THE immense variety of styles adopted formerly in illuminations, makes it somewhat difficult to classify them in this little volume; and I will, therefore, confine myself to those which are the most popular and the most admired. We have the transparent border, with a profusion of scrollwork, foliage, fruits, flowers, and insects, relieved by tre-foiled ornamentations in raised gold, and the blank spaces filled up with black filigree work, and which I perform simply with the lead pencil.[C] The colours to be arranged in such borders may be as varied as possible, in proportion as the design consists of small and numerous ornamentations. The contrast and variety cannot here be too profuse, so long as they are made with discretion. A predominance of too much blue, or red, or green, becomes tiresome to the eye; and, therefore, the greater number of varied tints introduced the better. Avoid, above all, ugly colours. No olive greens or bad blues, but rich and decided tints; a deep orange, a bright red, a clear purple—against a soft pink, a delicate primrose, or a blushing carnation; a sky blue against a deep bronze, or chocolate brown; the gold between, and the silver, will divide the monotony of effects; sameness will be avoided, and yet unity preserved. The same rule does not apply to the solid border, where the ornamentation is formal and large, and conspicuously relieved by a background of solid gold or colour. A profusion of colours then would resemble the harlequin's coat of many shreds and patches. Simplicity, to my mind, is its greatest merit and recommendation. I have seen the best effects produced by the simplest means, and by two or three colours only. Much depends on taste, everything on effect and sound judgment; and if, in such class of design, the object must be attained by the quantity of colours, it proves the poverty of the artist's resources.

The partially solid border, which is a combination of the first mentioned, consisting of square, or undulated solid bands, with transparent background, should, in character and combination of colours, be also alike; modified, however, by the consideration of these solid spaces, on which the ornamentation should be simpler, and in good harmony against the colour of the background. These backgrounds are in various tints—the most common in use is gold; we have also crimson, ultramarine, purple, and not unfrequently black. On all these, the taste of the illuminator is called in to produce a good contrast in the arrangement of colours, and the less confused by quantity the better.

There is another style which I have adopted, and which scrupulous antiquarians would not designate as being strictly legitimate, in which the arrangements and a profusion of contrasting colours, is allowable and even desirable. I published the class of design I allude to in the "Victoria Annual of 1844," the originals of which are in Her Majesty's possession—the chief attraction consists in the design of the initial letter, and the first word of the poem or subject, which is prominent at the head of the drawing, enclosing the remaining text in a small narrow framework, surrounded more or less by elaborate scrolls, arabesques, medallions, etc., always avoiding known and accepted mediæval ornamentations from the old missals as much as possible, in order not to mix the different styles in one drawing. This style has found much favour with modern artists, on account of its graceful effect, the absence of conventional stiffness, and the rapidity with which a composition may be arranged. Legitimists do not like it from mere affectation; they would prefer crude, ugly, misshapen ornamentation, flat and unfinished, as long as it resembled a conventional style. For the same reason they object to green gold, or agate ornamentations; yet what can be more attractive than the yellow and bright green gold in combination, enriched by the artistic engravings of the agate? What more gorgeous to the eye than a display of graceful curves fantastically interwoven, enclosing highly-finished medallions, and thrown up by all the effects imagination and art can conjure up? Some of these specimens may be seen at my own gallery, and amongst them a rich specimen of a chess table which figured at the Great Exhibition in 1851, and which occupied me two years in painting. There are numerous other styles; and even modern art illuminations may be multiplied in an almost infinite variety; but the experience in such as are above alluded to, will give sufficient instruction, and regulate a classical and perfect taste, under whatever circumstances afterwards the pupil may be called upon to exercise his skill.

