,,lessons ,,in ,,the ,,art ,,of         
,,illuminating4          ,illustration3 
,,plate ,,ix4--,,facsimile ,,page ,,of  
,a ,,book ,,of ,,hours1                 
#ae,,th ,,century4          ,,vere      
,,foster',s ,,water-,,color ,,series4   
,,lessons ,,in ,,the ,,art ,,of         
,,illuminating        ,a ,series of     
,examples selected from      ,works in  
the ,british ,museum1      ,lambeth     
,palace ,library1      and the ,south   
,kensington ,museum4        ,with       
,practical ,instructions1      ,and ,a  
,sketch ,of ,the ,history ,of ,the ,art1
        ,by        ,w4 ,j4 ,,loftie1    
,b4,a41 ,f4,s4,a41        ,,author ,,of 
,a ,,history ,,of ,,london1             
,,memorials ,,of ,,the ,,savoy ,,palace1
                ,a ,,century ,,of       
,,bibles1                ,a ,,plea ,,for
 ,,art ,,in ,,the ,,house1 ,,etc4       
,,london3 ,,blackie  ,,son2 ,,glasgow1  
,,edinburgh1 ,,and ,,dublin4      ,,the 
,,colored ,,illustrations ,,are         
,,printed ,,by ,w4 ,g4 ,,blackie  ,,co41

 ,,glasgow1  ,,from ,,drawings ,,by ,j4 
,a4 ,,burt4    ,the ,ornamental ,border 
and ,initial of the ,title-page are     
interesting  examples of ,italian work  
of the fifteenth century4 ,they are from
 the  ,harleian ,collection1 ,british   
,museum 7#caji and #dijb7 different     
works1  but evidently executed by the   
same hand4 ,the ,colors are represented 
in  the engraving by means of lines 7as 
explained on page #ah71 so that by  the 
aid of these directions the student can 
reproduce them in the  colors employed  
in the original ,,mss4                  
,,contents4                             
,,title-,,page--,border and ,initial1   
,italian ,work of fifteenth century4    
,,general ,,sketch ,,of ,,the ,,art ,,of
 ,,illuminating1        ,example of     
,illumination by ,giulio ,clovio1       
,sixteenth-century ,writing1 from       
,albert ,durer's ,prayer-,book1         
,,practical ,,instructions ,,as ,,to    
,,materials ,,and ,,modes ,,of          
,,working1      ,,illuminated ,,plate   

,i4--,initials by ,english ,illuminators
 of the twelfth      and thirteenth     
centuries1        ,description of ,plate
 ,i41        ,french ,initials1 from an 
,alphabet of the fifteenth century1     
,,illuminated ,,plate ,,ii4--,twelve    
,initial ,letters from ,french          
,manuscript      of the fifteenth       
century1        ,description of ,plate  
,,ii41        ,large ,initial ,letter of
 the twelfth century1 from ,harleian    
,,mss4          #cjde1 ,british ,museum1
      ,,illuminated ,,plate             
,,iii4--,examples of thirteenth-century 
work from two      ,manuscripts in the  
,british ,museum1        ,description of
 ,plate ,,iii41        ,outline         
,drawings of two pages of a ,book of    
,hours of the fourteenth                
century1      ,,illuminated ,,plate     
,,iv4--,facsimile page of a ,manuscript 
in ,lambeth      ,palace                
,library--fifteenth century1            
,description of ,plate ,,iv41           
,outline ,drawings of two pages of a    

,book of ,hours of the fourteenth       
century1      ,,illuminated ,,plate     
,v4--,ornaments and large ,initial from 
,manuscripts of      the fifteenth and  
sixteenth centuries in the ,british     
,museum and      ,south ,kensington     
,museum1        ,description of ,plate  
,v41        ,outline ,drawings of ,bands
 and ,border ,ornaments of the          
fourteenth          century1            
,,illuminated ,,plate ,,vi4--,a full    
page and separate ,initials from a ,book
      of ,hours 7,low ,countries1       
fifteenth century71 and ,border from    
,manuscript in ,british ,museum1        
,description of ,plate ,,vi41           
,french ,initial ,letters and ,border   
,ornaments of the fourteenth            
century1      ,,illuminated ,,plate     
,,vii4--,borders of ,thirteenth and     
,fourteenth      ,centuries1--and       
,heraldic ,designs1 from ,manuscripts in
 ,british ,museum      and ,heralds'    
,college1        ,description of ,plate 
,,vii41        ,outline ,drawing of     

,border and ,text1 with ,adoration of   
the ,three          ,kings1 sixteenth   
century1      ,,illuminated ,,plate     
,,viii4--,examples from the ,book of    
,kells 7ninth      century71 in ,library
 of ,trinity ,college1 ,dublin1         
,description of ,plate ,,viii41         
,outline ,drawings of ,early ,irish     
,initial ,letters1      ,,illuminated   
,,plate ,,ix4--,facsimile page of a     
,book of ,hours in ,lambeth      ,palace
 ,library--early in fifteenth century1  
,description of ,plate ,,ix41           
,the outlined initials on pp4 xv1 #i1   
#ac1 #ba1 #be1 #bi1 and #cc are         
taken from a manuscript of the fifteenth
 century1 preserved at       ,nuremberg4
 ,the originals are very highly but     
delicately       colored1 the ground    
being gold2 the body of the letter1     
black2       and the scroll work and    
foliage pink1 blue1 green1 and yellow4  
,the book1 which is dated #adhi1 is a   
treatise entitled the                   
,preservation of ,body1 ,soul1 ,honour1 

and ,goods4 ,the tailpieces             
throughout represent heraldic animals1  
from the ,rows ,roll and       other    
authentic sources4    ,illustration3    
,,heraldic ,,boar4          ,,the ,,art 
,,of ,,illuminating4    ,,general       
,,sketch4      ,perhaps the art of      
,illumination1 although it is closely   
connected with  that of ,writing1 may be
 entitled to a separate history4 ,men   
could  write long before it occurred to 
them to ornament their writings3 and    
the modern student will find that what  
he looks upon as genuine  illumination  
is not to be traced back many centuries4
 ,true one or two  ,roman manuscripts   
are in existence which may be dated soon
 after ,a4,d4  #bjj1 and which are      
illustrated rather than illuminated with
 pictures4  ,but the medieval art1 and  
especially that branch of it which      
flourished in our own country1 has a    
different origin1 and sprang from  the  
system1 not of illustration1 but of pure
 ornamentation1 which  prevailed in     

,ireland before the eighth century1 but 
which reached its  highest development  
among the ,oriental ,moslems4 ,the works
 of the ,irish  school were for long and
 are sometimes still called             
,anglo-,saxon1 and  there can be no     
doubt that the ,irish missionaries      
brought with them to  ,iona and to      
,lindisfarne the traditions and practice
 of the art1 which  they taught1 with   
,christianity1 to the heathens of       
,england4 ,i will  therefore refer the  
reader who desires to know more of      
palography in  general1 and of the      
principal foreign schools of the art of 
writing1  to the great works of ,m4     
,sylvestre1 of ,messieurs ,wyatt and    
,tymms1 of  ,henry ,shaw1 and ,miss     
,stokes1 and to various isolated papers 
in the  ,transactions of the            
,antiquarian ,societies2 and ,i will    
begin with the  earliest practice of the
 art in our own country and by our own  
ancestors4    ,during the eighth century
 rivalry to ,irish art sprung up in the 

south2  and the immediate followers of  
,st4 ,augustine of ,canterbury founded a
  scriptorium which produced many fine  
specimens4 ,in less than two  centuries 
a very high standard had been reached1  
and many of my  readers will remember   
the ,utrecht ,psalter1 as it is called1 
which1  though it is one of the oldest  
,anglo-,saxon ,,mss4 now preserved1 is  
full  of spirited drawings of figures   
and of illuminated capital letters4     
,the volume formerly belonged to        
,england1 but was lost1 and             
subsequently turned up in ,holland4 ,by 
the tenth century the art had  reached  
such a pitch of perfection that we find 
a charter of ,king  ,edgar wholly       
written in letters of gold4 ,the ,duke  
of ,devonshire  possesses a volume      
written and illuminated for ,ethelwold1 
bishop of  ,winchester from #ifc to     
#ihd1 by a scriptor named ,godemann1    
afterwards  ,abbot of ,thorney1 the     
first ,english artist with whose name we
 are  acquainted1 if we except his more 

famous contemporary1 ,archbishop        
,dunstan1 whose skill in metal work is  
better remembered than his  powers as an
 illuminator4 ,the wonderful ,irish     
,,mss4 the ,book of ,kells1  which is in
 the library of ,trinity ,college1      
,dublin1 the ,book of  ,durham1 and     
others more curious than beautiful1     
belong to a slightly  earlier period1   
perhaps to the ninth century1 as ,miss  
,stokes has  suggested4    ,many schools
 of writing throughout ,england were    
destroyed in the  ,danish wars1 and the 
princes of the ,norman race did little  
to  encourage literary art4 ,though one 
or two interesting ,,mss4 of this       
period survive1 it is not until the     
accession of the ,angevins that         
,english writing makes another distinct 
advance4 ,by the beginning of  the      
thirteenth century the art had risen to 
the highest pitch it has  ever reached4 
,the scriptorium of ,st4 ,albans was the
 most celebrated4  ,the works of        
,matthew ,paris written there are still 

extant1 and  testify1 by the character  
of the pictures and colored letters1 to 
a  purity of style and to the existence 
of a living and growing art which  has  
never been surpassed in this country4   
,it is believed that the  numerous      
little ,bibles of this period were      
chiefly written at  ,canterbury1 and    
certainly1 as examples of what could be 
done before  printing1 are most         
marvellous4 ,one of these ,,mss4 is     
before me as ,i  write4 ,the written    
part of the page measures #b-e_/h inches
 in width and  #c-c_/d inches in height1
 and the book is scarcely more than an  
inch  thick1 yet it contains1 on pages  
of fine vellum in a minute almost       
microscopic hand1 the whole ,bible and  
,apocrypha4 ,the beginning of each  book
 has a miniature representing a         
,scripture scene1 and a larger          
miniature1 representing the genealogy of
 the ,saviour1 is at the  beginning of  
,genesis4 ,although this is the smallest
 complete ,bible ,i  have met with1     

others very little larger are in the    
,british ,museum1  and with them one1 of
 folio size1 exquisitely ornamented in  
the same  style1 which bears the name of
 the artist1 ,wills4 ,devoniensis1      
,william of ,devonshire4 ,besides       
,chronicles and ,bibles the thirteenth  
century produced ,psalters1 the form and
 character of which were  eventually    
enlarged and grew into the well-known   
,hor1 or books of  devotional ,hours1   
which were illuminated in the fifteenth 
and  sixteenth centuries4    ,placing   
side by side a number of ,psalters and  
,hours1 and tracing by  comparison the  
prevalence of single sets of            
designs--all1 however1  originating in  
the wonderful vitality of the thirteenth
 century--is a  very interesting study1 
though seldom possible4 ,it was possible
 to  make such a comparison1 however1 in
 #ahgd1 when a large number of          
magnificently illuminated books were    
exhibited together at the rooms  of the 
,burlington ,club in ,london4 ,it was   

