PART II.

Practical Directions xxxii. Colours xxxiii. Appendix xliv.

=_Plates._= Monograms: 7th and 8th centuries i. From the Bible of Charles the Bald, 9th century ii. From a Bible, 12th century iii. Opus Anglicum iv. Hours of S. Louis v. Les Merveilles du Monde, 1409 vi. Chronicles of England, Edward IV. vii. Hours of Henry VII. viii. Hours of Anne of Brittany ix. 14th and 15th centuries—Initials x. Ditto xi. Italian Initials xii. Outlines of the above xiii. to xx.

Preface.

As the taste for illumination continues to spread, the want of an elementary work on the art becomes more and more keenly felt. Persons possessed of real artistic skill turn their attention to it, and after designing and executing work which, according to all the rules of art known to them, ought to produce a correct and pleasing result, are amazed at the ungainly conglomeration which is the reward of their labour. The secret of this is, they are unacquainted with the fundamental principles of the art. Others, setting to work in a safer way, place before them a specimen of mediæval illuminating work, and endeavour to produce an accurate copy of it; they too are amazed at finding that, after all the pains bestowed on it, their copy has an effect so different from that of the original. The secret of this is, they are unacquainted with the peculiar method of manipulating the colours, &c. used in illuminating. What both need is, elementary instruction in—first—the principles; and, secondly—the practice of the art.

It is to supply this want that the ‘PRIMER OF ILLUMINATION’ has been conceived. It contains just so much instruction on the history and principles of the art, as may serve to fix on certain definite bases, the wandering and somewhat hazy notions of people on the subject, and enable them, by reference to good examples, to erect their own superstructure on a certain foundation; and just so much instruction in the practical part of the art as may enable them, in a great measure, to teach themselves how to practise it. Advice is also given on the selection and purchase of colours, instruments, &c., and a progressive set of studies, printed both in outline and in the proper colours, and gold, is added to furnish models for copying.

Incidentally, an effort has been made to correct a few of the prevalent popular errors on the subject—such, for instance, as that every illuminated service book is a ‘missal,’ and so forth—and which errors stand sorely in the way of the beginner’s right comprehension of the subject.

All the examples selected have been taken from undoubted authorities, and will be recognized by persons acquainted with mediæval books.