Within the last few weeks, I have designed and published a Series of Outlines, called the "Beauties of Shakespeare," illustrative of the poetical genius of the great bard, in which the attempt has been made to embody the poetical creations of the Poet in vignette illustrations of the text, interwoven with suitable ornamentations, light and aërial as the fleeting thoughts of the Poet himself, unencumbered by formal square borders, and avoiding all conventional ornamentations, which, strictly speaking, belong to sacred art only. Six subjects from the "Tempest" form the first series, in which the songs of Ariel are surrounded by descriptive and pictorial illustrations of the text, and the choice sentiments of the chief personages in the play, such as "Prospero," "Ferdinand," and "Caliban," are duly illustrated throughout the ornamentations with pleasing and appropriate effect. Six more subjects from the "Merchant of Venice," which forms the second series, are treated similarly, and to this, the more dramatic description of the text, afforded a widely different opportunity in producing totally distinct effects, by which sameness was entirely avoided. Sufficient of ornament is, however, preserved to throw in harmony and healthy contrast of colour and gold, to keep it legitimately within the range of "illuminated illustrations." Whether the modern taste will encourage this attempt at innovation,—whether it will attract the sympathies of a new school of artists, or not,—or be condemned by the more severe and uncompromising antiquarian, experience and the success or failure of this publication will prove; if successful, the boundless wealth to be found in the pages of the illustrious dramatist, will afford ample material to follow up this publication by similar attempts in his other, and perhaps more popular plays.

WHILST the student may profitably employ himself in attempting minor trifles—initials, copies of anything within his reach, or his own ideas; to acquire proficiency in the art, it is requisite to employ a master to direct his taste on the one hand, and to lead him on step by step to perfection, on the other. It would be highly essential to him to study the ancient missals, so as to enable him to distinguish the progress the art has made in various countries and in different ages. It is a field for deep research and study, to note the different styles adopted at different epochs, from the crude development of art of the fifth and sixth centuries, to the refined and exquisite productions of the Italian and Flemish schools of the fourteenth century, and again down to the inferior and flimsy style of Louis Quatorze. It is from the study of these, that his own ideas will be developed and improved, and that his modern notions of beauty and effect may be advantageously thrown in, to produce original and classical productions, abandoning that which is absurd and meaningless, and substituting that which is rational, effective, and beautiful. The pedantic absurdity of retaining any class of ornamentation, solely because it was used in the early ages by our ancestral predecessors, on account of their notions of drawing and perspective being imperfect, is as rational, as it would be for the vigorous offspring of a lame parent to use crutches and insist on walking lamely; and whilst we may justly admire the ingenuity of their efforts in producing the historic records of their skill, we may, at least, elevate our taste in improving on that which plainly bears the stamp of their imperfections. In composing a drawing, the student should select the style of a certain period, to which throughout he should strictly adhere, as the adoption of different styles in the same drawing is both inconsistent, and evinces bad taste; to mix up the Gothic with the Louis Quatorze, or the Elizabethan with the Italian style, would simply be absurd. The writing of the text, the initial letters, the ornaments, costume, armory, etc., all should partake of the corresponding epoch. Illustrations also should be introduced according to the subject, and the ornamentations be also adapted to, and harmonize with, the whole. If, for instance, it was determined on to illuminate the Creed or the Lord's Prayer, pictures might be introduced illustrative of the lives of the Saviour and the Apostles, historical and pictorial illustrations of the Christian creed, etc. If a secular subject from Milton, Shakespeare, or Byron, the same rule should be adopted. The "Lines on a Skull" from Byron might happily be illustrated with emblems of mortality, whilst the numerous episodes to be gleaned from the immortal pages of our great dramatist, Shakespeare, furnish an almost inexhaustible spring of truth and beauty, from which the young illuminator may draw his subjects for illustration; great liberty being allowed for embodying the imaginations of the poet with his own, and affording ample opportunities and material for the exercise of his inventive powers as an illustrator, thereby evincing a decided stamp of reflective genius. Above all, never attempt to illustrate a common-place subject, or defective and puerile poetry; it is not worth the pains of a single daub of colour.