then seen that when the form  and       
subject of a decoration were once       
invented they remained fixed for  all   
generations4 ,a ,psalter of the         
thirteenth century1 probably of         
,flemish execution1 which was in the    
collection of ,mr4 ,bragge1 was         
ornamented with borders containing      
grotesque figures1 and had a  calendar  
at the beginning1 every page of which   
represented a scene  appropriate to the 
month1 with the proper sign of the      
zodiac4 ,thus1  under ,january there was
 a great hooded fire-place1 and a little
 figure  of a man seated and warming    
himself4 ,the chimney formed a kind of  
border to the page1 and at the top was a
 stork on her nest feeding her  brood4  
,this ,,ms4 was so early that some good 
judges did not hesitate to  assign it to
 the end of the twelfth century4 ,close 
to it was a ,book of  ,hours1 written in
 the fifteenth if not early in the      
sixteenth century1  and under ,january  
we have the self-same scene1 though the 

grotesqueness1 and indeed much of the   
quaint beauty of the design has         
disappeared4 ,it is the same with       
scriptural and ritual scenes4 ,the      
,bibles always had the same set of      
pictures2 the ,psalter and ,hours the   
same subjects2 and the same arrangement 
of colors was handed down as  suitable  
for the representation of certain       
scenes1 and was unvaried4    ,it may    
enable the reader to form a clearer idea
 of what these highly  ornamented       
volumes were like if ,i extract the full
 description of one  which was lately in
 the catalogue of an eminent ,london    
bookseller3--,it  was a ,book of ,hours1
 written in ,france at the beginning of 
the  sixteenth century1 or1 say during  
the reign of our ,henry the ,seventh1   
#adhe to #aeji4 ,it consisted of        
seventy-seven leaves of vellum1 which   
measured about seven inches by five1    
with an illuminated border to  every    
page4 ,there were twenty miniatures1    
some the size of the full  page and some

 smaller4 ,the borders were composed of 
flowers and fruit1  interspersed with   
grotesque animals1 birds1 and human     
figures1 most  eccentrically conceived4 
,both the capital letters and the       
borders were  heightened with gold1     
sometimes flat1 and sometimes           
brilliantly  burnished4#a ,this is1 of  
course1 an unusually rich example4      
,about the  same period great pains were
 taken to ornament the calendar with    
which  these books usually commenced4   
,some of these ,calendars consist simply
  of a picture in a gold frame1 the     
composition so arranged that it does    
not suffer by a large blank space being 
left in the middle4 ,in this  space the 
calendar was written2 and the rest of   
the page was occupied  with an          
agricultural scene1 emblematic of the   
season4 ,in the sky  above1 painted in  
gold shell on the blue1 was the sign of 
the zodiac  appropriate to each month4  
,in some the border was in compartments4
 ,one  compartment contained the name of

 the month in gold letters or a         
monogram4 ,another contained an         
agricultural scene1 another the         
zodiacal sign1 another a flower1 and the
 rest the figures of the  principal     
saints of the month4        #a ,the     
miniatures were as follows3--#a4 ,the   
,annunciation1 a      beautiful         
miniature with the border painted upon a
 gold ground2      this is the case with
 all the borders containing miniatures4 
#b4      ,the ,meeting of ,mary and     
,elizabeth4 #c4 ,the ,infant ,jesus     
lying in      the manger at the ,inn at 
,bethlehem1 ,joseph and the ,virgin     
,mary      kneeling in adoration4 #d4   
,the ,announcement of the ,birth of the 
,saviour to the ,shepherds by night4 #e4
 ,the ,worship of the ,magi4      #f4   
,the ,presentation in the ,temple4 #g4  
,the ,journey into ,egypt4 #h4      ,the
 ,coronation of the ,virgin4 #i4 ,the   
,crucifixion4 #aj4 ,the      ,descent of
 the ,holy ,spirit on the ,day of       
,pentecost4 #aa4 ,saint      ,anthony2 a

 small miniature4 #ab4 ,the ,martyrdom  
of ,saint      ,sebastian2 a small      
miniature4 #ac4 ,king ,david at his     
devotions in      a chamber within his  
,palace4 #ad4 ,the ,raising of ,lazarus4
 #ae4 ,the      ,virgin ,mary with the  
,infant ,jesus1 guarded by angels2 a    
small      miniature4 #af4 ,the body of 
,jesus taken down from the ,cross4 #ag4 
,saint ,quentin the ,martyr4 #ah4 ,saint
 ,adrian4 #ai4 ,mater ,dolorosa4        
#bj4 ,the ,virgin and ,child4 ,the four 
last were small4    ,the student turns  
with relief from this comparative       
monotony to  ,chronicles in which       
historical scenes are given4 ,one of the
 oldest is  among the ,harleian         
,manuscripts in the ,british ,museum1   
and relates to  the deposition of       
,richard ,,ii4 ,it has been engraved in 
,archologia1  vol4 xx41 so that it is   
accessible wherever there is a good     
library4 ,a  little later ,french       
romances were similarly decorated1 and  
we have  innumerable pictures to        

illustrate the manners and costumes of  
the  knights and ladies of whom we read 
in the stirring pages of ,froissart4    
,illumination did not decline at once   
with the invention of printing4  ,on the
 contrary some exquisite borders and    
initials are found in books  printed on 
vellum1 one very well known example     
being a ,new ,testament  in the ,lambeth
 ,library1 which was long mistaken for a
 manuscript1  though it is1 in reality1 
a portion of the ,great ,bible supposed 
to  have been printed at ,mentz before  
#adee1 and to be the earliest work of   
the press of ,fust and ,schoyffer4 ,a   
few wealthy people had ,prayer-books    
illuminated for their own use down to a 
comparatively recent period4  ,the      
celebrated ,jarry wrote exquisite little
 volumes for ,louis ,,xiv4  and his     
courtiers4 ,a very fine ,book of ,hours 
was in the ,bragge  ,collection1 and    
must have been written in the sixteenth 
century1  perhaps for some widow of rank
 in ,france4 ,it contained sixteen      

miniatures which closely resembled      
,limoges enamels1 the only decided      
color used being the carnation for the  
faces1 the rest of the design  being in 
black1 white1 gold1 and a peculiar      
pearly grey4 ,each page had  a border of
 black and gold4 ,from another          
manuscript1 a ,book of ,hours  written  
in ,france in the fourteenth century    
7and exhibited at the  ,burlington ,club
 by ,mr4 ,robert ,young71 we have some  
outline tracings of  the ivy pattern    
7see page #ab74 ,the famous             
illuminations of ,giulio  ,clovio 7a    
native of ,croatia1 who practised in    
,italy #adih-aegh7 hardly  deserve the  
admiration they receive4 ,they are in   
fact small pictures1  the colors very   
crude and bright1 and without the       
solemnity which  attaches to ancient    
religious art4 ,an illuminated work by  
,clovio was  recently sold in ,london   
for the enormous sum of #bjej4 ,it had  
been  long in the possession of an old  
,lancashire family1 and is believed to  

have been illuminated for ,cardinal     
,alexander ,farnese1 and by him         
presented to his uncle ,paul ,,iii41 who
 was pope between #aecd and #aeej4  ,in 
,england the latest illuminators became 
the first miniature  painters2 and the  
succession of ,english artists is       
carried on from  ,godemann and ,paris1  
through ,nicholas ,hilliard 7#aedg-afai7
 and ,isaac  ,oliver 7#aeef-afag71 to   
the school of ,cooper 7#afji-afgb7 and  
,dobson1  whose portraits are on vellum4
    ,illustration3 ,,conversion ,,of    
,,st4 ,,paul1 ,,by ,,giulio ,,clovio4   
,from ,st4 ,paul's ,epistle to the      
,romans1 in the ,soane ,museum4         
,short as is this survey of the history 
of ,illumination1 it will not do  to    
omit all reference to ,heraldry4        
,heraldic manuscripts1 it is curious  to
 remark1 are rarely illuminated with    
borders or initials2 but in the         
,chronicles of ,matthew ,paris shields  
of arms are frequently introduced  with 
good effect4 ,occasionally in ,books of 

,hours the arms of the  person for whom 
the work was undertaken are placed in   
the border4 ,some  fine examples of this
 kind are to be found in the so-called  
,bedford  ,missal1 which is really a    
,book of ,hours1 and was written for    
,john1  duke of ,bedford1 the brother of
 ,henry ,v4 ,most of the manuscripts now
  extant on the subject are of late date
 and rude execution1 consisting  chiefly
 of rolls of arms1 catalogues with      
shields in trick--that is1  sketched    
with the colors indicated by a letter1  
or lists of banners1  of which last a   
fine example is in the library of the   
,college of ,arms4  ,heraldry may be    
studied to advantage by the modern      
illuminator1 who  should endeavour to   
become so conversant with the various   
charges that  in making a border or     
filling a letter he may be able to      
introduce  them artistically without    
violating the strict laws of the        
science4  ,a late but very beautiful    
,,ms41 in four little square volumes1   

which  belongs to ,mr4 ,malcolm of      
,poltalloch1 has been identified as     
having  been written for ,bona of       
,savoy1 duchess of ,milan1 who died in  
#adid4  ,this identification has been   
made by means of the frequent occurrence
  of her badge and mottoes in the       
borders1 many of which contain other    
devices of a semi-heraldic character1   
such as a phoenix1 which is  known to   
have been a favourite emblem of the     
duchess1 an ermine1 a  rabbit1 and a    
child playing with a serpent or dragon1 
all of them  allusive to the heraldry of
 the lady and her husband4 ,the study of
  heraldry has a further advantage in   
offering certain fixed rules about  the 
use of colors which may help the student
 to attain harmony1 and  also in        
accustoming the eye and the hand to     
adapting certain forms to  the place    
they have to fill1 as for instance1 the 
rampant lion within  his shield1 so as  
to leave as little vacant space as      
possible4    ,some examples of animals  

