Part 1

Emblematic Illumination; OR, Forms, Colours, and Emblems

SUITABLE FOR ILLUMINATING TEXTS OF HOLY SCRIPTURE IN LARGE STYLE, _IN OILS OR WATER-COLOURS_.

COLLECTED AND EDITED BY F. M. R.

_London_: DAY AND SON, _Lithographers to the Queen_, 6 GATE STREET, LINCOLN'S-INN-FIELDS.

_Price 5s. 6d._

PREFACE.

The Editor of the following pages has no desire to offer them in competition with the numerous and useful Handbooks on Illumination already published. All those that the writer has met with--some eight or ten--have been almost exclusively directed to the study of Missal Painting and Illuminating on the most _minute_ scale. The exceptions to this rule are a few occasional remarks, merely hinting at the larger and more popular style.

The principal omission, however, which this little book is designed to supply, is the _emblematic_ branch of the subject. Amateurs most generally confine themselves to illuminating texts of Holy Scripture on a large scale, to assist in which numerous printed outlines are now published. But, from complete ignorance of the rules of ecclesiastical colouring, the amateur not only becomes hopelessly bewildered as to what colour to select for particular words, but, in falling back upon his own taste for guidance, commits errors which destroy the emblematic beauty of his work. The significance of colour is greater than is generally supposed, and will be found a subject of much interest.

Such sacred symbols as could easily be introduced into illuminated scrolls have been described, in the hope that, by their assistance, a taste for strictly appropriate ornamentation may be more largely cultivated, to the exclusion of those unmeaning and tawdry decorations which offend the eye.

Instead of furnishing copies of antique capitals, of which so many excellent collections now abound, it has been thought more useful to supply the reader with some specimens of emblematic letters (which may suggest other similar designs), suitable for particular texts, several of which are also subjoined.

The instructions for the mechanical part of the work are given on the authority of experience, while the significations of colours and emblems have been carefully collected from larger and standard publications.

F. M. R.

_A Selected List of Requisite Materials._

_s. d._ 1 Sheet of Bristol Board, or Vellum-Paper 1 0 1 Long Wooden (flat) Ruler 0 6 1 6-inch Bone ditto 0 6 3 Pencils, F, HB, and BB 0 6 1 Cake of Lamp-Black (moist) 1 0 German Blue in Powder 0 6 "Carmine" ditto 0 6 Vermilion ditto 0 6 ½ Cake of Emerald Green (moist) 0 6 Bessemer's Gold Paint, or Winsor and Newton's Liquid Gold 1 0 Gum Arabic 0 4 2 Red Sable Brushes, 6_d._ and 8_d._ 1 2 1 Best Camel's-Hair (for Gold) 0 3 3 Saucers (2 large and 1 small) 0 3 Indian-Rubber 0 1 Spirits of Turpentine 0 3 1 Large Sheet of Millboard[A] 0 8 1 Sheet of _Transparent_ Tracing-Paper 0 3 White Tissue-Paper 0 3 ------- 10 0 -------

[A] This, divided _longwise_, serves as temporary Portfolio and Drawing-board.

* * * * *

_Emblematic Scrolls_; _Or, Texts in Outline, containing Capitals, &c., similar to those in our Coloured Plates_.

THE FOLLOWING ARE NOW READY:--

ONE SHILLING EACH.

No. 1. "_Fear not, I will help thee._" 2. "_Look unto_ ME, _and be ye saved_." 3. "MY _Peace I give unto you_." 4. "_The_ LORD _will provide_." No. 5. "_Be clothed with humility._" 9. _In Cœlo Quies._ (In Heaven is Rest.) 13. "_Bring forth, therefore, Fruits meet for Repentance._" No. 12. "_Little Children, Love one another._" "_Speak Gently._" "_Be Patient._" 1_s. the set_.

ONE SHILLING AND SIXPENCE. (INCLUDING PHOTOGRAPH.)

No. 10. "_I am come that ye might have life._"

ONE SHILLING AND SIXPENCE EACH. (INCLUDING DIRECTIONS FOR COLOURING.)