In arranging a subject for illumination, I should first draw my attention to the initial letter at the head of the text. There are thousands of specimens in the British Museum; and many publications of alphabets are in existence, very useful for the beginner; these may be varied, or strictly copied at pleasure.[D] Colours may be changed, scrolls or foliage altered, taking care that alterations are judiciously made, and really improve the general effect. The initial letter being settled on (which should, if possible, in some manner bear on the subject-matter of the poem or episode), I would recommend next, to write the text in old English, or Church Text, each line being ruled-in equi-distant, and the capitals left blank, to be painted in afterwards; and where a word at the end of a line is so short as not to fill up close to the margin let the space be filled up with a small ornament in some colour; where a word is to be prominent, write it in gold, or red, or a different colour to the general body of the text; when the writing is completed, I would arrange the border, one side of which may be double the width of the other, the bottom also wider than the top; if pictures are to be introduced, sketch out a proper framework first for their reception. These arrangements form the groundwork of the drawing; scrollwork may then be introduced, beginning at some corner, or springing from the framework of the intended picture; when that is nicely arranged, the same scroll might be repeated, upwards or sideways by transferring the tracings; the intervening spaces, if too naked, can be filled up with flowers, taking care that, in the reduction of the size of the flowers, they each shall preserve a relative proportion to the other, equal to the scale to which they are reduced; this is very essential. If any insects are introduced, this rule should also be observed. It would look very ridiculous that a butterfly, fluttering over a rose, should be as large or larger than the rose itself, or that a caterpillar should assume the size of a conger eel in proportion to the size of a heart's ease introduced in the same drawing; one's natural judgment will suggest such faults as absurd, and they should be avoided. If the border is to remain transparent, lighter ornamentations may be introduced to fill up the blanks; and finally, all the white parts may be covered by thousands of little dots, in colour and gold, taking care that in size and distance they are all alike; this last process can be effected either with the brush or fine steel pen, as best suited to the ability of the pupil; if it should be determined on to fill up the blanks with a solid background of gold, the spaces need not be crowded too profusely with small details, since the filling up of the gold would become tedious. If solid, a white line of equal distance may be preserved round every object in the border: these lines should be drawn round carefully first (not too wide), and afterwards filled up solid. This white edging forms a very soft and pleasing appearance in the drawing. If the gold is closely to fill up against the scroll or flowers, you may throw a strong shadow under it on the gold, by which means the ornaments will appear to stand out in bold relief, and be very effective, taking care that the shadows are properly thrown on, and always according to the strict rules of drawing.[E] The solid part, instead of gold or silver, may also be made of a light tint, such as a pink, or light blue, or deep purple, or even black; in which case the same colours in deeper tint, with solution of gum arabic may be used, this will throw up the shadow more perfectly; the solid parts should then be scrolled over with close and fine ornamentations of permanent white or gold on the black background. As the varieties of effect are so very numerous, I think it best to leave the judgment of the pupil unfettered, to suggest the varieties himself, or to consult the various specimens in the manuscript room of the British Museum. A very effective mode of painting pictorial illustrations (known by the name of Cameo painting) may also be resorted to, viz., to draw a subject for illustration or a group of figures, all in one colour, including the background, say blue, the outlines are given on the side where the light falls, in gold; on the shaded side, with a deeper blue, the lights are gradually tinted over with gold, and the shadows shaded in with darker blue. This mode of introducing pictures was very prevalent in the Italian missals of the twelfth and thirteenth centuries; and I have seen them executed in every colour, with very good effect.

THE vellum (which should be the best Italian, and prepared from the kid), is of peculiarly fine and white texture, different from parchment both in substance and quality. I import it myself, and previously prepare it for the artist, so that both sides are equally good to receive the drawing upon. Yet there is always a preferable side, which can easily be distinguished: it is in reality the inside of the skin, and has the smoothest appearance. The price varies, according to the size, from 10s. to 3l. the skin. Parchment of course is much cheaper, and English vellum may also be had, but it does not possess the beautiful and even quality of Italian. To prepare it for drawing, it should be stretched on a board made of good deal; the vellum should be cut larger all round than the board, by about its thickness (three-quarters of an inch), and sponged with a perfectly clean sponge and water, on the side only which is to lay against the board. When moderately soaked, it should be laid between a fresh mangled napkin for about five minutes, to let the vellum get an equal moisture; the board is then placed on the top, and the two corresponding sides are tightly folded over, and resting it on the side, you begin to nail from the centre, with small gimp-pins, till one side is completed, each pin to be about one inch and a half apart. You then do the same operation on the other side, previously stretching it slightly and evenly with the hand, and then again fixing the pin, from the centre till the second side be completed. You then again lay the board flat on the napkin, and fold the two ends over as before, and complete the stretching of the vellum in a similar manner. You will then have only the back of the drawing-board uncovered by the vellum. Let it gradually dry when it will lie perfectly smooth and unwrinkled; and it is then ready to work upon.