treated in heraldic style will be found 
interspersed in this work as tailpieces4
 ,one of these1 at the end of  the      
,contents1 represents a wild boar1 to   
whose neck a mantle1 bearing  a coat of 
arms1 is attached4 ,it will be          
understood that what are  called in     
heraldry supporters were a knight's     
attendants1 who  disguised themselves as
 beasts1 and held their master's shield 
at the  door of his tent at a           
tournament4 ,the figures cannot1        
therefore1 be  too much                 
conventionalized4 7,see the examples    
shown in ,plate ,,vii47 ,some  of the   
other designs are from the ,rows ,roll1 
a heraldic manuscript of  the time of   
the ,wars of the ,roses4 ,some beautiful
 heraldic designs are  to be found in   
,drummond's ,noble ,families4 ,they were
 drawn by ,mr4  ,montagu1 the author of 
a charming volume on ,heraldry4    ,our 
facsimile reproductions of ancient      
manuscripts have been selected  with a  
view to supply such examples as are most

 likely to prove useful  to the student4
 ,for this purpose we have preferred in 
several  instances to present the whole 
page with its writing complete1 so that 
the modern illuminator may see how the  
ancient one worked1 and how he  arranged
 his painting and his writing with      
respect to each other4    ,to this we   
may add1 that for the rest we have      
chosen our examples as  much as possible
 because they were pretty1 instructive1 
and of ,english  workmanship1 a majority
 of our pictures being copied from      
manuscripts  written in our own country4
 ,i need only call attention to the well
  known but very beautiful style usually
 called the ,english flower  pattern1   
which admits of an endless series of    
variations and even  improvements1 and  
which is as characteristic of our       
medival painters  as the ,perpendicular 
style in ,gothic is of our architects1  
both having  flourished here and here   
only during a long period4    ,and in   
conclusion ,i should be inclined to     

advise the illuminator  against         
stiffness4 ,we are too fond of a vellum 
which is like sheets of  ivory1 and of  
working on it with mathematical         
precision4 ,the old  illuminators used a
 material much more like what is now    
called  lawyer's parchment1 but         
perfectly well adapted for taking color 
and  gold4 ,a moment's inspection of our
 examples will show the freedom and     
ease of the old work1 and the dislike   
evinced by almost every ancient  book   
painter to having his work confined     
within definite lines4 ,such  freedom   
and ease are only attained by careful   
study combined with  experience4 ,every 
one has not the ability to originate1   
but without  great originality it may   
still be found possible to avoid        
servility4  ,who would be free himself  
must strike the blow2 but those who     
aspire  to climb must first be certain  
that they can walk4 ,the thing that most
  often offends the eye in modern       
illumination is that the artist1 to     

conceal his own want of style1 mixes up 
a number of others4  ,incongruity is    
sometimes picturesque1 but this kind of 
incongruity is  always disagreeable1    
from the staring and inharmonious       
evidence of  ignorance which it betrays4
    ,illustration3 ,,heraldic ,,bear    
,,from ,,the ,,rows ,,roll4             
,illustration3 ,,sixteenth-,,century    
,,writing--,,from ,,albert ,,durer',s   
,,prayer-,,book4          ,,practical   
,,instructions4      ,unless when       
intended for mere practice1 all         
illuminated work should be  executed    
upon ,vellum2 its extreme beauty of     
surface cannot be  imitated by any known
 process of manufacture1 while its      
durability is  well known4 ,bristol     
,board approaches nearest to it in      
appearance1 is  equally pleasing to work
 upon1 and for all practical purposes of
 the  amateur is quite as good4 ,but1 if
 even that is not attainable1  excellent
 work may be done on any smooth grained 
drawing paper4    ,,brushes4--,red      

,sable ,brushes are preferable to all   
others for  illuminating purposes1 and  
are to be had in goose1 duck1 and crow  
quills1--the larger for laying on washes
 of color1 or large grounds in  body    
color1--the duck and crow for filling in
 the smaller portions of  color1 for    
shading and general work4 ,one of the   
smallest size should  be kept specially 
for outlining and fine hair-line        
finishings4 ,for  this purpose all the  
outer hairs should be neatly cut away   
with the  scissors1 leaving only about  
one-third of the hair remaining4        
,,drawing-,,pen--,,circle ,,or          
,,bow-,,pen4--,for doing long straight  
lines or  circles these instruments are 
indispensable2 they give out ink or     
color evenly1 making a smooth1 true line
 of any thickness required for  lining  
any portion of the work1 as in border   
margins1 or any part  requiring even    
lines1 unattainable by the hand alone4  
,it is necessary  to put the ink or     
color into the pen with the brush after 

mixing it to  the proper consistency for
 use4 ,ink or body color may be used    
with  equal facility4 ,before starting1 
the pen should always be tried upon a   
piece of loose paper1 to test the       
thickness of the line1 and also to  see 
if the ink in the pen is not too thick  
or too thin3 if too thick1  it will not 
work evenly1 while1 if too thin1 it will
 flow too rapidly1  and run upon a color
 ground as if on blotting paper4        
,,straight-,,edge1 ,,parallel-,,ruler1  
,c4--,a thin wooden straight-edge1 or1  
what is better1 a parallel-ruler1 and   
also a set square 7a  right-angled      
triangular piece of thin wood71 will be 
found necessary  for planning out the   
work4    ,,burnisher ,,and              
,,tracer4--,agate ,burnishers are to be 
had at the  artists' colormen's1 either 
pencil or claw shaped2 the former will  
be  most useful to a beginner4 ,an ivory
 style1 or point1 is requisite  for     
tracing1 and useful for indenting gold  
diapers4    ,illustration               

,,pens4--,for text or printing1 either  
the quill or the steel pen may be  used2
 both require special manipulation to   
fit them for the work4 ,it  will be most
 convenient1 however1 for the amateur to
 use the quill1 as  being more easily   
cut into the shape required2 though a   
steel pen1  once made1 will last for    
years if taken care of4 ,the point must 
be cut  off slightly at an angle1 such  
as may be found most convenient4 ,if a  
steel pen is used1 it will be necessary1
 after cutting off the point1  to rub   
the pen carefully on an oilstone to     
smooth the roughened edges1  and prevent
 it from scratching the paper4 ,the text
 pen1 when properly  made1 should work  
smoothly1 making every stroke of equal  
thickness4 ,it  is well to have text    
pens of different widths1 to suit for   
lettering  of various thicknesses of    
body stroke4 ,the pen should be held    
more  upright than for ordinary writing4
 ,a broad1 almost unyielding point1     
will give a fine upward and a firm      

downward or backward stroke with  equal 
facility4 ,for finer writing the pen    
should be cut with a longer  slope in   
the nib4 ,fine-pointed pens1 for        
finishing and putting in the  hair lines
 into the text1 should also be provided4
 ,for this the fine  mapping1 or        
lithographic1 pen1 made by ,gillott and 
others1 is most  suitable4    ,,text    
,,or ,,printing ,,letters4--,this is a  
kind of penmanship which the  amateur   
will1 at first1 find very difficult to  
write with regularity1  as it requires  
much special practice to attain anything
 like  proficiency in its execution4    
,but as much of the beauty and          
excellence  of the illuminating depends 
upon the regularity and precision of the
  text1 it is well worth all the        
application necessary to master it4 ,the
  styles of text usually introduced     
within the illuminated borders are      
known under the names of ,black ,letter1
 ,church ,text1 ,old ,english1  and     
,german ,text4    ,,indian ,,ink and    

,,lamp ,,black are the only paints      
generally used for black  text2 the     
difference being that ,indian ,ink is   
finer1 and therefore  better adapted for
 writing of a fine or delicate          
character4 ,it works  freely1 and       
retains a slight gloss1 while ,lamp     
,black gives a full  solid tint1 and    
dries with a dull or mat surface2--a    
little gum-water  added will help the   
appearance in this respect4 ,some       
illuminators  recommend a mixture of    
,indian ,ink and ,lamp ,black1 with a   
little  gum-water1 as the best for text 
of a full black body1 working better    
than either alone4 ,the mixture should  
be well rubbed together in a  small     
saucer with the finger before using4 ,if
 a portion of the text is  to be in red1
 it should be in pure vermilion4 ,if in 
gold1 it must be  shell gold1 highly    
burnished with the agate1 as hereafter  
described4    ,,colors4--,not to confuse
 the learner with a multiplicity of     
pigments1  we will only mention such as 

are essential1 and with which all the   
examples in the following studies may be
 copied4 ,as experience is  gained by   
practice1 the range of colors may be    
increased as  requirements may dictate4 
,,gamboge4          ,,crimson ,,lake4   
,,burnt ,,umber4      ,,prussian ,,blue4
      ,,indian ,,yellow4    ,,sepia4    
,,lamp ,,black4       ,,burnt ,,sienna4 
,,vermilion4        ,,emerald ,,green4  
,,chinese ,,white4    ,,cobalt4         
,,yellow ,,ochre4    ,a little          
experimental practice with the colors   
will do more to show  the various       
combinations of which they are capable  
than any lengthy  exposition4 ,various  
portions of color may be tried1         
particularly for  the more delicate     
tints1 for greys1 neutrals1 and quiet   
compounds1  where great purity is       
required1 and the most pleasing noted   
for future  use4    ,there are two      
methods or styles of coloring1 which are
 used either  alone1 or in conjunction4 
,in the ,celtic1 and other early styles1

  including that of the fourteenth      
century1 where the colors are used      
flat--no relief by shading being        
given--it is purely a surface           
decoration1 the colors well contrasted1 
merely graduated from deep to  pale1 and
 outlined with a clear1 black outline4  
,the masses of color or  gold are here  
usually enriched by diapers1 while the  
stems1 leaves1  c41 are elaborated by   
being worked over with delicate         
hair-line  finishings on the darker     
ground4 ,the other method of treating   
ornamental forms embraces a wide range  
of style of illuminating1  approaching  
more nearly to ,nature in treatment1 the
 ornament being  more or less shaded    
naturally1 or conventionalized to some  
extent4  ,it is important to lay the    
color evenly in painting1 not getting it
 in  ridges1 or piling it in lumps1 as  
the amateur is apt to do4 ,this will  be
 best attained by painting as evenly as 
possible with the brush1  mostly in one 
direction1 and not too full of color1   

and refraining  from going back over the
 parts just painted1 if it can be       
avoided4  ,patches always show1 more or 
less1 and can hardly ever be made to    
look  smooth4    ,,gold1 ,,silver1      
,c4--,to the inexperienced1 the laying  
on of gold or  silver may seem a        
difficult affair2 but it is really      
comparatively  easy1 especially when    
gold and silver shells1 sold by artists'
  colormen1 are used4 ,these contain the
 pure metal ground very fine with  gum1 
and need no preparation4 ,when a drop of
 water is added1 the gold  can be       
removed from the shell1 and used with   
the brush in the ordinary  way as a     
color4 ,one brush should be kept for    
painting gold or other  metallic        
preparations4 ,as silver is liable to   
turn black1 we would  advise the use of 
aluminium instead1 which is not affected
 by the  atmosphere4 ,it can be had in  
shells in the same manner4 ,in applying 
gold1 or other metal1 it should be      
painted very level and even1  especially

