
I.—Simple Geometrical Shapes. II.—Stylized Floral Shapes.
Six Books. FREEHAND DRAWING, ORNAMENT, FIRST GRADE. Sixpence Each.
Six Books. FREEHAND DRAWING, ORNAMENT, FIRST GRADE. 6 pence Each.
I.—Simple Objects and Ornament—Flat. II.—Various Objects—Flat. III.—Objects and Architectural Ornament—Flat and Perspective. IV.—Architectural Ornament—Flat. V.—Objects of Glass and Earthenware—Perspective. VI.—Common Objects—Perspective.
I.—Basic Objects and Decoration—Flat. II.—Different Items—Flat. III.—Objects and Architectural Design—Flat and Perspective. IV.—Architectural Decoration—Flat. V.—Glass and Ceramic Objects—Perspective. VI.—Everyday Items—Perspective.
Six Books. Freehand Drawing, Plants, First Grade. Sixpence Each.
Six Books. Freehand Drawing, Plants, First Grade. Sixpence Each.
I.—Leaves and Flowers—Simplest. II.—Leaves, Flowers, Fruits. III.—Flowers, Fruits, &c. IV.—Flowers and Foliage. V.—Flowers. VI.—Flowers.
I.—Leaves and Blooms—Basic. II.—Leaves, flowers, and fruits. III.—Flowers, Fruits, etc. IV.—Plants and Greenery. V.—Flowers. VI.—Flowers.
Four Books. FREEHAND DRAWING, SECOND GRADE. One Shilling Each.
Four Books. FREEHAND DRAWING, SECOND GRADE. One Pound Each.
I.—Forms of Anthemion Ornament, &c.—Flat. II.—Greek, Roman, and Venetian—Flat and Perspective. III.—Italian Renaissance—Flat. IV.—Roman, Italian, Japanese, &c.—Flat and Perspective.
I.—Anthemion Ornament Designs, etc.—Flat. II.—Greek, Roman, and Venetian—Flat and Perspective. III.—Renaissance Italy—Flat. IV.—Roman, Italian, Japanese, etc.—Flat and Perspective.
THE SAME SUBJECTS ON CARDS.
THE SAME TOPICS ON CARDS.
Elementary Freehand (Cards), .... .... .... .... Four Packets, Price 9d. each. First Grade, Freehand Ornament (Cards), ... .. ... Six " " 1/ " First Grade, Freehand Plants (Cards), ... ... ... Six " " 1/ " Second Grade, Freehand (Cards), ... ... ... ... Four " " 1/6 "
Elementary Freehand (Cards), .... .... .... .... Four Packets, Price 9d. each. First Grade, Freehand Ornament (Cards), ... .. ... Six " " 1/ " First Grade, Freehand Plants (Cards), ... ... ... Six " " 1/ " Second Grade, Freehand (Cards), ... ... ... ... Four " " 1/6 "
Four Books. ELEMENTARY HUMAN FIGURE. Sixpence Each.
Four Books. ELEMENTARY HUMAN FIGURE. 6 pence each.
I.—Michelangelo's "David"—Features. II.—Masks, from Antique Sculpture. III.—Hands, from Sculpture. IV.—Feet, from Sculpture.
I.—Michelangelo's "David" statue—Features. II.—Ancient Sculpture Masks. III.—Sculpture Hands. IV.—Feet from the Sculpture.
Three Books. ADVANCED HUMAN FIGURE, Imp. 4to, Two Shillings Each.
Three Books. ADVANCED HUMAN FIGURE, Imp. 4to, £2 Each.
Book I.—Head of the Venus of Melos. Book II.—Head of the Youthful Bacchus. Book III.—Head of David by Michelangelo.
Book I.—Head of the Venus of Melos. Book II.—Head of the Young Bacchus. Book III.—David by Michelangelo.
Four Books. FIGURES FROM THE CARTOONS OF RAPHAEL. Imp. 4to, 2s. Each.
Four Books. FIGURES FROM THE CARTOONS OF RAPHAEL. Large 4to, £2 each.
Twelve Studies of Draped Figures. Drawn direct from the Originals in the South Kensington Museum. With Descriptive Text, and Paper for Copying.
Twelve Studies of Draped Figures. Drawn directly from the Originals in the South Kensington Museum. Includes Descriptive Text and Paper for Copying.