IF a copy is to be made of any illumination, the easiest mode is by affixing a piece of French tracing paper on the back of the drawing, and throwing it over the front; begin with a fine-pointed H H H pencil, to draw an accurate outline of the whole thin, pale and delicate. Above all things, be correct; do not trace more than is necessary for your object, and avoid details, which may more easily be put in by the eye. Too much tracing often confuses. The upper and inner line of the hair, the eyebrows, the line of the nose, the upper line of each eyelid, the central line of the mouth, and the contour of the cheek and chin, is sufficient to give a correct tracing of a face; if you trace more, in retracing it you will get confused. With ornamentations the same rule applies; trace only as much as will secure your object. When your tracing is complete, unfasten it, and attach it by two spots of gum to the back of the drawing-board or vellum prepared to receive it, and placing the red prepared paper between it (with the prepared side towards the board or vellum), you trace over it with the same pencil (using a little pressure), and you then obtain a fine, thin, delicate and faint red tracing on the vellum. In this operation, in order to work cleanly, the following rules must be observed. You should use a fine H H H sharp-pointed pencil; you should not press hard to make the transfer too red, nor should your pencil-tracing in the first instance be otherwise than light; it becomes deeper when the pencil goes over it a second time, which avoids the necessity of lifting up the paper, to ascertain where you have or have not been over. A good, correct and delicate transfer makes it pleasurable to paint; a coarse deep red one gives the artist an infinite deal of trouble, and the drawing in this case will always look smeared and dirty, which with a little attention can easily be avoided. As the prepared red paper cannot always be easily obtained, it is much easier to prepare it yourself, which is done as follows: Purchase at the chemist's a quarter of a pound of red French chalk, scrape some with a table-knife on the thinnest white writing paper you may have handy, and with a piece of wadding rub it equally over the surface, taking care that the other side is kept perfectly clean; no grease or water should be used in this operation. Should a pencil tracing be preferred, blacklead may be used instead of the chalk.

THE raised gold ornaments, which form so brilliant a relief, amidst the gaiety and contrast of well-arranged colours and matted gold, are subjects which require a great deal of practice; they should be used, therefore, sparingly at first, on account of their difficulty, and they should always be introduced with great judgment, since a profusion of bright ornamentations distracts the eye from the main subject, and becomes extremely vulgar, resembling much that ginger bread appearance of the French class of tinsel and emptiness; whilst a moderate use of them, here and there, enriches the drawing, without their effect becoming tiresome and destructive to the general beauties of the drawing itself. They should, therefore, be limited to small raised dots, or tre-foiled leaves only, a line to form a bright shadow on the dead gold, or the arteries on a leaf of green gold. They may also form a circle round a gem of ruby or emerald, representing the setting or mounting of real gold, and such other trifles as the subject may require. Water gold-size, for the purpose of producing these raised ornaments, is well calculated to effect this. The brown paste contained in the little vessel is used in a similar manner as a cake of water-colour, wetting it with a sable brush, till of sufficient consistency, and painting with it the desired ornament, and raising it by dropping freely sufficient paste on it, which, by its own gravity, will be properly rounded off, and becomes, when properly set, fit to receive the gold leaf. It stands then raised on the vellum, and may be increased ad libitum by dropping more and more on it till sufficiently high. In ten or fifteen minutes, at furthest, when sufficiently set, cut a piece of gold leaf (always a trifle larger than the object), and previously slightly breathing on it, with the warm breath, place the cut gold leaf on it, either with the point of a brush, or clean scissors, or a pair of steel tongs made for the purpose. The gold, being thus placed on the top, should receive the warm breath again, and immediately it will adhere firmly to the moistened matter: leave it there for about one hour, when it will be properly hardened; after which, with a soft clean piece of wadding, rub it over, and the superfluous parts will loosen easily, while those intended to be gilded will remain. Should any part be imperfect, apply the paste again as before over the imperfect part, going through the same process till complete. This, however, will not occur when the pupil acquires sufficient experience of the material with which he has to work. Another mode of raised gilding, and one which, in my opinion, is more expeditious and less troublesome, is effected by my "Liquid Gold Cement," which is used in a similar manner as the "Enamel White," and is partly composed of the same material, with some slight addition. You dip the brush in the bottle, and use it rather thinly at first, whilst delineating the ornamentation, and afterwards drop on it (whilst wet) as much of the same as the brush will hold, till sufficiently raised; in about half an hour, being properly set, paint over it, in either colour, gold or silver, and when quite dry and hard, let the same be burnished over gently with the crooked agate, and the ornament will stand brightly out in the drawing; this mode I much prefer to the former. There is still another and better method, which I make use of in large and elaborate work, but which I only can communicate to my pupils personally, as it is a process that cannot possibly be imparted in any other manner than by personal superintendence and demonstration.