 if it is to be burnished1 which make   
irregularities more  prominent4 ,gold   
that is to be burnished should be       
applied before any  of the coloring is  
begun1 as the burnisher is apt to mark  
and injure  the effect of the adjoining 
parts4 ,when the gold is laid on1 put a 
piece of glazed writing paper over it1  
and1 with the burnisher1 rub  the paper 
briskly1 pressing the particles of gold 
into a compact film3  this gives it a   
smooth even surface4 ,in this way it is 
principally  used1 and is called mat    
gold4 ,for burnished gold1 the paper is 
removed1 and the agate rubbed briskly   
upon the gold surface1 not  dwelling too
 long upon any one part1 until a fine1  
evenly-bright  metallic surface is      
produced4 ,rubbing the gold lightly with
 the  finger1 after touching the skin or
 hair1 facilitates the action of the    
burnisher4    ,,preparing ,,for ,,work1 
,c4--,the vellum or paper having been   
strained1 the  surface will1 when dry1  
be perfectly flat and smooth4 ,if the   

paper or  vellum is to be much worked   
upon1 it will be found advantageous to  
fasten it to a board by drawing-pins or 
by glueing the edges1 having  previously
 damped the back2 when this is dry1 the 
surface will be  perfectly level1 and   
not apt to bag in working4 ,paper so    
mounted  should be larger than the size 
required1 to allow for cutting off the  
soiled margin when completed4 ,to       
prevent the margins being soiled1 a     
sheet of paper should now be fastened as
 a mask over the page1 with  a flap the 
size of the work cut in it1 by folding  
back portions of  which any part of the 
surface may be worked upon without      
exposing the  rest4    ,it is almost    
impossible to erase pencil lines from   
vellum4 ,the black  lead1 uniting with  
the animal matter of the skin1 can never
 be  properly got out--,india rubber or 
bread only rubbing it into a greasy     
smudge4 ,it is1 therefore1 better to    
prepare a complete outline of the       
design upon paper first1 which can      

afterwards be transferred to the        
strained sheet4 ,for this purpose       
tracing paper is required1  possessing  
this advantage1 that corrections upon   
the sketch can be  made in tracing1 and1
 in placing it upon the vellum1 if the  
sheet has  been previously squared off  
for the work1 its proper position can be
  readily seen and determined4 ,the     
tracing paper should be about one  inch 
larger each way1 to allow of its being  
fastened to the mask over  the exposed  
surface of the page4 ,a piece of        
transfer paper of a  convenient size is 
then placed under the tracing4 ,when the
 tracing is  fixed in its proper        
position by a touch of gum or paste at  
the upper  corners1 slip the transfer   
paper1 with the chalked side downwards1 
between the vellum and the tracing1 and 
tack down the bottom corners  of the    
tracing in the same way1 to prevent     
shifting4 ,seated at a firm  table or   
desk of a convenient height1 with the   
strained paper or  drawing board        

slightly on an incline1 the amateur may 
consider all  ready for work4 ,all the  
lines of the tracing are first to be    
gone over  with the tracing point1 or a 
very hard pencil cut sharp will answer  
the purpose4 ,a corner may be raised    
occasionally to see that the  tracing is
 not being done too firmly or so faintly
 as to be almost  invisible4 ,a piece of
 stout card should be kept under the    
hand while  tracing1 to avoid marking   
the clean page with the prepared        
transfer  paper underneath1 by undue    
pressure of the fingers4    ,for larger 
work1 not requiring such nicety of      
detail1 the sketch may  be transferred  
direct--especially if the paper is      
thin--without the  use of tracing paper1
 by merely chalking the back of the     
drawing1 and  going over the lines with 
the tracing point2 but the other method 
is  best1 and the transfer paper may be 
used over and over again4    ,when the  
subject is carefully traced on the      
prepared page1 and the  tracing and     

transfer paper removed1 it will be best 
to begin with the  text4 ,the           
experienced illuminator will generally1 
after arranging his  designs and spacing
 out his text1 with the initial letters 
in their  proper places1 transfer all to
 his vellum1 and do the writing before  
he begins coloring1 covering up all the 
page except the portion he is  working  
upon4 ,when the lettering is complete1  
it will in its turn be  covered1 to     
prevent its being soiled while the      
border is being  painted4    ,work out  
the painting as directed under ,colors1 
beginning with the  gold where it is in 
masses1 burnishing it level when dry1 as
 before  explained3 smaller portions can
 more readily be done afterwards4 ,paint
  each color the full strength at once1 
keeping in mind that it becomes  lighter
 when dry1 and finishing each color up  
to the last stage before  beginning     
another4    ,,outlining ,,and           
,,finishing4--,when the work is at this 
stage1 the colors  will have a dull and 

hopeless appearance2 but1 as the outline
 is  added1 it changes to one more      
pleasing4 ,the addition of the fine     
white  edging and hair-line finishings  
7as in fourteenth-century style71  still
 further heightens the effect1 giving   
the appearance of great  elaborateness  
and brilliancy to the coloring1 and     
beauty and decision  to the forms4 ,in  
the conventional style of treatment in  
coloring1 a  careful outline is an      
imperative necessity1 and1 in this part 
of the  work1 practice in the use of the
 brush is essential4 ,sometimes objects 
are outlined in a deeper shade of the   
local color--as a pink flower or  spray 
with lake1 pale blue with darker blue1  
c42 but this is not very  usual4 ,in the
 real or natural treatment of the       
objects forming the  subject of the     
illumination1 an outline is seldom used1
 everything  being colored and shaded as
 in ,nature4 ,lamp black with a little  
gum  water will be found the best       
medium1 being capable of making a very  

fine or a firm line1 at the same time   
retaining its intense glossy  black     
appearance4 ,a little practice will     
enable the learner to know  the best    
consistency to make the ink4 ,as it     
evaporates1 a few drops of  water may be
 added1 and rubbed up with the brush or 
finger4 ,for  hair-line finishing1      
either light lines upon a darker ground 
or  vice vers1 the same kind of brush   
will be used as for outlining4  ,for    
diapers of a geometrical character1 the 
drawing-pen and small  bow-pen will be  
of great use1 either upon color or gold 
grounds4 ,the  ivory tracing point is   
used to indent upon gold scrolls or     
diapers4  ,sometimes there is put over  
the entire back-ground a multitude of   
minute points of gold1 but not too close
 together1 and punctured with  the point
 of the agate or tracing-point1         
producing a beautiful  glittering       
effect4          ,,description ,,of     
,,plate ,i4      ,designed by ,english  
illuminators of the twelfth and         

thirteenth  centuries1 the initials on  
this ,plate must be separately          
described4  ,those at the left top      
corner are the oldest1 and show a       
certain  stiffness of form and dulness  
of color which contrasts strongly with  
the spirit and lightness of the letters 
to the right side of the  ,plate4 ,these
 letters1 which may be found in         
manuscripts of many  different periods1 
should be carefully studied4 ,there are 
some  examples in which the initial is  
simply red or blue1 as the case may  be4
 ,next it is red and blue combined1 the 
two colors being carefully  kept apart  
by a narrow line of white1 which the    
student will do well  not to mark with  
white paint but to leave out by delicate
  manipulation4 ,next the edge of the   
letter both within and without is       
followed with a line of red or blue     
drawn a little way from it and  never   
touching4 ,then the space so marked     
within the letter is filled  by a       
tracery of slight flourishes in red and 

blue1 the latter always  predominating  
in the whole design so as to obtain the 
more harmony of  effect4 ,the blue and  
gold letters are very sparingly treated 
with red4  ,the blue is ,prussian1 but  
very deep in tint in the original4      
7,addl4  ,,mss4 #aa1dce47    ,the       
initial ,s in the lower left-hand corner
 is of earlier date4 ,it  will probably1
 like the letters above it1 be seldom   
used for  ornamental purposes1 and it   
will suffice here to mention that the   
colors used are as follows3--,cobalt    
raised with ,chinese ,white for the     
blue parts2 for the red1 ,vermilion     
shaded with ,lake2 and for the cool     
pale olive tint1 ,indigo and ,yellow    
,ochre1 toned with ,chinese ,white4     
,the large initial ,e shows a sacred    
scene1 and is of ,english late          
thirteenth century work1 in a private   
collection4 ,the harmony is  studiously 
correct1 and the original1 which is     
slightly larger1 glows  with color4 ,it 
is rather more than four inches square4 

,the figures are  firmly outlined1 as   
are their draperies4 ,the gold is leaf1 
the  architectural portion being left   
very flat1 but the nimbus and the       
border are burnished4 ,it has been found
 impossible to reproduce  exactly the   
pattern of the ground in                
chromo-lithography1 but as it may       
readily be done by hand1 a description  
taken direct from the original  will be 
acceptable to the pupil4 ,the blue      
ground within the letter is  dark3 on it
 is ruled a square cross-bar of deep    
olive lines of great  fineness4         
,intersecting them1 and so to speak     
keeping them down1 is a  net-work of    
very fine nearly white lines1 the points
 of intersection  being marked by minute
 circles4 ,within the little spaces thus
 divided  are minute circles of         
vermilion4 ,the outer groundwork is of  
olive  diapered with a deeper shade of  
the same color4 ,the ground outside the 
letter is pink divided into squares by  
brown lines1 each square having  a      

little red circle in it4 ,the edges of  
the draperies are marked by  minute     
white lines1 and there is less shading  
than in the  reproduction4 ,altogether  
this letter represents the best work of 
the  period1 and is an admirable example
 of the painstaking care by which  alone
 great effects are produced4 ,even a    
genius1 such as was the  artist who     
produced this little picture1 must      
condescend to take  infinite trouble if 
he would obtain an adequate reward4     
,illustration3 ,,heraldic ,,popinjay4   
,illustration3 ,,plate ,i4--,,initials  
,,by ,,english ,,illuminators1 #ab,,th  
,,and  #ac,,th ,,centuries4             
,illustration3 ,,letters ,,from ,,an    
,,alphabet ,,of ,,the ,,fifteenth       
,,century4  7,the remainder of the      
alphabet is shown in colors in ,plate   
,,ii47          ,,description ,,of      
,,plate ,,ii4      ,executed in the     
fifteenth century1 probably in the north
 of ,france1  the small manuscript from 
which the twelve initial letters are    

