To dwell upon Spanish illuminated manuscripts would be comparatively profitless to the practical student; for all the peculiarities and excellencies they would appear to have at any time possessed, may be found more perfectly developed at first in French, subsequently in Netherlandish, and ultimately in Italian volumes.^[73] In one most remarkable and indeed historical volume, the actual alliance of Spanish writing and initial illumination with Flemish subject-painting and Arabesque is clearly to be recognized. The result of the union is certainly most happy, for few more beautiful books exist than the exquisite missal which in a passage of golden letters and honied words Francesco de Roias offers to Isabella "the Catholic." This magnificent volume, from which our plates (Technical Manual) Nos. 10, 11, and 12, have been taken, was purchased by the authorities of the British Museum, in whose catalogue it figures as add. 18,851, of Messrs. W. and T. Boone in 1852. In this work the brush triumphs over the pen, its decorations are essentially pictorial, and many of them recall, if not the hand, at least the style, of Memling and Van Eyck. Unlike volumes of earlier periods in which the illustrations are generally the work of one hand throughout, in this elaborate volume, a division of labour obtains. In this, as in many others of about the same period, not only are the penman and the painter two individuals, but the latter especially becomes half a dozen. This was, no doubt to a great extent, occasioned by the almost universal substitution of lay for clerical illuminators in the latter part of the 15th century, and by the production at that date of illuminated books for dealers adopting the principles and practice of that system of economic production which ultimately permitted manufacture to almost universally supersede Art throughout Europe. It remains now only to sketch, with a brevity altogether out of proportion to the great interest of the subject, the progress of the art in Italy.

If the delineation of naïve and graceful romantic incident, combined with elegant foliated ornament, reached perfection in the illuminations of the French school; if blazoning on gilded grounds was carried to its most gorgeous pitch in Oriental and Byzantine manuscripts; if intricate interlacements and minute elaboration may be regarded as the special characteristics of Hiberno-Saxon scribes; and if a noble tone of solid colour, combined with great humour and intense energy of expression, marked England's best productions,—it may be safely asserted, that it was reserved for the Italians to introduce into the embellishment of manuscripts those higher qualities of art, their peculiar aptitude for which so long gave them a pre-eminence among contemporaneous schools.

I therefore proceed to trace the names and styles of some few of the most celebrated among their illuminators; premising by a reminder to the student of the miserably low pitch to which art had been reduced in Italy during the 12th century. Even the most enthusiastic and patriotic writers agree in the all but total dearth of native talent. Greeks were employed to reproduce Byzantine mannerisms in pictures and mosaics, and to a slight extent no doubt as scribes. Illumination was scarcely known or recognized as an indigenous art; for Dante, even writing after the commencement of the 14th century, speaks of it as "quell' arte, che Alluminar è chiamata a Parisi."^[74]

Probably the earliest Italian manuscript showing signs of real art, is the "Ordo Officiorum Senensis Ecclesiæ," preserved in the library of the academy at Sienna, and illuminated with little subjects and friezes with animals, by a certain Oderico, a canon of the cathedral, in the year 1213.

The Padre della Valle^[75] expressly cautions the student against confounding this Odericus with the Oderigi of Dante,^[76] who died about the year 1300. The latter was unquestionably an artist of some merit, for Vasari^[77] speaks of him as an "excellente miniatore," whose works for the Papal library, although "in gran parte consumati dal tempo," he had himself seen and admired. Some drawings by the hand of this "valente uomo," as he is styled, Vasari speaks of possessing in his own collection.

Baldinucci makes out Oderigi to have been of the Florentine school on no other grounds than because Vasari describes him as "molto amico di Giotto in Roma;" and because Dante appears to have known him well. Lanzi,^[78] however, more correctly classes him with the Bolognese school, from his teaching Franco Bolognese at Bologna, and on the strength of the direct testimony of one of the earliest commentators on Dante—Benvenuto da Imola. This same Franco worked much for Benedict IX., and far surpassed his master.