HAVING given a detailed explanation of the mechanical means to be employed, sufficient for the student to practise the "beautiful art of missal painting," permit me to add a few words in conclusion, which I hope will not be thought superfluous. Deeming it essential to be as explicit as possible in the treatment to be adopted, I have not left a single subject unnoticed, which requires the attention of the learner. The illustrations I have been enabled to give are merely explanatory, but sufficient to help the pupil, with some of the leading features observable in the illuminations of the middle ages. For the purposes of research, no other than the very originals ought to be consulted, which lie within the reach of every one to examine, at the British Museum. In that splendid collection quite sufficient store will be found to furnish the student with ample means of research, without the necessity of travelling on the continent, though, no doubt, a great many gems of art are to be found in the Vatican, or the Royal Library at Paris. But in a collection so extensive as that in our own national Museum, or the libraries of Oxford and Cambridge, we can find sufficient to satisfy the most fastidious and ardent lover of art. It is essential for the student to study originals; and I have made it a practice to accompany my pupils at least half-a-dozen times to the manuscript rooms, during their course of instruction, for the purpose of calling the attention to what to him or her is essential to know, and to afford an opportunity of making such extracts as afterwards may usefully avail. They then can note down the progress of art from age to age, and the gradual development of decorative improvement, progressive with the advancement of civilization; yet, strange to say, though our own age claims to have reached that, in an eminent degree, the decorative art, as indeed arts in general, have not progressed in the same proportion; how to account for this, is, not that art has arrived at its climax of excellence; but that most of its followers of the present age have contented themselves by strictly admiring and copying the mediæval artist, instead of exerting their own powers to excel him.

Our age is too utilitarian. The artist now merely toils to live; while, formerly, his ambition took a higher flight; for then he laboured for fame and for posterity. The artist, however, who does not solely paint for gain, and who, from circumstances, is happily freed from the trammels of poverty, should strive to excel his predecessors. There is much room for improvement; modern inventions have sprung up; mechanical contrivances have advanced; new and interesting objects of natural productions have been brought within his reach, from the furthest limits of the habitable globe, to enrich the resources of his inventive powers, unknown to the antiquated monastic scribes, to whom we owe so much. Our advantages over them are obvious. Why, then, should we not excel them? Let it not be considered that this art is a mere mechanical amusement; a mere ingenious contrivance; a daub of colours and gold—showy, flimsy, and unmeaning. Though much of that exists in our modern decorations, it is highly desirable that it should not partake of that character; a little taste, a little poetry, gracefulness, order, and some display of general knowledge, of artistic combinations and principles, cannot fail to make our productions more valued and valuable. Give a tinge of some originality,—display an attempt of your own inventive powers, based upon acknowledged principles of beauty and effect, and your productions will soon reach an eminence of which art is ever capable! Though the age of romance and chivalry has gone by, and we live now, strictly speaking, in that of sober reality, our artistic productions may at least show that such things have been, and may happily awaken a dream of what life once was. The study of combination and contrast of colours, affords him ample means to exercise his taste; and the eye becomes instinctively capable of discerning that which is graceful and beautiful, and that which is not. But his task is more severe than that of the painter, inasmuch as the constant demand for new ideas and effects, is a continual drain upon his inventive powers; the more these are exercised, the more original his productions, and the more likelihood there is of his excelling the mediæval artists.