Four Books, 1s. Each. ELEMENTARY PERSPECTIVE DRAWING. One Vol., cloth, 5s.
Four Books, 1s each. ELEMENTARY PERSPECTIVE DRAWING. One Volume, cloth, 5s.
By S. J. Cartlidge, F.R.Hist.S., Lecturer in the National Art Training School, South Kensington.
By S. J. Cartlidge, F.R.Hist.S., Lecturer at the National Art Training School, South Kensington.
Book I.}
Book II.} For Second Grade Examination of the Department.
Book I.}
Book II.} For the Second Grade Examination of the Department.
Book III.—Accidental Vanishing Points. Book IV.—Higher Perspective.
Book III.—Accidental Vanishing Points. Book IV.—Higher Perspective.
The PALL MALL GAZETTE says:
The PALL MALL GAZETTE reports:
"The choice of subjects is admirable; there is not an ugly drawing in the book. Parents and teachers who have been looking in vain for drawing-books that should really train the eye in the study of beautiful forms, as well as the hand in the representation of what the eye sees, will be very grateful to the Science and Art Department for these cheap and most satisfactory productions."
"The selection of subjects is impressive; there isn’t an unattractive drawing in the book. Parents and teachers who have been searching unsuccessfully for drawing books that truly help train the eye in studying beautiful forms, as well as the hand in depicting what the eye observes, will be very thankful to the Science and Art Department for these affordable and highly satisfying works."
BLACKIE & SON'S BOOKS FOR THE YOUNG.
BLACKIE & SON'S BOOKS FOR THE YOUNG.
Price 7s. 6d.
Price £7.50.
The Universe: Or the Infinitely Great and the Infinitely Little. A Sketch of Contrasts in Creation and Marvels revealed and explained by Nature and Science. By F. A. Pouchet, M.D. With 273 Engravings on wood. 8th Edition, medium 8vo, cloth elegant, gilt edges.
The Universe: Or the Infinitely Large and the Infinitely Small. A Sketch of Contrasts in Creation and Wonders revealed and explained by Nature and Science. By F.A. Pouchet, M.D. With 273 Wood Engravings. 8th Edition, medium 8vo, elegant cloth, gilt edges.
Price 6s.
Price £0.30.
True to the Old Flag: A Tale of the American War of Independence. By G. A. Henty. With 12 full-page Illustrations by Gordon Browne. Cloth elegant, olivine edges.
True to the Old Flag: A Tale of the American War of Independence. By G.A. Henty. With 12 full-page illustrations by Gordon Browne. Elegant cloth, olive edges.
In Freedom's Cause: A Story of Wallace and Bruce. By G. A. Henty. With 12 full-page Illustrations by Gordon Browne. Cloth elegant, olivine edges.
In Freedom's Cause: A Story of Wallace and Bruce. By G. A. Henty. Featuring 12 full-page illustrations by Gordon Brown. Elegant cloth binding, with olivine edges.
With Clive in India: Or the Beginnings of an Empire. By G. A. Henty. With 12 full-page Illustrations by Gordon Browne. Cloth elegant, olivine edges.
With Clive in India: Or the Beginnings of an Empire. By G.A. Henty. With 12 full-page illustrations by Gordon Brown. Elegant cloth, olivine edges.
Bunyip Land: The Story of a Wild Journey in New Guinea. By G. Manville Fenn. With 12 full-page Illustrations by Gordon Browne. Cloth elegant, olivine edges.
Bunyip Land: The Story of a Wild Journey in New Guinea. By G. Manville Fenn. With 12 full-page illustrations by Gordon Brown. Elegant cloth, with olive edges.
The Golden Magnet: A Tale of the Land of the Incas. By Geo. Manville Fenn. With 12 full-page Pictures by Gordon Browne. Cloth elegant, olivine edges.
The Golden Magnet: A Story from the Land of the Incas. By Geo. Manville Fenn. With 12 full-page illustrations by Gordon Browne. Beautiful cloth cover, with olive-green edges.
The Life and Surprising Adventures of Robinson Crusoe. By Daniel Defoe. Beautifully Printed, and Illustrated by above 100 Pictures designed by Gordon Browne. Cloth elegant, olivine edges. [Reprinted] from the Author's Edition.]
The Life and Amazing Adventures of Robinson Crusoe. By Daniel Defoe. Nicely printed and illustrated with over 100 pictures created by Gordon Brown. Elegant cloth, with olive edges. [Reprinted from the Author's Edition.]