Vasari especially commends the spirit with which he drew animals, and mentions a drawing in his own possession of a lion tearing a tree as of great merit. Thus Oderigi, the contemporary of Cimabue, and Franco, the pupil of Oderigi and contemporary of Giotto, appear to have been to the Art of Illumination what Cimabue and his pupil Giotto were to the Art of Painting,—the pupil in both cases infinitely excelling the master. To them succeeded, about the middle of the 14th century, a scarcely less celebrated pair—Don Jacopo Fiorentino, and Don Silvestro, both monks in the Camaldolese monastery, "degli Angeli," at Florence. The former, Baldinucci tells us, "improving, with infinite study, every moment not devoted to his monastic duties, acquired a style of writing greatly sought after for choral books." The latter, who was rather an artist than a scribe, enriched the productions of his friend with miniatures so beautiful, as to cause the books thus jointly produced to excite, at a later period, the special admiration of Lorenzo the Magnificent, and his son, the no less magnificent Leo X.^[79] So proud were their brother-monks of the skill of Frati Jacopo and Silvestro, that after their death they preserved their two right hands as honoured relics.

About a century later, the leading illuminators were Bartolomeo and Gherardo,—the former abbot of San Clemente, at Arrezzo, and the latter a Florentine painter and "miniatore," whom Vasari confounds with Attavante, a painter, engraver, and mosaicist. Of all the Italian artists who adopted the style of the illuminators, if they did not themselves illuminate, the most celebrated certainly are Fra Angelico da Fiesole^[80] and Gentile da Fabriano. The majority of the works of both are little else than magnified miniatures of the highest merit.

The school of Siennese illumination was scarcely less distinguished than that of Florence. M. Rio dwells with enthusiasm on the books of the Kaleffi and Leoni, still preserved in the Archivio delle Riformazioni, and especially on those decorated by Nicolo di Sozzo, in 1334. The greatest master of the school, Simone Memmi,^[81] the intimate friend of Petrarch, was himself an illuminator of extraordinary excellence, as may be seen by the celebrated Virgil of the Ambrosian Library at Milan, which contains, amongst other beautiful miniatures by his hand, the fine portrait of Virgil, and a very remarkable allegorical figure of Poetry, quite equal in artistic merit to any of the artist's larger and better-known works in fresco or tempera.^[82]

It is, however, in the library of the cathedral at Sienna, which retains many of the magnificent choir-books executed by Fra Benedetto da Matera, a Benedictine of Monte Cassino, and Fra Gabriele Mattei of Sienna, that the greatest triumphs of the school are still to be recognized. This series of volumes, although much reduced from its original extent by the abstractions made by Cardinal Burgos, who carried off a vast quantity to Spain, is still the finest belonging to any capitular establishment in Italy, and worthily represents the grandeur of Italian illumination in "cinque cento" days.

The series of similar volumes next in importance to those of Sienna, is attached to the choir of the church and monastic establishment of the Benedictines at Perugia, known as "San de' Casinensi." Of these, nothing more need be said than that they are worthy of the stalls of the same choir, the design of which is attributed to Raffaelle, and the execution to Stefano da Bergamo, and Fra Damiano, of the same town, the great "intarsiatore."

Formerly, as M. Rio observes,^[83] "Ferrara could boast of possessing a series of miniatures, executed principally in the seclusion of its convents, from the time of the Benedictine monk Serrati, who in 1240 ornamented the books of the choir with figures of a most noble character,^[84] till that of Fra Girolamo Fiorino, who, towards the beginning of the 15th century, devoted himself to the same occupation in the monastery of San Bartolomeo, and formed in his young disciple Cosmè a successor who was destined to surpass his master, and to carry this branch of art to a degree of perfection till then unknown. Even at the present day we may see, in the twenty-three volumes presented by the Bishop Bartolomeo delia Rovere to the cathedral, and in the twenty-eight enormous volumes removed from the Certosa to the public library, how much reason the Ferrarese have to be proud of the possession of such treasures, and to place them by the side of the manuscripts of Tasso and Ariosto.

The "subjects generally treated by these mystical artists were marvellously adapted to their special vocation: they were the life of the holy Virgin, the principal festivals celebrated by the Church, or popular objects of devotion; in short, all the dogmas which were susceptible of this mode of representation, works of mercy, the different sacraments, the imposing ceremonies of religion, and, in general, all that was most poetical in liturgy or legend. In compositions of so exclusive a character, naturalism could only be introduced in subordination to the religious element."^[85]