It is only within the last fifteen years, that the art of illuminating has been newly revived: it has slumbered for nearly two centuries in total oblivion. I do not remember ever having seen an old missal in my younger days; so little was it considered of importance to the artist; yet what a store of information may be obtained from them! What illustrations do they furnish of the progress of the human mind and of civilization! What light do they throw on the manners, customs, and morals of bygone ages! What links do they form in the gap of historical events, which otherwise would have been left in darkness for ever! There is scarcely a page, but on which you may trace some interesting event connected with the history of the period, its arts, its husbandry, its revels, its glories, or its shame!

The application of lithography for purposes of coloured printing or chromo-lithography in the last fifteen years, has done much to awaken the attention of the artist and the lovers of art to the treasures mouldering in our libraries and museums; by its aid we have been enabled to obtain copies and specimens of illuminated printing, almost perfect facsimiles of the originals. It has stimulated the artist to pursue a new track for his operations; it has infused a corresponding taste in the public mind for ornamental improvement, which has manifested itself in every branch of manufacture. The interior decorations of the House of Lords afford a striking proof. A century ago, when pigtails and cocked hats were the fashion, such a gorgeous display of ornamental grandeur would not, and could not, have been suggested.

The religious associations which suggest themselves in the study of the old missals, is an element which has proved itself sufficiently powerful to our present generation, as to induce a spirit for its revival. The English as a nation (to its credit be it said) is a truly religious one. As a sacred art, then, it is alike reconcilable with their devotional habits on the one hand, and their indefatigable industry on the other, not to grudge some spare time, to its alluring attractiveness. English ladies, of the highest rank, even, have each of their hours apportioned out to some useful object. This art now takes a distinguished place amongst them, and claims a great share of their solicitude, as it affords them calm and sacred thoughts to dwell upon, and ways that may be described, in the language of the Proverbs, as "ways of pleasantness and paths of peace," and that, which is anything but frivolous or worldly—divested from the pictorial and symbolical emblems of the Romish Church—the art has enough left of holy associations, to make it harmonise with the feelings of the Protestant profession of faith without being offensive. Those possessed of sterner religious scruples can fly to the secular illustration of the poets. Our literature, so rich and so eminently descriptive, opens a wide field for the followers of this art to indulge in, thus creating another field for the artist's genius equally imaginative and interesting. Tennyson's, Longfellow's, or Moore's pages are abundantly fertile in images of beauty, to single them out as fittest for the modern illuminator. All that is required (for the interest of the art) is the formation of a good school. The Illuminating Art Union of London has made a laudable attempt to establish this; its annual exhibition opens the door and invites the public to co-operate, not so much by pecuniary support as by the aid of their contributions. Those who have the ability, and have already gained their laurels, should set the example; it will add much to their popularity, and not diminish one jot of that fame their talents have already achieved. True art should not be selfish. Monopoly in art, as in corn, affects the food for the mind, as in the latter, it affects that of the body. That society, happily, is not exclusive. Though supported by the highest in the land, it co-operates with the humblest in one common labour and one common object. Rank is forgotten, so long as their association with their fellow-labourers tends to humanize the masses, which, through the means of a sacred art, is so easily effected. That its labours may be successful, that its hopes may be realized, the strenuous efforts of its promoters, and their persevering exertions, are ample guarantees that the interest of those sanguine in its success is amply secured.