No. 6. "HE _shall give_ HIS _Angels charge over_ THEE." No. 7. "_Unto you is born a Saviour, which is_ CHRIST _the_ LORD." No. 14. "CHRIST _is risen! Alleluia._"

TWO SHILLINGS. (INCLUDING PHOTOGRAPHS.)

No. 8. "_Glory to_ GOD _in the Highest, on Earth Peace, Good-will towards men_." No. 11. "_Be thou faithful unto Death, and I will give thee a Crown of Life._"

NOTE.--These Scrolls cannot be sent through the Post unless 1_s._ 8_d._ be added for Postage and Packing in Millboard.

FORMS.

_Drawing._

[Sidenote: Eccles. ix. 10.]

To begin with the purely mechanical part of our work, let us enumerate the materials required for drawing the outlines:--

[Sidenote: Pencils.] 3 Pencils--F, HB, and BB. 2_d._ each.[1]

[1] N.B. The prices of materials vary so much, that only a general idea can be given of them, as some guide to beginners.

[Sidenote: Indian-rubber.] A piece of Indian-rubber. [Sidenote: Brushes.] Red sable brushes; the sizes sold at 4_d._, 6_d._, and 8_d._ each: also 2 small sizes of the _best_ Camel's hair, 2_d._ each, necessary for Bessemer's gold paint. [Sidenote: Cardboards.] Large sized London or Bristol board, 6_d._ per sheet, and upwards. This is a glazed (hot-pressed) cardboard. "Mounting-board" is rather cheaper, costing 6_d._ and upwards for a large sheet, but, not having so fine a surface, will not so easily bear rubbing out. It takes colour well. Pale-tinted cardboard, grey, brown, &c., is sold in large sheets, at about 8_d._ per sheet. [Sidenote: Vellum-paper.] Vellum-paper, a good imitation of vellum, is sold at 1_s._ per sheet. [Sidenote: Tissue and Tracing-paper.] Some sheets of white tissue and transparent tracing-paper; the latter for preserving copies in outline. [Sidenote: Rulers.] 2 Rulers (flat); one of wood, about two feet long, another of bone, 6 inches; 6_d._ each (ivory, 2_s._.). A T-ruler is very useful; 1_s._ and upwards. [Sidenote: Portfolio.] A portfolio, 2 feet by 10 inches, to hold the scrolls, would be useful in preserving them from injury; cost, at the drawing-shops, 3_s._ 6_d._ A list of the necessary paints will be given in the directions for colouring, page 9.

[Sidenote: Alphabets (capitals).] The beginner should endeavour to obtain one or two sheets of alphabets (capitals) in black and white, of the full size required, say about two inches high.

[Sidenote: Lower-case (small letters).] An alphabet of "lower-case," or small letters, is subjoined, which will be found to harmonise well with almost any capitals, and is in proportion to those of two or two and a half inches high.

[Sidenote: Enlarging or reducing Capitals.] But although the beginner will do well to copy or trace letters of the exact size required, he cannot too soon commence the practice of enlarging or reducing the copy, otherwise many very beautiful initial letters will be lost to him. The great art in copying on a different scale is to observe carefully the proportions of the original: keep every branch of the letter _equal_ in thickness, if the original be so: or if copying, for example, a capital A, and one side of the arch be twice the width of the other, let the copy preserve the same proportion. In the letter B, observe if the two bows be of equal size; the lower is generally the larger of the two. In an equal-sided letter, like M or O, observe what ornamental parts are opposite to each other.

[Sidenote: Enlarging or reducing Small Letters.] In drawing (or copying) small letters, be careful to make the stems of _equal_ width or thickness, and those which pass above or below the line of equal and proportionate height or length. The tops of t's should always be lower than those of the other long letters, as in writing, and the dots of the i's in a line with the tops of the t's.