taken  is in a private collection4 ,it  
consists of twenty-four leaves of       
rather stout vellum1 measuring #d-c_/h  
inches by #c inches1 and has  evidently 
been a sampler or pattern book for a    
school of illumination4  ,it contains   
two alphabets4 ,the letters in the plate
 are selected from  one of them4        
,outlines of the rest of this alphabet  
are on the back of  ,plate ,i4 ,in      
copying them for color the student will 
remember that  those letters which      
contain blue flowers are red1 and vice  
vers4  ,each letter is painted on a     
ground of leaf-gold highly burnished1   
and  is ornamented with a natural       
flower4 ,we may recognize the rose1 the 
pansy1 the strawberry1 the columbine1   
the wall-flower1 the  corn-flower1 the  
sweet pea1 the iris1 the daisy1 the     
thistle1 and  others4 ,pinks1 dog-roses1
 and forget-me-nots also occur1 and the 
little volume forms1 in this respect1 a 
curious and interesting record  of the  
produce of the flower garden so long ago

 as the time of the  ,english ,wars of  
the ,roses4    ,the second alphabet is  
of a wholly different character1 the    
letters1  not the ground on which they  
are placed1 being gilt1 and the ground  
colored red or blue4 ,over the red and  
the blue is a scroll pattern in  white1 
but the red is sometimes decorated with 
a pattern in  body-yellow1 which        
produces an exceedingly gorgeous effect4
 ,in two or  three cases the ground is  
green1 worked over in a darker olive    
tint  heightened with yellow4 ,in one1 a
 flower or scroll of grey is placed  on 
a ground of blue dotted all over with   
minute gold spots4    ,the blue used in 
copying these initials for the plate was
 ,prussian1  mixed with ,chinese ,white1
 and shaded with pure color4 ,the green 
is a  mixture of ,indian ,yellow and    
,prussian ,blue4 ,the pink is ,lake and 
,white  shaded with pure ,lake4 ,the red
 terminals which appear in some of the  
letters are of ,vermilion1 shaded with  
,lake4 ,chinese ,white body color  is   

largely used in working diapers over the
 letters of both colors4    ,these      
letters are good examples of the form   
chiefly in use for  illuminated         
manuscripts and in ornamental sculpture 
all over northern  ,europe from the     
twelfth century to the sixteenth4 ,they 
are generally  called the ,lombardic    
character1 from some real or fancied    
connection  with ,lombardy4 ,such names 
must be cautiously accepted4 ,arabic    
numerals1 for example1 have been proved 
to be somewhat modified ,greek  letters4
 ,but the ,lombardic capitals1 whatever 
their origin1 lend  themselves readily  
to the exigencies of the illuminator1   
and are all  the more effective from the
 contrast they present to the text4     
,it is now almost universally           
acknowledged that all the forms of the  
medival and modern alphabet may be      
traced to ,egyptian hieroglyphics4  ,a  
very interesting passage in ,mr4 ,isaac 
,taylor's learned book on ,the          
,alphabet1 shows us the development of  

the letter ,m from the ,egyptian        
picture of an owl4 ,it will be noticed1 
he says1 that our ,english  letter has  
preserved1 throughout its long history  
of six thousand  years1 certain features
 by which it may be recognized as the   
conventionalized picture of an owl4 ,in 
the capital letter ,m the two  peaks1   
which are the lineal descendants of the 
two ears of the owl1  still retain      
between them a not inapt representation 
of the beak1  while the first of the    
vertical strokes represents the breast4 
,it  would be easy to show the same     
ancient origin for many other letters1  
and for most of those in the ,greek     
alphabet4 ,f was a horned snake4 ,g  was
 a basket with a handle4 ,k was a       
triangle4 ,l was a lion seated4 ,n  was 
a zigzag line1 of which only three      
strokes have survived4 ,p was a  faggot 
of papyrus4 ,there is no perceptible    
difference between the long  ,s still   
sometimes in use and the hieroglyphic   
form4 ,u was a quail4 ,z  was a serpent4

    ,the initial ,e at the beginning of 
the previous page is of ,english  work1 
and represents ,edward the ,black       
,prince receiving a charter from  the   
hands of his father ,king ,edward ,,iii4
 ,the prince places one knee on  his    
helmet1 and has on his head only the    
ornamental cap called a  bonnet4 ,his   
arms and those of the king are colored  
on their  respective tabards4    ,the   
large letter ,m on the back of ,plate   
,,ii4 is from a volume now in  the      
,british ,museum 7,harl4 ,,mss4 #cjde71 
which was written in ,germany in  the   
twelfth century4 ,it is illuminated in  
three colors4 ,the ground is  emerald   
green2 the letter itself red2 and the   
scroll-work also in red  outline1 a pale
 purple ground being substituted for the
 green in the  circular spaces4 ,it     
would be instructive to the student to  
color the  outline from this            
description4    ,illustration3 ,,plate  
,,ii4--,,initial ,,letters ,,from       
,,french ,,manuscript1 #ae,,th          

,,century4    ,illustration3 ,,large    
,,initial ,,letter ,,of ,,twelfth       
,,century4  ,,harleian ,,mss4 #cjde1    
,,british ,,museum4                     
,,description ,,of ,,plate ,,iii4       
,the beauty of the work executed in the 
thirteenth century in ,england1  and    
that part of what is now ,france which  
then belonged to ,england1  can hardly  
be exceeded4 ,in this ,plate are        
gathered a few examples of  the period4 
,they are from two books1 both in the   
,british ,museum1 but  one probably     
written in ,france and the other at     
,canterbury4 ,the  initials from the    
,french manuscript may be readily       
distinguished4 ,the  scroll-work is     
irregular and even wild1 and in some    
examples the  artist seems to have aimed
 at nothing less than startling the     
reader  by his eccentricities4 ,the     
volume is numbered in the ,catalogue1   
,additional ,,mss4 #aa1fih1 and contains
 a treatise on the art of war4 ,the     
letters numbered in the ,plate #f1 #g1  

and #h1 are from this book4 ,the        
student will observe the simple scale of
 harmonious coloring1 blue              
predominating1 as is necessary1 and both
 yellow and also gold being  used to    
heighten the effect4 ,in copying them   
the artist used these  colors1 besides  
,chinese ,white and shell gold3 namely1 
,prussian ,blue1  ,lake1 ,indian ,red1  
,emerald ,green1 ,indian ,yellow1 shaded
 with ,burnt  ,sienna1 and ,burnt       
,umber1 with ,sepia for the outlines4   
,in imitating or  copying these         
initials1 the student will find a firm  
but delicate and  even outline of the   
greatest importance4 ,if the hand is    
very steady it  may be put in with a    
small brush1 which is particularly      
useful in the  erratic flourishes in    
which this writer rejoiced so much4     
,the ,english letters are much more     
sober and rectilinear in character4     
,the ,t 7fig4 #e7 commences the prologue
 of the ,book of ,wisdom1 for the       
volume is a ,bible 7,bibl4 ,reg4 #a ,d4 

#a71 and a small portion of the text  is
 given with the initial as a guide to   
the arrangement4 ,the colors  are the   
same as in the ,french examples4 ,the   
lines and dots in white  are very       
delicate1 and may be closely imitated by
 the use of ,chinese  ,white with a very
 fine brush1 care being taken not to    
disturb the  underlying color4 ,this is 
the book mentioned in the ,general      
,sketch as  being the work of a writer  
named ,wills4 ,devoniensis1 or ,william 
of  ,devonshire4 ,it is a small folio in
 size and is written in double  columns4
 ,at the commencement of the book of    
,psalms there is a  magnificent         
illumination covering the greater part  
of the page1 and  showing1 with much    
scroll-work by way of border1 a series  
of small  vignettes1 which include a    
crucifixion1 and a number of scenes from
  the life of ,st4 ,thomas of           
,canterbury1 better known in history as 
,thomas ,becket4    ,a somewhat similar 
,bible1 but not so delicate in          

workmanship1 is also  in the ,british   
,museum 7#a ,b4 #ab71 and was written at
 ,salisbury in #abed  by ,william de    
,hales4    ,the writing of the          
thirteenth century differs considerably 
from that  of the two following         
centuries4 ,it is not so stiff1 but much
 more  legible4 ,the distinction will be
 apparent from a comparison of this     
,plate with those two which are copied  
from manuscripts at ,lambeth  7,plates  
,,iv4 and ,,ix47 ,modern illuminators   
seem to have preferred the  later style1
 but the advantages of the early should 
recommend it4 ,the  ,chronicles written 
at ,st4 ,albans by and under the        
superintendence of  ,matthew ,paris are 
all in this style4 ,facsimiles of       
several pages are  given in the volumes 
published under the direction of the    
,master of  the ,rolls4    ,the initial 
,t on the previous page is from a       
beautiful ,nuremberg  treatise of #adhi 
on the ,preservation of ,body1 ,soul1   
,honour1 and  ,goods4    ,on the back of

 ,plate ,,iii4 are two pages in outline 
from a small ,book  of ,hours in the    
collection of ,robert ,young1 ,esq41    
,belfast4 ,this kind  of work is known  
as the ,ivy ,pattern4 ,it was           
exclusively practised in  ,france in the
 fourteenth century4 ,the coloring is   
usually of a very  sober character3 the 
prevailing colors being blue and gold   
only4    ,illustration3 ,,hart1 ,,badge 
,,of ,,richard ,,ii4    ,illustration3  
,,plate ,,iii4--,,examples ,,of         
,,thirteenth-,,century ,,work4          
,illustration3 ,,pages ,,from ,a ,,book 
,,of ,,hours ,,of ,,fourteenth          
,,century4          ,,description ,,of  
,,plate ,,iv4      ,our next ,plate is  
from a manuscript in the ,lambeth       
,library4 ,leave to  copy it was readily
 granted to us by the lamented          
,archbishop ,tait4 ,it  is ,no4 #dei in 
the ,library ,catalogue1 and contains no
 fewer than twenty  miniatures1 as well 
as borders like this one4 ,it belongs   
like ,plate  ,,ix4 7the ,frontispiece7  

to the ,english flower pattern style of 
the  fifteenth century1 and is          
remarkable for the sober effect of the  
gorgeous colors employed1 and for the   
delicacy of the scroll-work in  black4  
,a great deal of this effect is due to  
the application of gold4 ,the           
illuminators employed both what we call 
shell gold and leaf4 ,they  attached the
 greatest importance to skill in        
gilding1 and the result  is that their  
raising survives after centuries1 when  
that executed  at the present day often 
cracks off after a few weeks or months1 
if  not very carefully handled4 ,many   
books1 containing the secret of  making 
these preparations1 and sizes of all    
kinds1 are in existence2  and show that 
while the same end was attained by many 
different kinds  of processes1 one      
ingredient was never omitted1 namely1   
great care and  pains1 and the gradual  
gathering of skill through experience4  
,it is difficult to explain the method  
of using gold-leaf without an  actual   