The International Exhibition of 1862 (notwithstanding the factious outcry against the unfortunate building, and its hapless Architect), was conspicuously successful, on account of the marked advance Industrial Art had made, not only in the produce of foreign Exhibitors, but mostly so in that of our English artizans, as compared with that of 1851 in Hyde Park. As far as English Industry and skill was concerned—it left its unmistakable traces behind, that since our first exhibition, when England entered the lists with foreign competitors, it had at the latter attained a miraculous improvement in design, which no doubt was owing to a more extended and systematical culture, and to which, the numerous "Schools of Design" now established throughout the kingdom gave rise. This improvement was so perceptible by our neighbours, that even recently a celebrated and well known French statesmen and political economist, has not scrupled to express his fears "that our English manufacturers had made such progress, that sooner or later they would displace the foreign producer, and monopolize the markets of the world!" And will it now be believed, that unquestionable as it is, that this improvement is entirely due to the more extended cultivation of Ornamental Art in this country—that the Royal Commissioners of 1862, with all their collective wisdom, with their enlarged views and former experience, and with the valuable aid of highly gifted men in all departments of Science to guide their councils, should have been short-sighted enough, peremptorily to refuse admission to any works of illumination, or decorative Art, on the meagre pretence that there was no space available for such works, which in 1851, however, were deemed of sufficient importance, and to have exercised such influence on Art manufactures in general, not only to admit them freely, but to award several first-class medals, to Artists, who then even enjoyed a European reputation! (Vide report of the Exhibition of 1851). All remonstrance which could have been urged by me, against such suicidal an Act, was cut short by the curt and red tape reply—"that the Royal Commissioners having once determined on any point there was no appeal from their decision."—This closed a vexatious correspondence in December, 1861, and it was not till the following April, a short month previous to the opening of the world's fair at Kensington, that among the arrivals of some productions from Japan, one I particularly noticed to consist of an "Historical Biography," a specimen of curious Caligraphy, and embellished with artistic illuminated borders in gold and colours. It was then that I ventured to address an earnest protest against this unseemly partiality to a gentleman high in office, and well known for his well earned reputation, gained in connection with the success of the first exhibition, and to his honour, be it said, immediately on receipt of my letter, he placed himself in communication with the "National Board of Education," and had influence enough to reverse the decision which the Royal Commissioners previously had arrived at. Space was then granted (almost unlimited) for the reception of Missals and Modern Illuminations. I managed by great persuasion to induce the members of the "Illuminating Art Union of London," to send what specimens they hastily could gather together, and some fifty subjects of more or less merit were hurried to the building, and placed without order, without classification, in the gallery next the great dome, amongst the Architectural designs—perhaps some thirty more from private sources, amongst which were specimens from Owen Jones, Audsley and others, were the joint and meagre contributions, which the International Exhibition of 1862 received within its walls. Unprepared and without any special object, there was not a single contributor who deserved or could lay claim to any attention from the thousands who daily visited the building. I believe the wax dolls and sewing machines gained more notoriety. Unhonoured and tacitly admitted, we were ignominiously buried in a corner—the whole collection as representing the illuminating talent of this country was a miserable failure—one solitary specimen, a beautiful little prayer book in the Austrian Court, a gem of high Art of modern Illumination was worth seeing, and worth more, as a work of Art, than all the combined skill displayed in the corner of the Architectural Gallery. Who was to blame for this egregious failure? Is it to be laid at the door of our own Artists, or to the mistaken judgment of those who had the nation's interest so much at heart and who deprived us for six months of the opportunity of preparing something specially for the occasion? Has illuminating done nothing for the manufactures of this country? Ask Bookbinders, Silkweavers, Architects, Sculptors, Decorators, and every handicraft besides, in which decoration forms its chief ingredient—ask the "School of Design" whether the inspiration of its latent genius, was not derived from the impetus modern illumination has given to decorative Art in general. Is it a fair standard of what English skill might have accomplished, to judge it by the miserable refuse of stale bits of tinsel and text-writing which was exhibited there? No wonder that in all the elaborate reports which daily appeared in the "Times," not a single line was penned to the Art Illuminations of 1862—it is to be hoped that the opportunity thus lost may not be fatal to the further development of an Art, which has and still exercises such beneficial influences on our Art manufactures and civilization.