[Sidenote: Books of Alphabets, &c.] There is a small book of mediæval alphabets, published by Masters, price 2_s._, suited to beginners. _The Book of Ornamental Alphabets, Ancient and Mediæval, collected and engraved by F. Delamotte_ (published by E. & F. N. Spon, 16 Bucklersbury, London), is valuable to those who can enlarge while copying; it contains upwards of forty alphabets, beginning with those of the 8th century, also several initial letters, and a page of monograms, crosses, &c.--most of the alphabets are one inch in height--price 4_s._ The best and most recent collection of letters that I have met with is _The Handbook of Alphabets, Initials, and Monograms_, engraved by William Gibbs, published by Houlston & Wright, 65 Paternoster Row, London, price 5_s._

[Sidenote: Value and use of Capitals.] [Sidenote: Dedication.] In arranging for the outline of a text, first select the necessary capitals. The initial (or first letter) must be the handsomest of all, as being the introduction and dedication of the work to The Blessed Trinity. Capitals are generally employed throughout the Sacred Names; the first letter may be the largest, the following of the same height as the small letters.

[Sidenote: Emphasis.] They are also prefixed to such words as we wish especially to emphasize, as in the following examples:--

_Be clothed with Humility._ _My times are in Thy Hand._ _Watch and Pray._

The emphasis of _colour_ will be given in the proper place (pp. 14, &c.).

[Sidenote: Distinction of Style, Date, and Country.] It is advisable, if possible, to select the capitals from the same alphabet; but if all that you require for the text do not suit your taste, there is no absolute objection to the introduction of others, subject to certain conditions. On no account mix the letters of different countries; the Italian, for instance, with the Saxon; they would be utterly incongruous. Also, as a writer amusingly observes, "Avoid letting your work appear as though it had been begun in the tenth century, and only completed in the sixteenth, or, as I have once or twice seen, _vice versâ_."[2]

[2] _What Illuminating should be, and How it may be Practised_, by M. Digby Wyatt, B.A. &c., Illustrated by W. R. Tymms. Price 1_s._ 6_d._

[Sidenote: Legibility essential.] But although rules of style, date, and country, are important, they should never, in my opinion, be carried out so rigidly as to make our work either fantastic or illegible--two very serious blemishes. Indeed, if we sacrifice to strict chronological order all possibility of reading the letters without an interpreter, our labour, as far as others are concerned, is worse than useless, tending to bring the whole art into disrepute.

[Sidenote: Important Distinction.] Capitals with simple curves should not be mixed with those in which the curves become pointed, the styles being distinct.

[Sidenote: Best Styles.] The styles which prevailed from the 11th to the 14th century are considered the best, the later ones in particular. After that date the art of illuminating gradually decayed.

[Sidenote: First Sketch on Tissue-paper.] In proceeding to draw the outline of a text, it is a most useful practice to sketch it out roughly on tissue-paper, in order to ascertain what space it will occupy. This plan will prevent much disappointment (and rubbing out, which should be carefully avoided), as, even after long practice, we are often mistaken in the supposed length of a printed sentence: nothing can look worse than one-half of the letters spread widely over the scroll, and the rest crowded together, to make up for the room wasted at the beginning.

[Sidenote: Rules for Drawing the Outline.] Having decided on the size of the initial[3] and capital letters, allow a sufficient space above and below them, and cut out the strip of cardboard by a ruled line, measured accurately at each end, so that the width throughout shall be equal.[4] The spaces left above and below the _capitals_ may be equal (if for one line only), but rather less below than otherwise; 1½ to 2 inches[5] is a fair proportion. In ruling for two lines of letters, be careful to leave sufficient room between them, or the y's and g's of the upper line may interfere with the d's and h's of the lower, as also with the capitals.

[3] The initial letter is often _much_ larger than the other capitals.

[4] Various forms of scroll will be alluded to in speaking of "Borders," omitted here for the sake of clearness.

[5] These and similar measurements are given, as being in proportion to the small alphabet and capitals subjoined.

Now, with the HB, rule two lines for the small letters, as _lightly_ as possible, consistently with clearness, as these are afterwards to be rubbed out. There is no occasion to draw an upper line for the capitals, as they should be traced in: unless the hand be a very practised one, this method is necessary, to avoid much disfigurement of the cardboard from corrections.