In the King's Name: Or the Cruise of the Kestrel. By Geo. Manville Fenn. With 12 full-page Pictures by Gordon Browne. Cloth elegant, olivine edges.
In the King's Name: Or the Cruise of the Kestrel. By Geo. Manville Fenn. With 12 full-page illustrations by Gordon Browne. Elegant cloth cover, olive green edges.
Under Drake's Flag. A Tale of the Spanish Main. By G. A. Henty. With 12 full-page Pictures by Gordon Browne. Cloth elegant, olivine edges.
Under Drake's Flag. A Story of the Spanish Main. By G.A. Henty. With 12 full-page Illustrations by Gordon Brown. Stylish cloth cover, olivine edges.
Price 5s.
Price $5.
St. George for England: A Tale of Cressy and Poitiers. By G. A. Henty. With 8 full-page Illustrations. Cl. elegant.
St. George for England: A Tale of Cressy and Poitiers. By G.A. Henty. With 8 full-page illustrations. Cloth, elegant.
Menhardoc: A Story of Cornish Nets and Mines. By G. Manville Fenn. With 8 full-page Illustrations. Cl. elegant.
Menhardoc: A Story of Cornish Nets and Mines. By G. Manville Fenn. With 8 full-page Illustrations. Clothbound, stylish.
The Pirate Island: A Story of the South Pacific. By Harry Collingwood. With 8 full-page Pictures. Cloth elegant.
The Pirate Island: A Story of the South Pacific. By Harry Collingwood. With 8 full-page illustrations. Elegant cloth binding.
The Wigwam and the Warpath: Stories of the Red Indians. By Ascott R. Hope. With 8 full-page Pictures. Cloth elegant.
The Wigwam and the Warpath: Stories of the Native Americans. By Ascott R. Hope. With 8 full-page illustrations. Elegant cloth binding.
By Sheer Pluck: A Tale of the Ashanti War. By G. A. Henty. With 8 full-page Illustrations. Cloth elegant.
By Sheer Pluck: A Tale of the Ashanti War. By G.A. Henty. With 8 full-page Illustrations. Elegant cloth binding.
Stories Of Old Renown. Tales of Knights and Heroes. By Ascott R. Hope. With 100 Illustrations by Gordon Browne. Cloth elegant, olivine edges.
Stories Of Old Renown. Tales of Knights and Heroes. By Ascott R. Hope. With 100 Illustrations by Gordon Brown. Elegant cloth, olive edges.
Facing Death: Or the Hero of the Vaughan Pit. By G. A. Henty. With 8 full-page Illustrations. Cloth elegant.
Facing Death: Or the Hero of the Vaughan Pit. By G.A. Henty. With 8 full-page Illustrations. Elegant cloth cover.
Nat the Naturalist: Or a Boy's Adventures in the Eastern Seas. By Geo. Manville Fenn. With 8 full-page Pictures. Cloth elegant.
Nat the Naturalist: Or a Boy's Adventures in the Eastern Seas. By Geo. Manville Fenn. With 8 full-page illustrations. Elegant cloth cover.
Price 3s. 6d.
Price £3.30
Cheep and Chatter; Or Lessons from Field and Tree. By Alice Banks. With 54 Character Illustrations by Gordon Browne. Cloth elegant. With gilt edges, 4s.
Cheep and Chatter; Or Lessons from Field and Tree. By Alice Banks. Includes 54 Character Illustrations by GordonBrowne. Elegant cloth binding. With gilt edges, £4.
The Wreck of the Nancy Bell: Or Cast away on Kerguelen Land. By John C. Hutcheson. Illustrated by 6 full-page Pictures. Cloth extra.
The Wreck of the Nancy Bell: Or Cast Away on Kerguelen Land. By John C. Hutcheson. Illustrated with 6 full-page pictures. Extra cloth binding.
Picked up at Sea: Or the Gold Miners of Minturne Creek. By John C. Hutcheson. With 6 full-page Pictures in Tints. Cloth extra.
Picked up at Sea: Or the Gold Miners of Minturne Creek. By John C. Hutcheson. With 6 full-page images in color. Clothbound.
Dr. Jolliffe's Boys: A Tale of Weston School. By Lewis Hough. With 6 full-page Pictures. Cloth extra.