I IN my first edition, in 1850, I suggested the publication of classical outline borders, which I only carried out in 1856, when my second edition made its appearance; the first part of six outlines, royal quarto, was then produced to try how far the public would appreciate their usefulness. The first attempt proved a decided failure; they remained unsold, because the uninitiated did not know how to apply them, having no model for their guidance. I then tried them with a small fragment, illuminated-in by hand, which, in all cases, forms a complete key as to the effect intended to be produced in the whole remaining border. This met with a decided success; the public eagerly purchased these partially illuminated outlines; and very seldom any plain subjects afterwards were asked for. The demand has ever since become so extensive, that upwards of four hundred different subjects have now been published, some forming complete works in themselves, such as the 119th Psalm (twenty-four subjects) published by Messrs. Longman and Co.; and its companion, the "Sermon on the Mount," "The Beatitudes," etc., on the illumination of which a large staff of lady artists are always employed. My most anxious care was then directed as to the choice of subjects, but above all in the selection of the designs themselves. If, by an extensive sale, I found myself amply rewarded, I conscientiously felt also the importance, that the public should receive none but choice and classical models, from which they could study with advantage. I was less ambitious to furnish them with original ideas of my own, than to illustrate those various styles and periods of art, which would have a tendency to general improvement, and were likely to cause a more healthy taste in the beginner. I therefore carefully selected models from the best specimens in the libraries of Paris, Brussels, Heidelberg, and Amsterdam, besides those to be found in our own Museum, and the Bodleian library, Oxford, and which, with important alterations, I found adaptable for my object. I attempted to illustrate subjects from the seventh to the fifteenth century—from the Byzantine, Anglo-Saxon, Flemish, and Italian schools, which should form a complete grammar of ornamental art, from which the student might learn something better than to daub in a worthless or a meaningless design. I abandoned all pictorial illustrations (in the sacred subjects at all events) which could in the slightest degree be considered as sectarian, or partaking of partiality for any particular religious denomination; all my aim was directed, that the ornamental border should be applicable to the subject and highly artistic, in order to be perfectly and usefully instructive. To pervert the taste, then, by producing decidedly ill-conceived ideas, in the shape of outlines, which any sign-painter might produce with equally good success, I conscientiously opposed. As a stepping-stone towards achieving better things my method only is defensible, as an attempt to awaken the taste of the beginner, which afterwards may tend to develop originality in him; how inexcusable, then, to place rubbish in his hand for the mere purposes of gain. I am sorry my unscrupulous imitators are differing from me; and I am more sorry that a man, whose genius as an illuminator is of European repute, should have been found really capable to endorse with his authoritative approval, the worthless productions of a trading publisher as "most useful models," and insert that statement in one of the most valuable publications on the art of illuminating hitherto published. To put the public on its guard, both as to the malproductions themselves, as well as to the opinions thus promulgated with so much appearance of honest "criticism," and industriously paraded forth in the trade-lists of the speculative publisher, has been my principal motive for introducing this subject into the present volume; as I feel too much interest in the pursuit, not to denounce the worthlessness of these publications, which can only tend to injure a beautiful art. I introduced my outlines with the deliberate object of directing the taste towards the development of a highly pleasing and instructive accomplishment, the interest of which is daily gaining ground with the public, and to lessen the difficulties which surround the illuminator as much as possible; for this purpose I took away from him the responsibility of forming his design, for which his inexperience was not fitted. I left him enough to do, in arranging his colours and producing his effects. It was only when the outline was illuminated, that he could appreciate the beauties of the design; and it is from that appreciation, that his own ideas would become sufficiently matured to invent one of his own. The effect of this truism was amply demonstrated in the fact, that one of my distinguished lady pupils, who for a year had practised on these examples, was successful enough two years ago to carry away the "first prize" for the best original design of the "Beatitudes," awarded to her by the Illuminating Art Union of London; on the merits of which Messrs. Owen Jones and H. Noel Humphries gave their valuable decision. Had she studied from modern and meaningless models, her beautiful Italian border would never have been the result.