[Sidenote: To trace Capitals.] To trace the capitals: cut out a piece of tracing-paper, an inch or two larger every way than the letter to be copied; rule a line on which to rest the letter, as it will be wanted afterwards; place this over the pattern (with the ruled line close beneath it), and trace every line steadily with the HB. This done, remove the tracing-paper, turn it over (right side downwards), and blacken all the lines with the BB pencil. Now place the letter, right side _upwards_, on the space you intend it to occupy on the cardboard, letting the ruled line correspond exactly with the lower line ruled on the scroll: this will ensure the capital being quite upright in its proper position. Hold the tracing-paper down firmly with the left hand, _never shifting it until the whole letter be completed_, and with the F pencil trace (_i.e._ go over) every line of the copy, pressing firmly, but not so hard as to cut through the thin paper. It may then be withdrawn, and, if correctly done, the letter will be found legibly traced on the cardboard. It is right to finish the outline firmly (but not too dark) with the HB, as clearness is of great importance when you are colouring.

Some initial letters, such as O, T, &c. admit of the insertion of a small photograph of a sacred subject, several of which can now be procured, even at one penny each. Among others may be selected the "Ecce Homo," "The Saviour bearing the Cross," "Blessing little Children," &c.

[Sidenote: Small Letters.] So little practice is required to draw the small letters correctly, that it is scarcely worth while to attempt tracing them; indeed the difficulty of keeping a large piece of tissue-paper steady interferes greatly with the chances of success. In drawing these letters (with the HB), be careful to make all the stems of equal thickness, and let them be in due proportion, of height and width, to the accompanying capitals. [Sidenote: Distances between Letters and Words.] The letters should be placed as near to each other as is consistent with clearness, and about half an inch may be left between each word: let these distances be kept uniform throughout the work. Study to draw the letters perfectly straight and upright, to ensure which is the use of the ivory ruler, thus:--

[Sidenote: Test of Correct Outline.] Having sketched in all the small letters as well as possible, turn the strip of cardboard with its _end_ towards you, and I fear you will be shocked to see how many of the letters are out of the perpendicular. If, however, they have not been too heavily drawn, they may now be readily corrected by the little ruler, keeping the scroll still in the same position. The advantage of this method is, that a line which, to an unpractised eye, will appear quite perpendicular, when turned into a horizontal position instantly betrays its deviations. It may be objected that the use of a ruler encourages idle and careless habits, but this is only the case when it is employed to draw by, and not, as it should be, only for correction.

[Sidenote: Stops and Ornaments.] The ornamental stop--or perhaps a Greek cross--and any other intended additions, should be traced now. When the hand and eye are a little practised, sprays of trefoil and similar decorations will look more natural and easy, if drawn freshly upon the scroll. Triplets of leaves and berries have a graceful and suitable effect, and these, in illuminations, may be drawn conventionally, rather than naturally. A clever writer[6] says, "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."

[6] M. Digby Wyatt, B.A.

The Vine Passion-flower, Ivy, or any trefoils, have a beautiful effect, if gracefully twined about, or drooping from the initial letter.

[Sidenote: Photographs in Initial Letters, &c.] The introduction of small photographs (of sacred subjects) either into the initial letter, or placed before it, with a simple border in gold, edged with blue, has often a beautiful significance and effect. Care should, however, be taken in the selection, that the picture and the sacred words subjoined have a real connexion with each other. For example, the Magdalene at the foot of the cross is not suitable in illustration of the text, "Lord, remember me when Thou comest into Thy kingdom." A square picture may have the lines of the border prolonged so as to cross at the corners and finish about half an inch from the principal line. An arch may be surmounted with a cross.

[Sidenote: Borders.] _Borders._

[Sidenote: Plain.] To those who prefer concentrating all possible beauty of decoration on the sacred words of a text the most approved border will be that resembling "a riband of blue," which is most simple in execution. Rule a line rather less than a quarter of an inch from the edge of the cardboard, and fill it in carefully and steadily with colour. The ruled line is indispensable to the preservation of a neat and uniform edge. If blue already predominate in the scroll, red can be substituted in the border; gold, without a coloured outline on each side, always looks indistinct. Lines of colour may be drawn within the edge, using a reed pen (or large soft quill), and the long ruler.

[Sidenote: Ornamental.] A triple trefoil in each corner, coloured, with gold edge, has a good effect, if the letters are very plain: these should, however, be _in addition_ to a plain coloured edge or border.--Ornamental borders should consist of suitable sprays wound round a thick bar, which gives an appearance of solidity, the grace of curved lines being much enhanced by contrast with the perpendicular or horizontal.