While this was the case with the majority of illuminations executed under the auspices of the Church, in those of a secular nature, undertaken for the great princes and nobles, another set of characteristics prevailed. For the Gonzagas, Sforzas, D'Estes, Medici, Strozzi, Visconti, and other great families, the best artists were constantly employed in decorating both written and printed volumes, in which portraiture is freely introduced, and picturesque and historical subjects are represented with great vivacity and attention to costume and local truth. Thus in the truly exquisite "Grant of Lands," by Ludovico il Moro to his wife Beatrice D'Este, dated January 28th, 1494, and preserved in the British Museum, speaking portraits of both Ludovico and Beatrice are introduced, with their arms and beautiful arabesques.^[86] Again, in the Hanrot "Sforziada," the first page contains exquisite miniatures of three members of the princely family of the Sforzas, by the hand of the all-accomplished Girolamo dai Libri.^[87] This artist, a truly celebrated Veronese and worthy fellow-townsman, with the almost equally able Fra Liberale, whose work in the manner of Giovanni Bellini excited the utmost envy on the part of the Siennese illuminators, was himself the son of a miniature-painter, known as Francesco dai Libri, and bequeathed the name and art of his father to his own son,—thus maintaining the traditions of good design acquired in the great school of Padua, under Andrea Mantegna^[88] and Squarcione, during three generations of illuminators. Girolamo was by far the most celebrated of the three. As a painter, his works possess distinguished merit, and there still remain good samples of his abilities in the churches of San Zeno and Sant' Anastasia, at Verona. He also derives some credit from the transcendent merits of his pupil Giulio Clovio. Vasari's description of the talents of Girolamo^[89] gives so lively a picture of the style which reached its highest vogue at the end of the 15th, and during the first half of the 16th centuries in Italy, that I am tempted to translate it. "Girolamo," he says, "executed flowers so naturally and beautifully, and with so much care, as to appear real to the beholder. In like manner he imitated little cameos and other precious stones and jewels cut in intaglio, so that nothing like them, or so minute, was ever seen. Among his smallest figures, such as he represented on gems or cameos, some might be observed no larger than little ants, and yet in all of them might be made out every limb and muscle, in a manner which to be believed must needs be seen."

Mr. Ottley supposes that Giulio Clovio (born 1498, died 1578) worked previous to his receipt of the instruction of Girolamo in a drier manner, in which no evidence appears of that imitation of Michael Angelesque pose in his figures, which in his subsequent production became so leading a characteristic of his style. It is in his earlier manner that Giulio is believed to have illuminated for Clement VII.^[90] (1523-1534), while for his successor, Paul III. (1534-1539), he worked abundantly, and gradually acquired that which is best known as his later manner, in which he continued to labour, according to Vasari, until 1578, at the great age of eighty years. Mr. Ottley, however, recognizes his hand in MSS. which must have been at least five years later—during the Pontificate of Gregory XIII.^[91]

It is obviously impossible, in such an essay as the present, to dwell in detail upon the merits of so accomplished a master of his art. Fortunately we possess in this metropolis two fine specimens of his skill, both tolerably accessible—one in the Soane^[92] and the other in the British Museum.^[93] A third, of great splendour, is in the possession of Mr. Towneley, and a fourth, in the shape of an altar-card, attributed to him, is to be found in the Kensington Museum; and several fragments, formerly in Mr. Rogers's possession, have passed to Mr. Whitehead and to the British Museum. All of these exhibit a refinement of execution, combined with a brilliancy of colour and excellence of drawing, which has never been surpassed by any illuminator. Vasari gives a complete list and description of his principal works, and proves him to have been not less industrious than able.

A contemporary of Giulio's, whose name has been overpowered by the greater brilliancy of that of the Cellini of illumination, was a certain Apollonius of Capranica, or, as he signs himself, "Apollonius de Bonfratellis de Capranica, Capellæ et Sacristiæ Apostolicæ Miniator." Mr. Ottley most justly states,^[94] "that it is impossible to speak in too high terms of the beauty of his borders, wherein he often introduces compartments with small figures, representing subjects of the New Testament, which are touched with infinite delicacy and spirit." His drawing, which is of a decidedly Michael-Angelesque character, is of less merit when the nude is represented on a larger scale. His harmony of colour is extraordinary, rather lower in tone than Giulio Clovio's, but equally glowing, and more powerful. Some beautiful specimens of his handicraft remain in the possession of Mr. T. M. Whitehead. The late Mr. Rogers possessed many fragments, the most precious of which have found their way into the National Collection. His work is usually dated, and the dates appear to range from 1558 to 1572. Apollonius having been official illuminator to the very institution from which Celotti derived his richest spoils, it may readily be imagined that his collection included an unprecedented series of beautiful examples of Buonfratelli's style.