demonstration3 and the student will     
learn more in ten minutes  by watching a
 competent gilder than by reading a     
library of books on  the subject4 ,the  
raising is to be obtained from any      
artist's  colorman1 and nothing but     
practice long and assiduous can secure  
the  power to use it4 ,the same rule    
must be laid down for burnishing1 which 
is an art not to be acquired in a day4  
,it might be well to commence  with the 
dotted work1 common in the fourteenth   
century1 and when we  have learned to   
make a burnished dot with our agate     
point we may go on  and burnish a larger
 surface4 ,the effect of burnished leaf 
gold cannot  be given in                
chromo-lithography1 but it may be worth 
while to remark  that all the gilding in
 the original illumination from which   
this  ,plate is copied is burnished on a
 raised surface1 even the small  letters
 in the text4    ,the colors employed by
 the copier were of a more mixed and    
complicated  character than those for   

the other page from the ,lambeth        
,library4 ,the  reason is apparent in a 
moment on comparing the two4 ,in this   
page the  brilliancy is so tempered as  
to produce a comparatively subdued      
effect4 ,in the ,general ,sketch mention
 has already been made of  miniatures in
 which the artist restricted himself to 
the use of  certain colors1 so as to    
insure a peculiar and delicate effect4  
,here  there has been no such           
restriction1 but each color has been    
softened  and so worked over with       
patterns and lines in body white or in  
pale  yellow1 that there is no glare or 
contrast4 ,the student should be        
careful how he obtains harmony by this  
method1 as he may find all his  work    
weakened and paled2 but1 skilfully used1
 the system may be made  to produce the 
most charming results4    ,the blue is  
,prussian1 over which are dots and lines
 of ,chinese ,white4  ,the pink is      
obtained by mixing ,lake and ,chinese   
,white1 shaded with  darker ,lake1 and  

also heightened with white lines and    
dots4 ,the orange  is pale ,indian      
,yellow shaded with ,burnt ,sienna1 and 
with an admixture  of ,lake in the      
deeper shadows4 ,the green in this      
example is obtained  by mixing ,prussian
 ,blue and ,indian ,yellow in different 
proportions4    ,on the back of ,plate  
,,iv4 are two more outlines from ,mr4   
,robert ,young's  little ,french ,book  
of ,hours4 ,they are admirable models of
 a kind of  work which for fully half a 
century was to ,france what the flower  
pattern was to ,england4 ,the branches  
are generally dark blue  delicately     
lined with white4 ,the leaves are       
sometimes gold1 that is  where there is 
not already a gold ground1 and sometimes
 yellow1 red1  and blue4 ,the prevailing
 tint is blue1 and in some pages no     
other  color1 besides the gilding1 is   
employed4    ,some outline borders and  
ornaments of the same period and style  
are to  be found on the back of ,plates 
,v4 and ,,vi4 ,the coloring of some of  

them  will be indicated by a reference  
to ,plates ,,iii4 and ,i4               
,illustration3 ,,bull1 ,,badge ,,of     
,,neville4    ,illustration3 ,,plate    
,,iv4--,,facsimile ,,of ,,manuscript    
,,in ,,lambeth ,,palace  ,,library1     
#ae,,th ,,century4    ,illustration3    
,,pages ,,from ,a ,,book ,,of ,,hours   
,,of ,,fourteenth ,,century4            
,,description ,,of ,,plate ,v4          
,plate ,v4 shows three ornaments from   
manuscripts of late date1 all in  the   
,national ,collections4    ,the border  
with the raspberries is from a ,missal  
of the sixteenth  century in the        
,british ,museum 7,addl4 #ah1hee71 and  
was probably written  and illuminated in
 the ,low ,countries4 ,we have already  
mentioned the  extraordinary freedom and
 ease of the ,flemish work of that      
period4  ,every beautiful object was    
made use of for pictorial effect4       
,children1  birds1 jewels1 shells1 as   
well as fruit and flowers1 are to be    
found4  ,they particularly excelled in  

painting pearls4 ,one border is green1  
with chains and ropes of pearls strewn  
all over it4 ,the calendar  represents  
domestic scenes1 each strongly          
surrounded with a double  gold line1 the
 written part being simply left out in  
the middle1 so  that the scene forms its
 border4 ,the gold ground presents a    
slightly  different appearance from that
 shown in our engraving1 as it is flat1 
being painted with shell-gold not put on
 very thickly4 ,the shadows are  of     
,burnt ,umber1 which has a very         
transparent effect on the gold  ground4 
,beside this border is a fine letter of 
somewhat earlier date from a  chorale   
book1 ,german work in all probability1  
which1 with many others1  ,italian and  
,flemish as well as ,german1 were       
ruthlessly cut up into  fragments1      
perhaps at the ,reformation1 perhaps    
more recently1 and are  now in the ,art 
,library of the ,south ,kensington      
,museum4 ,they are much  rubbed and     
faded1 and our chromo-lithograph        

represents this initial ,c  as it       
appeared when first finished4 ,in much  
of the northern work of  this           
period--about the middle of the         
fifteenth century1 say  #adej--there is 
a beautiful style of ornamental         
scroll-work1 which some  have proposed  
to call the ,leather ,pattern4 ,it may  
represent the cut  leather work of the  
mantling of a knight's tilting helmet4  
,a small  specimen of it is shown in the
 turned-back petals of the flowers in   
this letter1 but whole volumes are to be
 seen entirely decorated with  it1 and  
some of the best work of the period was 
accomplished in it4    ,the third of    
these ornaments is also from the        
collection in the ,south  ,kensington   
,museum4 ,in this design the thing to be
 most noticed is  perhaps that which is 
least prominent1 namely1 the gold spots1
 with  black filaments1 as it were1     
floating from them4 ,they serve to eke  
out  and fill up the composition1 and in
 some books are used with fine  effect  

on almost every page4 ,they should be   
thickly gilt on a raised  surface1 and  
should have dark outlines1 and the      
filaments rapidly and  lightly drawn1   
either with a pen or with a very fine   
brush1 pruned  down almost to a single  
hair4 ,many other pretty effects may be 
obtained by early training the hand and 
eye to draw single lines in  this way4  
,the letters in one of our other ,plates
 7,no4 ,i47 are entirely  filled with   
tracery of the kind1 and the patterns   
principally in use  are easily learned4 
,anything free is preferable to servile 
imitation  and tracing1 and these       
diapers in particular lose more than    
almost  anything else in the whole art  
of illumination by direct copying4 ,the 
student should learn to adapt his       
delicate lines--chiefly in red and      
blue--to any form of letter1 and while  
drawing them should not let his  hand   
falter or hesitate for a moment4 ,it is 
the same with the  lace-like patterns in
 white which were so much in vogue for  

heightening the edges of letters in the 
thirteenth and fourteenth  centuries4   
,they are very necessary to the effect1 
but must be painted  in with a light    
touch and great rapidity1 or they lose  
all spirit4    ,the initial ,p on the   
previous page1 and also the initials in 
pages  vii4 and #a1 have been taken from
 ,,mss4 illuminated with the ,english   
flower-pattern4 ,an attempt has been    
made to represent the colors  employed  
by means of lines4 ,this system was     
first applied to heraldry  in the first 
half of the seventeenth century4        
,horizontal lines  represent blue2      
vertical1 red2 cross hatching1 black2   
dotting1 gold or  yellow4 ,green is     
denoted by lines in bend dexter1 and    
purple by  lines in bend sinister4      
,the bands and borders on the back of   
,plate ,v4 are of the fourteenth        
century1 but similar ornaments were     
common at all times4 ,they are  chiefly 
red or blue1 with patterns in white     
lines and dots1 and in  highly burnished

 gold4 ,they are employed both as       
borders and to fill  up incomplete lines
 of writing4    ,illustration3 ,,plate  
,v4--,,ornaments ,,and ,,large          
,,initial1 #ae,,th ,,and #af,,th        
,,centuries4    ,illustration3 ,,bands  
,,and ,,border ,,ornaments--,,fourteenth
 ,,century4          ,,description ,,of 
,,plate ,,vi4      ,a page of writing   
and five separate initials from a book  
of ,hours1  written in ,flanders or     
,holland at the end of the fifteenth    
century1  are here shown1 with a border 
of the same period from another volume4 
,the first book1 which is in a private  
collection1 affords an example  of the  
kind of illumination which is styled by 
the ,french grisaille1  a word which may
 be translated grey-work4 ,in this      
style1 which  consists usually in the   
artist restricting himself to certain   
colors1  or to black1 grey1 and white   
only1 very few books were ever written4 
,i  have already1 in the ,general       
,sketch1 mentioned one which had        

pictures  in imitation of ,limoges      
enamels4 ,a volume apparently           
illuminated by  the same hand as those  
in our ,,ms4 is in the ,burgundian      
,library at  ,brussels4 ,the figure     
pictures in both look as if they were   
not painted  by the same artist as the  
writing and illumination of the letters1
 and  it is probable two or more were   
employed in the production4    ,there   
was great activity in all the arts in   
the ,low ,countries during  the         
fifteenth century1 and the most gorgeous
 books ever illuminated  were written   
there at that period4 ,at ,dortrecht1 at
 ,bruges1 and other  places there were  
schools of illuminators1 and the        
practice of the art  was not confined1  
as in ,england1 to ecclesiastics and the
 cloister4  ,the books written were1    
however1 mainly religious2 and the same 
designs were used over and over again4  
,it would1 in fact1 be easy to  identify
 each guild of miniature painters by    
their employment of the  same set of    

forms4 ,this eventually led to          
deterioration1 and only the             
introduction of oil painting1 by turning
 the minds of the artists into  a wider 
channel1 saved ,flemish art4 ,the       
masters of the ,van ,eycks1 of          
,memling1 of ,matsys1 of ,van           
,romerswale were undoubtedly the        
teachers of  illumination in books4     
,the artist in grisaille always took    
especial pains with his  draperies4 ,he 
had so little wherewith to produce his  
effect that he  sometimes almost reached
 the chiaro-scuro of a later period4    
,some of  the pictures of this school   
which ,i have seen look as if they were 
intended to represent moonlight views4  
,in the present volume the  effect of   
the soberly coloured figure subjects is 
greatly enhanced by  the rich colors of 
the border1 and the brilliantly         
burnished gilding4  ,the ground on which
 the letter ,o is gilded in ,plate      
,,vi41 is quartered  into red and blue1 
and the outer part counter-changed1 as  

they say  in heraldry4 ,a delicate      
pattern is worked over the colors in    
body-white4 ,the small leaves are       
painted with thick coats of ,emerald    
,green4    ,the border is from a ,book  
of ,hours in the ,british ,museum4 ,the 
gilding  in the original is laid on with
 shell1 worked very flat and very thin1 
so as rather to impart a yellow tone to 
the ground than to give it any  special 
lustre4 ,there are other borders in the 
book of a similar  character1 and some  
which1 on a green or a purple ground1   
show jewels  of various kinds1          
especially pearls1 sometimes strewn     
irregularly over  the ground1 sometimes 
worked up into ornaments1 or made to    
look as if  they were mounted in richly 
designed gold settings4 ,in fact1 at    
that  age the artist let nothing escape 
him that would go to enhance the  beauty
 or brilliancy of his page4 ,in the     
original this border enclosed  a very   
elaborate miniature4 ,these miniatures  
are very carefully and  delicately      