[Sidenote: Reverse Side of Scrolls.] If the scroll is meant to represent a riband curled at the ends, or folded, the reverse side may be ornamented with gold stars, or foliage. Plainly shaded blue, with perhaps a narrow gold edge, will, however, be found most suitable; if prominent colours are gaudily used for the reverse side of the riband, it will appear to come forward, leaving the text in the background.

Specimens of differently shaped scrolls are affixed to each of our chapters.

[Sidenote: Firmness essential.] In conclusion, it cannot be too strictly enforced, that every line, straight or curved, should be _firmly_ drawn, and the edges, in painting, be kept perfectly neat and clear. Whether from unsteadiness in outline, or from a shaking hand when painting (especially in gold), nine-tenths of the amateur illuminations produced have a quivering ruggedness about them which could well be dispensed with. In ornamental finish, also, this unsteadiness is almost universal, so that the points of small leaves, or _fleurs-de-lys_, instead of being sharply defined, most frequently degenerate into unsightly loops, similar to the following example.

COLOURS.

_Painting_.

[Sidenote: Materials for Colouring.] The materials required are as follows:--

[Sidenote: Blue.] 1. BLUE (intense). German (or French) blue, in powder, at 6_d._ per ounce. It is at first rather troublesome to use, requiring to be mixed with plenty of gum-water, to prevent rubbing.

Smalt, 5_s._; or French blue, 3_s._[7] These are prepared as moist colours in covered pans.

[7] Half-cakes of all the colours are sold equally good.

The German blue, however, is the most economical, and very useful.

[Sidenote: Red.] 2. RED. What is called "Carmine" powder, at 1_s._ per oz., will be found very useful, but the genuine colour is much more expensive. Vermilion, ditto, 6_d._ per oz. Both of these are necessary.

[Sidenote: Purple.] 3. PURPLE (violet). For the colour ready prepared, "violet carmine," moist cake, 2_s._ To compose the colour, crimson lake, a little to be mixed with cobalt blue. This is very rarely used.

[Sidenote: White.] 4. WHITE. Chinese white, in a tin tube, 1_s._ This is little used except on tinted cardboard.

[Sidenote: Green.] 5. GREEN (emerald). Moist colour, 1_s._

[Sidenote: Black.] 6. BLACK (lamp). Ditto.

[Sidenote: Grey.] 7. GREY. For bright grey, smalt mixed with Chinese white; for a duller tint add a very little brown madder. This is a colour seldom used in illuminating large scrolls, and only suitable for grounding.

[Sidenote: Neutral Tint.] A cake of _neutral tint_ (to mix with cobalt) for shading white flowers, or a white dove.

[Sidenote: Gold.] [Sidenote: Bessemer's Gold Paint.] GOLD. For beginners, "Bessemer's Gold Paint."[8] This includes two bottles, one of gold powder, the other of oil; price 1_s._ 6_d._ The powder always outlasts the oil, but the latter can be bought separately, 6_d._ per bottle. Very little of the powder and oil must be mixed at a time, as it dries up very quickly, requiring the occasional addition of a drop of the oil. If too much oil is added, the gold will look thin and poor, leaving greasy edges on the cardboard. It is a good plan to employ two little saucers, placing the powder in one and oil in the other.

[8] This gold will discolour in time, but with care in keeping the brush and saucer quite clean, it will retain its brightness at least a year.

[Sidenote: Spirits of Turpentine.] A small quantity of _spirits of turpentine_ is required, with which the brush and saucer must be washed perfectly clean, immediately after use; wipe them dry with a piece of rag or soft paper. If this rule be neglected, the gold hardens, and brush and saucer become useless.

[Sidenote: Shell Gold.] Shell gold (with which water only is employed) is not suitable for large works.

[Sidenote: Liquid Gold.] Chinese metallic ink, or liquid gold 1_s._ per bottle, is an excellent preparation. When thoroughly mixed by shaking, pour a little into a small saucer, stirring it up each time the brush is filled. At first, great care is requisite to prevent blots. It works most easily when nearly dry, by the addition of a little water in the brush.