Long after the invention of printing, the Apostolic Chamber retained its official illuminators; and among them one of the most noteworthy is unquestionably the artist who signs his works, "Ant. Maria Antonotius Auximas"—a native of Osimo, and a protégé of the princely house of the Barberini and its magnificent head, Urban VIII. (1623-1644). He was a pupil of Pietro da Cortona, and an artist of great skill and refinement.^[95]

For still more recent popes artists of great excellence continued to be employed, including for Alexander VII. the celebrated Magdalena Corvina, who worked from 1655 to 1657; and for Innocent XI (1676 to 1689) a German, who signs his productions "Joann, frid-Heribach." As the popes retained their illuminators for the decoration of precious documents, so did the doges of Venice; and probably the most magnificent of all illumination, executed after the general spread of printed books had checked, although not extinguished, the art, may be found in the precious "Ducales," wrought indeed by several of the greatest Venetian painters.^[96]

I need scarcely remind the reader, that the earliest wood-cut and printed books were made to imitate manuscripts so closely as to deceive the inexperienced eye. "Artes moriendi," "Specula," "Bibliæ Pauperum," and "Donatuses,"—the principal types of block books,^[97]—represent illuminated manuscripts in popular demand at the date of the introduction into Europe of Xylographic Art. Spaces were frequently left, both in the block books and in the earliest books printed with movable type, for the illumination, by hand, of initial letters, so as to carry the illusion as far as possible. This practice was abandoned as soon as the learned discovered the means by which such wonderfully cheap apparent transcripts of voluminous works could be brought into the market; and the old decorated initial and ornamental letters were reproduced from type and wood blocks.

The Mainz Psalter of 1457, and other books printed by Fust and Schœffer, required only the addition of a little colour here and there to delude any inexperienced eye into the belief that they were really hand-worked throughout. Such imitations were but poor substitutes for the originals in point of beauty, however excellent when regarded from a utilitarian point of view.

Every country has more or less cause to mourn the senseless destruction of many noble old volumes which the printing-press never has, and now, alas! never can replace; but none more than England, in which cupidity and intolerance destroyed recklessly. Thus, after the dissolution of monastic establishments, persons were appointed to search out all missals, books of legends, and such "superstitious books," and to destroy or sell them for waste paper; reserving only their bindings, when, as was frequently the case, they were ornamented with massive gold and silver, curiously chased, and often further enriched with precious stones; and so industriously had these men done their work, destroying all books in which they considered popish tendencies to be shown by illumination, the use of red letters, or of the Cross, or even by the—to them—mysterious diagrams of mathematical problems—that when, some years after, Leland was appointed to examine the monastic libraries, with a view to the preservation of what was valuable in them, he found that those who had preceded him had left little to reward his search.

Bale, himself an advocate for the dissolution of monasteries, says:

"Never had we bene offended for the losse of our lybraryes beyng so many in nombre and in so desolate places for the moste parte, yf the chief monuments and moste notable workes of our excellent wryters had bene reserved, yf there had bene in every shyre of Englande but one solemyne lybrary to the preservacyon of those noble workes, and preferrements of good learnynges in our posteryte it had bene yet somewhat. But to destroye all without consyderacion is and wyll be unto Englande for ever a most horryble infamy amonge the grave senyours of other nations. A grete nombre of them wych purchased of those superstycyose mansyons reserved of those lybrarye bokes, some to serve their jaks, some to scoure theyr candelstyckes, and some to rubbe theyr bootes; some they solde to the grossers and sope sellers, and some they sent over see to the bokebynders, not in small nombre, but at tymes whole shippes ful. I know a merchant man, whyche shall at thys tyme be namelesse, that boughte the contents of two noble lybraryes for xl shyllyngs pryce, a shame it is to be spoken. Thys stuffe bathe he occupyed in the stide of greye paper for the space of more than these ten years, and yet hathe store ynough for as manye years to come. A prodyguous example is thys, and to be abhorred of all men who love theyr natyon as they shoulde do."

Wherever the Reformation extended throughout Europe, a corresponding destruction of ancient illuminated manuscripts took place, and in localities where fanaticism failed to do its work of devastation, indifference proved a consuming agent of almost equal energy; and, indeed, there is no more forcible illustration of the untiring zeal and industry of the illuminators of old, than the fact, that, after all that has been done to stamp out the sparks still lingering in their embers, their works should still glow with such shining lights in all the great public libraries of Europe.

Despite all this ruthless destruction, and the universal extension of the art of printing, ornamental penmanship has never been altogether extinguished as a pictorial art. The Apostolic Chamber, as we have remarked, retained, until quite recently, its official illuminator.