Dr. Jolliffe's Boys: A Story of Weston School. By Lewis Hough. Featuring 6 full-page Illustrations. Premium cloth.
Traitor or Patriot? A Tale of the Rye-House Plot. By Mary C. Rowsell. Illustrated by 6 full-page Pictures. Cloth elegant.
Traitor or Patriot? A Story of the Rye-House Plot. By Mary C. Rowsell. Illustrated with 6 full-page images. Elegant cloth binding.
Brother and Sister: Or the Trials of the Moore Family. By Elizabeth J. Lysaght. With 6 full-page Illustrations. Cloth extra.
Brother and Sister: Or the Trials of the Moore Family. By Elizabeth J. Lysaght. With 6 full-page Illustrations. Cloth extra.
Dora: Or a Girl without a Home. By Mrs. R. H. Read. With 6 full-page Illustrations. Cloth extra.
Dora: Or a Girl without a Home. By Mrs. R.H. Read. With 6 full-page Illustrations. Extra cloth cover.
Garnered Sheaves. A Tale for Boys. By Mrs. Emma R. Pitman. With 4 full-page Illustrations. Cloth extra.
Gathered Sheaves. A Story for Boys. By Mrs. Emma Pitman. With 4 full-page Illustrations. Extra cloth binding.
Florence Godfrey's Faith. A Story of Australian Life. By Mrs. Pitman. With 4 full-page Illustrations. Cloth extra.
Florence Godfrey's Faith. A Story of Australian Life. By Mrs. Pittman. With 4 full-page illustrations. Extra cloth cover.
Life's Daily Ministry. A Story of Everyday Service for Others. By Mrs. Emma R. Pitman. With 4 full-page Illustrations. Cloth extra.
Life's Daily Ministry. A Story of Everyday Service for Others. By Mrs. Emma R. Pitman. With 4 full-page Illustrations. Extra cloth binding.
My Governess Life: Or Earning my Living. By Mrs. Emma R. Pitman. With 4 full-page Illustrations. Cloth extra.
My Governess Life: Or Earning my Living. By Mrs. Emma Pitman. With 4 full-page illustrations. Cloth extra.
Price 2s. 6d.
Price £2.50
Each book is beautifully illustrated, and bound in cloth extra.
Each book is beautifully illustrated and bound in extra cloth.
Brothers in Arms: A Story of the Crusades. By F. Bayford Harrison.
Brothers in Arms: A Story of the Crusades. By F. Bayford Harrison.
Jack o' Lanthorn. A Tale of Adventure. By Henry Frith.
Jack o' Lantern. A Tale of Adventure. By Henry Frith.
Winnie's Secret: A Story of Faith and Patience. By Kate Wood.
Winnie's Secret: A Story of Faith and Patience. By Kate Wood.
A Waif Of the Sea: Or the Lost Found. By Kate Wood.
A Waif Of the Sea: Or the Lost Found. By Kate Wood.
Hetty Gray, or Nobody's Bairn. By Rosa Mulholland.
Hetty Gray, or Nobody's Child. By Rosa Mulholland.
Miss Fenwick's Failures: Or "Peggy Pepper-pot." By Esmé Stuart.
Miss Fenwick's Failures: Or "Peggy Pepper-pot." By Esmé Stewart.
The Ball Of Fortune; Or Ned Somerset's Inheritance. By Charles Pearce.
The Ball Of Fortune; Or Ned Somerset's Inheritance. By Charles Peirce.
The Family Failing. By Darley Dale.
The Family Failing. By Darley Dale.
Stories of the Sea in Former Days; Narratives of Wreck and Rescue.
Stories of the Sea in the Past; Accounts of Shipwrecks and Rescues.
Adventures in Field, Flood, and Forest; Stories of Danger and Daring.
Adventures in the Field, in Floods, and in the Forest; Stories of Danger and Bravery.
A complete List of Books for the Young, prices from 4d. to 7s. 6d., with Synopsis of their Contents, will be supplied on application to the Publishers.
A complete list of books for young readers, priced from 4d. to 7s. 6d., along with a summary of their contents, will be provided upon request to the publishers.
LONDON: BLACKIE & SON, 49 & 50 OLD BAILEY, E.C.;
LONDON: BLACKIE & SON, 49 & 50 OLD BAILEY, E.C.;
GLASGOW, EDINBURGH, AND DUBLIN.
Glasgow, Edinburgh, and Dublin.
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