painted1 but perhaps by a different     
hand1 as they are not  equal in         
refinement to the borders4 ,the ,office 
for the ,dead is  ornamented with a     
black border1 on which is architectural 
tracery in  gold on which skulls are    
arranged1 one of them with a pansy or   
heartsease and forget-me-not1           
beautifully painted1 growing out of the 
hollow eyes4 ,the border of the picture 
of the ,annunciation is made  with a    
tall lily growing from an ornamental    
vase at the side4    ,the ,dutch and    
,flemish illuminators at this period    
excelled in  manipulation1 and many of  
the books which they painted have all   
the  merit and almost all the importance
 of pictures4 ,anything and  everything 
was used as ornament4 ,in some no two   
pages are even in what  can be called   
the same style2 but delicacy of         
workmanship1 the faces  especially being
 finished as real miniatures1 is        
characteristic of  all4 ,it is probable 
that whole schools of artists worked on 

a single  volume1 dividing the labour   
according to the skill of each artist4  
,on the back of ,plate ,,vi4 will be    
found some further examples of the      
ornaments1 letters1 and line finishings 
of the thirteenth and  fourteenth       
centuries1 chiefly from ,french books4  
,the ,a and the ,z are  from the same   
,,ms4 as ,nos4 #f and #g on ,plate      
,,iii4 ,the ,,kl united form the        
heading of the ,calendar in a book with 
ivy pattern borders4    ,illustration3  
,,plate ,,vi4--,,page ,,and ,,initials  
7,,low ,,countries1 #ae,,th  ,,century74
 ,,border ,,from ,,ms4 ,,in ,,british   
,,museum4    ,illustration3 ,,french    
,,initial ,,letters ,,and ,,border      
,,ornaments--,,fourteenth  ,,century4   
,,description ,,of ,,plate ,,vii4       
,pictorially considered the             
illustrations on ,plate ,,vii41 it must 
be  admitted1 are more quaint than      
beautiful4 ,all the subjects on this    
page are1 with the exception of the     
thirteenth and fourteenth century       

borders 7#f71 7#d71 more or less        
heraldic in character4 ,it will be best 
to take them in the order in which they 
are numbered4    ,the lady seated 7#a7  
holds in either hand the arms of the    
,duke of  ,burgundy1 slightly varied as 
to quarterings4 ,the picture is taken   
from  the famous ,bedford ,missal in the
 ,british ,museum1 which is not a       
missal at all1 but a ,book of ,hours1   
illuminated in ,france for the ,duke  of
 ,bedford1 one of the brothers of ,henry
 ,v4 ,it therefore belongs to  the      
fifteenth century4 ,the lady is sitting 
on what in heraldry is  called a mount  
vert1 which in turn is supported by the 
little half  architectural scroll-work  
below2 her dress is purple1 shaded with 
grey1 in opaque color2 the arms are     
painted in ,prussian ,blue and          
,vermilion1 the gold being shell4       
,the gentleman to the right 7#b7 is ,sir
 ,nele ,loring1 a ,knight of the        
,garter4 ,some time in the fourteenth   
century a monk of ,st4 ,albans1  ,thomas

 ,walsingham1 compiled a list of the    
benefactors of the abbey1  and as far as
 possible presented his readers with a  
portrait of each4  ,they are rather     
rough but eminently picturesque4 ,the   
book is  particularly interesting from  
the curious particulars it gives us as  
to the expenses of the illuminator4 ,one
 ,alan ,strayler1 it tells us1  worked  
much upon this book1 and the editor or  
compiler ran up a debt  with him of the 
comparatively large sum of three        
shillings and  fourpence1 equal to at   
least #c1 #ajs4 #j;d4 of our money1 for 
the  colors he had used4 ,the book came 
into the possession of the great  ,lord 
,verulam1 better known as ,lord         
,chancellor ,bacon1 and by him it was   
given to ,sir ,robert ,cotton1 who      
collected the ,cottonian ,,mss4 ,it is  
known in the ,british ,museum as ,nero  
,d4 vii4 from its place in the          
book-case of ,sir ,robert ,cotton which 
bore the effigy of that ,csar4  ,sir    
,nele1 or ,nigel1 ,loring died in #achf1

 having given the abbey many  gifts1 and
 as he was ,k4,g4 he is represented in a
 white robe diapered  with garters4     
,our next picture 7#c7 is from a very   
curious and beautiful1 but much  injured
 manuscript1 reckoned the number ii4 in 
the collection at  ,heralds' ,college4  
,by the kindness of ,somerset ,herald we
 are allowed  to copy it4 ,the book is a
 list of banners used probably at a     
tournament in the reign of ,henry       
,,viii4 ,heraldry became more or less   
the kind of science it still is under   
the last of the ,plantagenet  kings1 and
 was kept up in great glory by their    
successors1 the first  two ,tudors4 ,the
 banner here given is that of ,henry    
,stafford1 who was  made ,earl of       
,wiltshire in #aeji4 ,it shows the swan1
 the crest of the  ,staffords1 with a   
crown round its neck and a chain1 and   
the ground1  partly black and partly    
red1 the colors of the family1 is       
powdered  with ,stafford knots1 their   
badge4 ,across1 in diagonal lines1 is   

the  motto ,d',umble et ,loyal4 ,these  
banners1 which might well be imitated   
in modern illumination1 are made up of  
livery colors1 with crests and  badges1 
and are usually accompanied by the coat 
of arms of the person  to whom each     
belonged4    ,the last of the heraldic  
features of the page 7#e7 is also the   
earliest4 ,it represents part of the    
border of a ,psalter made1 it is        
believed1 in honour of the intended     
marriage of ,prince ,alphonso1 the  son 
of ,edward ,i41 with a daughter of the  
,king of ,arragon4 ,he died at  the age 
of ten years in #abhb2 but it is        
possible that the  illuminations refer  
to the intended marriage of his sister1 
the  princess ,eleanor1 with ,alphonso1 
the young ,king of ,arragon4 ,in any    
case the manuscript certainly belongs to
 the middle of the thirteenth  century4 
,to the right we see a knight in the    
chain armour of the  period with his    
shield hung over his arm4 ,small gold   
crosses1  alternating with lions rampant

 on a blue ground1 form part of the     
border1 the other part consisting of    
lions passant on a red ground4  ,two    
shields bear1 one1 the arms of the son  
of ,king ,edward1 ,england1  differenced
 with a label1 azure1 and the other1    
those of ,leon4 ,crests  and mottoes had
 not been invented1 and the artist had  
little scope for  his fancy4 ,but it may
 not be out of place to call attention  
to the  fact that even at this early    
period heraldry was made use of for     
ornament1 as in this border1 and that it
 answered the purpose  admirably4    ,on
 the back of ,plate ,,vii4 is the       
outline of an illumination of the       
,adoration of the ,magi1 from a ,french 
,,ms4 of the #afth century4 ,borders  of
 this type though very rich seldom occur
 in books ornamented in  ,england4 ,the 
branch work is in delicate black lines1 
with leaves and  berries in gold or     
color4 ,the scrolls are generally in    
blue1 turned up  with gold1 red1 or     
pink2 blue being1 however1 always the   

predominant  color1 so as to insure a   
certain measure of harmony4 ,the effect1
  however1 depended more on the skill   
with which the branch work in  black was
 disposed4    ,illustration3 ,,plate    
,,vii4--,,borders ,,of ,,thirteenth     
,,and ,,fourteenth  ,,centuries1 ,,and  
,,heraldic ,,designs4    ,illustration3 
,,border ,,and ,,text1 ,,with           
,,adoration ,,of ,,the ,,three          
,,kings--,,sixteenth ,,century4         
,,description ,,of ,,plate ,,viii4      
,no book on this subject would be       
complete without something more than  a 
passing reference to the earliest of all
 the fashions in  illumination which    
have prevailed in our islands4 ,this    
,plate gives  some examples from the    
very curious manuscript in the ,library 
of  ,trinity ,college1 ,dublin1 known as
 the ,book of ,kells4 ,this venerable   
volume contains the four ,gospels in    
,latin1 and1 it is sometimes  asserted1 
dates from the seventh century1 but more
 probably belongs to  the ninth4 ,the   

late ,sir ,m4 ,d4 ,wyatt says of it3 ,of
 this very book ,mr4  ,westwood examined
 the pages1 as ,i did1 for hours        
together1 without  ever detecting a     
false line1 or an irregular             
interlacement4 ,in one  space of about a
 quarter of an inch superficial1 he     
counted1 with a  magnifying glass1 no   
less than one hundred and fifty-eight   
interlacements1 of a slender ribbon     
pattern1 formed of white lines1  edged  
by black ones1 upon a black ground4 ,no 
wonder that tradition  should allege    
that these unerring lines should have   
been traced by  angels4    ,the examples
 before us are purposely taken from a   
less complicated  page1 but will be     
found sufficient to try the skill and   
patience of  even the most painstaking  
student4 ,the colors are rather more    
vivid  than in the original1 which has  
now greatly faded through age and       
ill-usage4 ,there is little to be said  
as to the beauty of the design4         
,grotesques have an attraction in spite 

of their ugliness3 but we can  hardly   
expect the most enthusiastic admirer of 
antiquity to imitate  these             
extraordinary complications of form and 
color1 except as an  exercise of skill  
and patience4 ,in one respect1 however1 
early  manuscripts and especially       
manuscripts of this class1 are well     
worthy  of imitation4 ,the writing is   
very clear and distinct4 ,it is easier  
to  read a charter of the seventh or the
 eighth century than one of the         
seventeenth4 ,illuminators might do     
worse than learn the old ,irish         
alphabet1 if only on this account4      
,there is no gilding in the ,book of    
,kells1 but some occurs in the          
contemporary1 or nearly contemporary    
,book of ,durham4 ,the effect  depends  
wholly on the skill of the scribe in    
using a very limited  palette so as to  
make the most of it4 ,the modern student
 would do well  to remember this4 ,a    
wide range of colors does not always    
conduce to  bright or good coloring4    