The luxuriant magnates of the court of the "Grande Monarque" still provided employment for men like Jary and Prévost, while in England many heraldic and genealogical MSS. of the 17th, and even 18th centuries, still exist to prove that the Art was dormant rather than extinct. That it has a brilliant future yet in store for it no one can hesitate to believe who is enabled to recognize the power of design, and the capability to execute—either on paper or vellum—with the brush or pen—by hand, or by calling in the aid of the printer and lithographer for the rapid multiplication and dissemination of beautiful specimens—manifested by Owen Jones, his pupil Albert Warren, and many other able artists and amateurs, still gracing this 19th century of ours with works, many of which will doubtless survive to our honour and credit so long as Arts and States may endure.

It is in a humble effort to assist in such a consummation that these little manuals have been written, illustrated, and published.

M. DIGBY WYATT.

END OF PART I.

WHAT ILLUMINATING SHOULD BE IN THE PRESENT DAY.

ILLUMINATION, in whatever form practised, can never be properly regarded as any other than one of the genera into which the art of Polychromatic decoration may be subdivided. What was originally termed illumination, was simply the application of minium or red lead, as a colour or ink, to decorate, or draw marked attention to, any particular portion of a piece of writing, the general text of which was in black ink. The term was retained long after the original red lead was almost entirely superseded by the more brilliant cinnabar, or vermilion. As ornaments of all kinds were gradually superadded to the primitive distinctions, marked in manuscripts by the use of different-coloured inks, the term acquired a wider significance, and, from classical times to the present, has always been regarded as including the practice of every description of ornamental or ornamented writing.

Because such embellishments were, during the early and Middle Ages, and, in fact, until long after the invention of printing, almost invariably executed on vellum, there is no reason whatever why illumination should be applied to that material, or to paper, which has taken its place, only; wood, metal, slate, stone, canvass, plaster, all may be made to receive it. Again: because ancient illumination was almost entirely executed in colours, in the use of which water and some glutinous medium were the only "vehicles," there is no reason why modern illumination should not be worked in oil, turpentine, encaustic, fresco, tempera, varnish, and by every process in which decorative painting is ever wrought in these days. It is in such an extension that the most valuable functions of the art are likely to consist in all time to come. That utilitarian application which it, originally and for so many centuries, found in the production of beautiful books, copies of which could be elaborated by no other means than hand labour, has been, to a great extent, superseded by chromolithography and chromotypy. No doubt a wide field for useful, and even productive labour, is still left to the practical illuminator on paper and vellum, in designing and preparing exquisite originals for reproduction by those processes, as well as in the rich and tasteful blazoning of pedigrees, addresses, family records and memorials, and in the illustration for presentation, or for private libraries, of transcripts from favourite authors; but, at the same time, an equally elegant and useful application of the art would be to enrich ceilings, walls, cornices, string-courses, panels, labels round doors and windows, friezes, bands, chimney-pieces, and stained and painted furniture in churches, school-rooms, dwellings, and public buildings of all kinds, with beautiful and appropriate inscriptions, of graceful form and harmonious colouring. Such illumination would form, not only an agreeable, but an eminently useful decoration. How many texts and sentences, worthy, in every sense, of being "written in letters of gold," might not be thus brought prominently under the eyes of youth, manhood, and old age, for hope, admonition, and comfort. No more skill, energy, and taste are requisite for the production of this class of illumination than are essential for satisfactory work upon vellum and paper; and while in the one case the result of the labour may be made an incessant enjoyment for many, in the other, it is seldom more than a nine-days' wonder, shut up in a book or portfolio, and seen so seldom as scarcely to repay the amateur for the expense and trouble involved in its execution.

This, if I may be allowed the term, manifold application of forms, primarily available for book decoration only, has not been lost sight of in the selection and arrangement of the illustrations, both in this and in the "Historical Manual." Mr. Tymms has, with excellent judgment, so arranged them as to lead the student who may occupy himself in copying them, or enlarging from them, gradually onwards from the comparatively easy to the more difficult varieties of the art. Adopting, in all cases, the alphabet of capital letters as a starting-point, the beginner will do well to learn to write before attempting to learn to draw: he should copy the alphabet, say on Plate I., fig. 1, on waste paper—common cartridge, or paper-hanger's lining paper, will be best—many time; at first, in fac-simile, then twice the size as printed, then four times, then eight times, until he may be able to form letters as much as six inches high, correctly. Having so far mastered the capitals, let him try in exactly the same way to produce and reproduce the same text, or lower-case letters in which the passages from Scripture, say Plate No. 1, fig. 2, have been written. Let him then try a sentence not given in the plates, using for it the capital and lower-case letters he has been learning how to form, and let him work out his own sentence in as many different sizes as he has previously tried Mr. Tymms's in. By the time he has drawn the enriched initial letters of the same plate several times, he will find that his eye and hand will have probably gained sufficient command to justify his attempting to copy, in outline as before, on waste paper, and both on a small and large scale, the ornaments given on Plate No. 3. In the intervals between his outline studies, the young illuminator may occupy himself in mastering the instructions given in this volume, so that he may have a general idea of the theory of the different processes before be commences an attempt to put them in practice. His first lesson in colouring should then commence by his attempting to colour Plate No. 3, in fac-simile of Plate No. 2.

It will be well to begin gilding and silvering with shell-gold and aluminium, reserving for more advanced experiments the use of gold or silver paper and leaf. The student may then with advantage copy in outline, first of all the outline Plate No. 6, inking it in so as to produce, on fine-grained drawing paper or card, a fac-simile of the printed plate. He should next proceed to colour the printed plate to correspond with Plate No. 5. Avoiding any defects he may have made in this operation, he may colour his own outline as he had done the printed one; he will then find himself able to copy both outline and colour on a small scale.

In his next set of lessons a much heavier demand will be made on his capabilities.

To satisfactorily reproduce, either upon the same or upon an enlarged scale, the compact black letter of Plate VII., and the solid brilliant colours of Plate VIII., with the golden grounds, which should in this case be highly burnished, will be found a much more difficult task than any yet encountered. The student must not be discouraged by a little failure at first. The technical operations of illumination are essentially manipulative, and like the fingering of a musical instrument, must be learnt by frequent and active exercise. The mere degree of skill requisite to enable the artist to lay on a perfectly flat tint of very strong or of very delicate colour, is only likely to be acquired after he may have washed some fifty different tints, more or less cloudy and muddled. Few hands will be found capable of tracing out a pure, firm, even outline, of equal thickness and force in every part, with either pen, pencil, or brush, which have not made many a score of ragged, feeble, or blotched attempts at steadiness. To keep a number of lines perfectly upright, parallel, or evenly spaced, demands an amount of dexterity which can only be gained by laborious practice. The student must not therefore feel discouraged if at first his hand may scarcely answer to the call made upon it. The failure of to-day, with proper attention and perseverance, may become the germ of the success of to-morrow; all that is essential is never on one day to repeat the fault of its predecessor. Nothing will tend to give the beginner greater confidence than the habit of working out the same forms and processes upon various scales. Taking, for instance, such an initial letter as the P, fig. 1, Plate X.; it would be an improving lesson to copy it in pen-and-ink outline, exactly as it is shown, and then to copy it, say six times the size given on the plate, thickening the lines, of course, in proportion. Then let the student once again try to copy it in fac-simile, and he will himself be probably surprised to find how much better and more easily he will accomplish his task than he was enabled to do on his first trial. A corresponding experiment, involving the application of gold and brilliant colours, such as would be essential to a reproduction of figs. 1, 2, 3, 4, or 5, of Plate II., on various scales, will be found probably no less useful and satisfactory.

A similar technical principle to that which has governed the selection and order of the plates in this manual has also determined those in its companion, the "Historical Manual."

Beginning with the simpler conventional styles of the Carlovingian school, in Plates I., II., and III. (from the fragments of the Bible of Charles the Bald, Harleian, 7,551), involving outline and flat tinting only, the student may advance to the lightly-shaded pen-work and foliation of the Romanesque style given in Plates IV., V., and VI., from the British Museum, Reg. 1, C. VII. In the purely mediæval illumination of the 14th century, Plates VII., VIII., and IX., from the British Museum (Reg. 1, D 1), the tints become more solid; while the raised and embossed gold, the complicated diapers, and more fully-shaded foliage, demand both considerable mechanical dexterity, and some real artistic capability on the part of the amateur, who would successfully revive the brilliant and powerful execution of the master-scribes of the Edwardian age. Towards the end of the 15th century, the miniatures of the illuminated books reflected the general advance made all over Europe in the art of painting. Imitative art rapidly superseded conventional, and although much ornament is freely introduced in combination with small pictures, it is made to participate in the general system of light and shade and arrangement of colour which dominates over the more essentially-pictorial portions of the decoration. Such a style of ornament is well shown in Plates X., XI., and XII., from the Bedford (so called) missal, and in the three last plates of this manual, from the beautiful Missal of Ferdinand and Isabella—British Museum, add. 18,851.

Thus the student will find, that his own progress will tally with the transitional changes of the art, from its infancy to its most artistic phase, and that long before he may have learnt enough to enable him to imitate successfully the miniature style of the 15th century, he may be in a position to produce tolerably satisfactory reproductions of the early and mediæval work.

Having thus suggested the most profitable mode in which the student can, I believe, make use of the beautiful examples Mr. Tymms has prepared for his assistance, I consider it well to proceed to offer to his notice such counsel, as may, I trust, tend to induce him not to rest contented with reproduction of old examples upon a small scale, but rather to extend the sphere of his studies and operations into the origination of a fresh and expanded system of decoration, based as a starting-point upon the labours of the most zealous masters of the craft.

In the few remarks I am about to offer in respect to what the Art of Illumination really should be now, I propose to treat briefly, but specifically, of its application to each of the different substances on which it may be most satisfactorily worked, in the following series: vellum, paper, tracing-paper, canvass, plaster, stone, metal, wood. Dealing with design only in this section of my essay, I propose, in the following and concluding one, to adhere to the same order in noticing the best processes by which amateurs may carry out the class of work I would recommend to their notice.

To commence, therefore, with vellum: it is obvious that good copies of ancient illuminated manuscripts can be made on this material only, for there is a charm about the colour and texture of well-prepared calf-skin, which no paper can be made to possess. For the same reason, and on account of its extraordinary toughness and durability, it is especially suitable for pedigrees, addresses, and other documents which it may be considered desirable to preserve for future generations. To transcribe on vellum and decorate the writings of ancient and modern authors so as to form unique volumes, appears to me—nowadays, when God gives to every man and woman so much good hard work to do, if they will but do it—little else than a waste of human life. In days when few could read, and pictures drawn by hand were the only means within the reach of the priesthood, of bringing home to the minds of the ignorant populace the realities of Biblical history, and of stimulating the eye of faith by exhibiting to the material eye pictures of those sufferings and triumphs of saints and martyrs, on which the Church of Rome during the Middle Ages mainly based its assertions of supremacy, it was all very well to spend long lives of celibacy and monastic seclusion in such labours; but the same justification can never be pleaded again. I am quite ready to admit that the exceptional manufacture of these pretty picture-books may be not only agreeable, but even useful: it is the abuse, and not the occasional resort to the practice, I would venture to denounce. For instance, a mother could scarcely do a thing more likely to benefit her children, and to fix the lessons of love or piety she would desire to plant in their memories, than to illuminate for them little volumes, which, from their beauty or value, they might be inclined to treasure through life. Interesting her children in her work as it grew under her hand, how many precious associations in after-life might hang about these very books. Again: for young people, the mere act of transcription, independent of the amount of thought bestowed upon good words and pure thoughts, and the selection of ornament to appropriately illustrate them, would tend to an identification of the individual with the best and highest class of sentiments.

All that has been said with respect to illumination on vellum applies, with equal force, to illumination on paper. There has to be borne in mind, however, the essential difference that exists between the relative durability of the two substances. Elaboration is decidedly a great element of beauty in illumination: and neatly-wrought elaboration cannot be executed without care, patience, and a considerable sacrifice of time: why, therefore, bestow that care, patience, and time upon a less permanent material, when one only a trifle more costly, but infinitely more lasting, is as easily procured? Work on paper, therefore, only as you would write exercises or do sums upon a slate; learn and practise upon paper, but reserve all more serious efforts for vellum only. No effect can be got upon the former material, which cannot, with a little more dexterity, be attained upon the latter.

As none of the other substances mentioned as those on which illumination may be executed are available for making up into books, before proceeding to a consideration of the special conditions under which the art may be applied to them, I beg to offer the following recommendations with respect to design, as suitable for book-illustration generally.^[98]

Firstly:—Take care that your text be perfectly legible; for, however cramped and confused the contents of many of those volumes we most admire may now appear, it is to be remembered that they were all written in the handwriting most easily read by the students of the periods in which they were written. The old scribes never committed the solecism of which we are too often guilty, of bestowing infinite pains on writing that which, when written, not one in a hundred could, or can, decipher.

Secondly:—Fix the scale of your writing and ornament with reference to the size of your page, and adhere to it throughout the volume. This rule, which was rigidly observed in all the best periods of the art, is incessantly disregarded in the present day; and to such an extent, that not only does scale frequently differ, as we turn page after page, but the same page will frequently exhibit scroll-work, derived from some great choral folio, interwreathed with leafage borrowed from some pocket Missal or Book of Hours.

Thirdly:—If you adopt any historical style or particular period as a basis on which your text, miniatures, or ornamentation are to be constructed, maintain its leading features consistently, so as to avoid letting your work appear as though it had been begun in the 10th century, and only completed in the 16th; or, as I have once or twice seen, vice versâ. For however erratic changes of style may appear to be in Art, as they run one another down along the course of time, it will be invariably found that there exists a harmony between all contemporary features, which cannot be successfully disregarded; and this it is which has ever rendered eclecticism in art a problem,—not impossible, perhaps, to solve, but one which, as yet at least, has never met with a satisfactory practical solution.

Fourthly:—Sustain your energies evenly throughout your volume; for, remember, your critics will estimate your powers, not by your best page, but by a mean struck between your best and your worst. Book illumination is generally looked upon as microscopic work, demanding the greatest exactitude; and whatever merits any page may display, they will go for little, if that page is disfigured by a crooked line, or a single leaf insufficiently or incorrectly shadowed; and the greater the merit, the more notable the drawback.

Fifthly:—Rigidly avoid contrasting natural with conventional foliage. Adopt which you like, for by either beautiful effects may be produced; but mix them, and the charm of both is gone. Natural foliage may be successfully combined with any other varieties of conventional ornament, excepting those based upon natural foliage.

Sixthly:—Take care that some at least of your dominant lines and borders are kept parallel to the rectangular sides of your pages; for unless your flowing and wayward ornaments are corrected by this soberer contrast, they will, however beautiful in themselves, have a straggling and untidy appearance in the volume. Where the lines of text are strongly marked, as in black ink on a white ground, and the page is so far filled with text as to leave but little space for ornament, this rule may be, to a great extent, disregarded, for the lines of the text will themselves supply the requisite contrast to the flowing forms; but where the page is nearly filled with ornament, or when the text is faint only, as in gold lettering on a white ground, it becomes imperative.

Seventhly:—Be decided, but temperate, in your contrasts of colour. It would obviously exceed the limits of these notes to attempt in them to enter upon the principles of the "harmony of colour;" they must be studied from treatises specially devoted to the subject. Such study must, however, be accompanied by constant experiment and practice; for it would be as foolish to expect a man to be a good performer upon any instrument, because he had learnt the theory of music, as it would be to suppose that he must necessarily paint in harmonious colouring, because he studied the theory of balance in combination. To the experienced eye and hand, functions become intuitive, which, to the mere theorist, however profound, are toil and weariness of spirit.

Such are a few of the rules, by attention to which the illuminators of old achieved some of their happiest effects, and which can never be safely disregarded by those who would emulate their efforts.

In taking up the class of substances on which illumination, as applied to general decoration, may be best executed, we meet, firstly, with one occupying a somewhat intermediate position,—viz., tracing-paper. I term its position intermediate, because, it may be wrought upon in either oil or water colour; and because, when so wrought upon, it may be either mounted on paper or card, and so made to contribute to book or picture enrichment; or attached to walls or other surfaces, brought forward in oil-colours, and be so enlisted in a general system of mural illumination. How this may best be done technically will be hereafter described; here I may notice only the use which may be made of this convenient material, by many not sufficiently advanced in design or drawing to be able to invent or even copy correctly by free hand, and yet desirous of embellishing some particular surface with decorative illumination. For instance, let it be desired to fill a rectangular panel of any given dimension with an illuminated inscription. Take a sheet of tracing-paper the exact size, double it up in both directions, and the creases will give the vertical and horizontal guidelines for keeping the writing square and even: then set out the number of lines and spaces requisite for the inscription, fixing upon certain initial letters or alphabets for reproduction on an enlarged scale, from this work, or any other of a similar kind, and making the height of the lines correspond therewith. Then lay the tracing over either the original or the rough enlargement, and trace with pen, pencil, or brush, each letter in succession, taking care to get each letter into its proper place, in reference to the whole panel, to the letter last traced, and to the other letters remaining to be traced. When this is completed, trace on whatever ornaments may best fill up the open spaces and harmonize with the style of lettering. When the tracing is completed, with a steady hand pick in all the ground-tint, keeping it as even as possible; and heighten the letters or ornaments in any way that may be requisite to make them correspond with the models from which they may have been taken. By adopting this method of working, with care and neatness of hand, very agreeable results may be obtained, without its being indispensable for the illuminator to be a skilful draughtsman. The tracing-paper may be ultimately attached to its proper place, and finished off, as will be hereafter recommended; and, if cleverly managed, it will be impossible to detect that that material has ever been employed.