,harmony is often found to follow from a
  sparing use of the more brilliant     
pigments at our disposal1 with a        
careful eye to effect4 ,the beginner too
 often imagines that he can  make his   
border or his initial look well if he   
puts enough gold or  vermilion on2 but  
he should remember that the more sober  
and simple  his scale of coloring the   
more splendid will the bright colors    
look  when he does employ them4 ,it is  
well to remember that absolute harmony  
is obtained by the use of blue1 red1 and
 yellow in these  proportions3--blue1   
eight2 red1 five2 yellow1 three2 and    
that all good  pictures or illuminations
 must depend on this principle4 ,white  
and  black1 and also in some cases      
gilding1 may be treated as neutrals4    
,there is usually a sufficiency of black
 in the lettering of a page4  ,white1 in
 the shape of dots and as heightening1  
may be largely  employed if there is any
 want of harmony detected4 ,gold should 
not be  used for this purpose1 except in

 certain styles2 and the student may    
rest assured that a design which does   
not look well without gold will  not    
look better with it4    ,a few other    
specimens1 without color1 will be found 
on the back of  ,plate ,,viii4 ,it might
 be good practice for the student to    
tint them in  the style of the colored  
examples4    ,the ,byzantine style1 as  
it is called1 prevailed about the same  
period  in the countries of eastern and 
northern ,europe4 ,the books are of a   
very different but equally ungraceful   
character4 ,the work is not so  minute  
or complicated1 but the lavish use of   
gold distinguishes them4  ,sometimes a  
page is written in gold letters on      
vellum stained purple2  sometimes the   
page is entirely gilt4 ,none of the     
examples in the  ,british ,museum are   
worth the trouble and indeed expense of 
copying1  but they are curious as       
specimens of barbaric splendour4        
,illustration3 ,heraldic ,lion4         
,illustration3 ,,plate                  

,,viii4--,,examples ,,from ,,the ,,book 
,,of ,,kells1 #i,,th  ,,century4        
,illustration3 ,,early ,,irish ,,initial
 ,,letters4          ,,description ,,of 
,,plate ,,ix4    7,,frontispiece47      
,such measure of perfection as had been 
attained by ,english  illuminators in   
the latest period is well illustrated by
 this ,plate4  ,it is from a ,book of   
,hours in the library of the ,archbishop
 of  ,canterbury at ,lambeth4 ,leave to 
copy it was kindly accorded to us by    
,his ,grace the late lamented           
,archbishop ,tait4 ,the volume is square
 in  shape and rather thick1 the vellum 
not being of the fineness seen in  the  
,bibles of the thirteenth century1      
already noticed4 ,it is numbered  #dgd  
in the ,catalogue1 and is described by  
,mr4 ,s4 ,w4 ,kershaw1 ,f4,s4,a41  in   
his book on the ,art ,treasures of the  
,lambeth ,library1 who assigns  it to   
the early part of the fifteenth century4
    ,the illuminations in this book are 
admirable examples of what is known  as 

the ,english flower pattern1 a style1 as
 we have already observed1  which was as
 peculiar to our insular artists as the 
,perpendicular  style in architecture4  
,it was used for all kinds of           
manuscripts1 and  even law deeds are    
sometimes to be seen thus ornamented4   
,even after  the invention of printing  
it continued to flourish for a while2   
and  books are sometimes found printed  
on vellum abroad1 and illuminated in    
,england with the beautiful native      
flower pattern in borders and  initials4
    ,mr4 ,kershaw observes regarding the
 book from which the present page  has  
been taken3 ,this1 a very nice example1 
is fairly written1 and  ornamented with 
a profusion of beautiful illuminated    
initials of  ,english art4 ,the volume  
contains but two miniature paintings1   
the  remainder usually found in ,,mss4  
of this class having been abstracted4   
,the initial letters vary in size and   
pattern2 they are all upon  backgrounds 
of gold1 and frequently form with their 

finials short  marginal ornaments of    
elegant tracery work4 ,pink1 blue1 and  
orange  brown are the prevailing colors1
 the blue being often heightened on  the
 outer edge with flat white tints4 ,the 
larger initials are rich in  design and 
varied in their coloring1 and would     
supply the artist or  amateur with      
abundant materials for study4    ,i     
would desire to call the student's      
attention to one or two points  of      
importance4 ,in imitating or copying    
work of this kind it is well  to observe
 that though the artist appears to have 
used the utmost  freedom of line and    
direction1 he has really been most      
careful in his  composition4 ,the       
initial ,o comes well out from among its
 surroundings1  and is not overpowered  
by the weight of its dependent ornament4
 ,the  scroll-work requires especial    
attention4 ,that which fills the centre 
of the letter appears to press tightly  
against the edge1 and is so  arranged as
 to fill completely the vacancy for     

which it is intended4  ,there is nothing
 limp about it4 ,too often modern work  
can be detected  by its want of what ,i 
must call the crispness of the original4
    ,with regard to the writing1 it will
 be observed that a great change in  the
 form of the letters has taken place    
since the thirteenth century4  ,the     
difference between u and n is often     
hardly perceptible1 and has  led to many
 curious mistakes4 ,nevertheless1 if the
 student is careful  about such         
particulars1 this is a very beautiful   
style1 and admirably  suited for modern 
requirements4 ,the colors used by the   
artist who  copied this page were as    
follows3--for the blue1 ,prussian1 lined
 and  dotted with ,chinese ,white2 for  
the pink1 ,lake and ,chinese ,white1    
shaded with the same color darker2 the  
deepest shadows are ,lake2 for  the     
orange1 pale ,indian ,yellow for the    
lights1 shaded with ,burnt  ,sienna1 and
 ,lake for the deepest shadows4    ,in  
some books illuminated in this style the

 centre of the letter is  occupied with 
a scene containing figures1 and         
occasionally a picture  extends across  
the page1 the initial fitting close up  
to it4 ,the  picture1 in this case1 is  
always surrounded with a double line or 
framework of blue1 or red1 and gold2 and
 the color has a delicate  white line on
 it1 and occasionally gives out a branch
 which1 crossing  the gold line1 bursts 
into flower in the margin4 ,this style  
was  largely used for official documents
 for a long period1 and many  excellent 
facsimiles representing examples are to 
be found as  frontispieces to the       
volumes of the ,roll ,series4 ,it lasted
 with more  or less modification until  
the reign of ,charles ,i4           99  
99       99       99       99    ,,vere 
,,foster',s ,,water-,,color ,,books4    
,we can strongly recommend these volumes
 to young students of  drawing4--,the   
,times1 ,dec4 #bg1 #ahhd4               
,,painting ,,for ,,beginners4--,first   
,stage4    ,teaching the use of ,one    

,color4 ,ten ,facsimiles of ,original   
,studies in  ,sepia1 by ,j4 ,,callow1   
and numerous ,illustrations in ,pencil4 
,with full  instructions in easy        
language4 ,in ,three ,parts1 #dto1 #f;d 
each2 or one  volume1 cloth elegant1    
#bs4 #f;d4    ,,painting ,,for          
,,beginners4--,second ,stage4           
,teaching the use of ,seven ,colors4    
,twenty ,facsimiles of ,original        
,drawings by ,j4 ,,callow1 and many     
,illustrations in ,pencil4 ,with full   
instructions in easy language4 ,in ,six 
,parts #dto1 #f;d4 each2 or one  volume1
 cloth elegant1 #ds4    ,,simple        
,,lessons ,,in ,,flower ,,painting4     
,eight ,facsimiles of ,original         
,water-,color ,drawings1 and numerous   
,outline ,drawings of ,flowers4 ,with   
full instructions for ,drawing and      
,painting4 ,in ,four ,parts #dto1 #f;d4 
each2 or one volume1 cloth elegant1     
#cs4    ,everything necessary for       
acquiring the art of flower painting is 
here2 the facsimiles of water-color are 

very beautiful4--,graphic4    ,,simple  
,,lessons ,,in ,,marine ,,painting4     
,twelve ,facsimiles of ,original        
,water-,color ,sketches4 ,by ,,edward   
,,duncan4  ,with numerous ,illustrations
 in ,pencil1 and ,practical ,lessons by 
an  experienced ,master4 ,in ,four      
,parts1 #dto1 #f;d4 each2 or one volume1
  cloth elegant1 #cs4    ,must prove of 
great value to students4 ,nothing could 
be prettier or  more charming than these
 sketches4--,graphic4    ,,simple       
,,lessons ,,in ,,landscape ,,painting4  
,eight ,facsimiles of ,original         
,water-,color ,drawings1 and ,thirty    
,vignettes1 after various artists4 ,with
 full instructions by an  experienced   
,master4 ,in ,four ,parts #dto1 #f;d4   
each2 or one volume1  cloth elegant1    
#cs4    ,as a work of art in the book   
line we have seldom seen its equal2 and 
it could not fail to be a delightful    
present1 affording a great amount  of   
pleasurable amusement and instruction1  
to young people4--,st4  ,james's        

,gazette4    ,,studies ,,of ,,trees4    
,in ,pencil and in ,water-,colors1 by   
,j4 ,,needham4 ,a ,series of ,eighteen  
,examples in ,colors1 and ,thirty-three 
,drawings in ,pencil4 ,with             
descriptions of the ,trees1 and full    
instructions for ,drawing and           
,painting4 ,in ,eight ,parts #dto1 #as4 
each2 or ,first ,series1 cloth  elegant1
 #es42 ,second ,series1 cloth elegant1  
#es4    ,,advanced ,,studies ,,in       
,,flower ,,painting4    ,by ,,ada       
,,hanbury4 ,twelve beautifully finished 
,examples in ,colors1 and  numerous     
,outlines in ,pencil4 ,with a           
description of each flower1 and  full   
instructions for drawing and painting by
 ,,blanche ,,hanbury4 ,in ,six  ,parts1 
#dto1 #as4 each2 or one volume1 cloth   
elegant1 #gs4 #f;d4    ,,easy ,,studies 
,,in ,,water-,,color ,,painting4    ,by 
,r4 ,p4 ,,leitch and ,j4 ,,callow4 ,a   
,series of ,nine ,pictures executed in  
,neutral ,tints4 ,with full instructions
 for drawing each subject1 and  for     

sketching from ,nature4 ,in ,three      
,parts #dto1 #as4 #f;d4 each2 or  one   
volume1 cloth elegant1 #fs4             
,,sketches ,,in ,,water-,,colors4    ,by
 ,t4 ,m4 ,,richardson1 ,r4 ,p4 ,,leitch1
 ,j4 ,a4 ,,houston1 ,t4 ,l4 ,,rowbotham1
 ,e4  ,,duncan1 and ,j4 ,,needham4 ,a   
,series of ,nine ,pictures executed in  
,colors4  ,with full instructions for   
drawing each subject1 by an experienced 
,teacher4 ,in ,three ,parts #dto1 #as4  
#f;d4 each2 or one volume1 cloth        
elegant1 #fs4    ,the names of the      
artists are quite sufficient to stamp   
these books  with the highest qualities4
 ,the pictures are judicious in         
selection  and artistic in execution1   
while the instructions are so full and  
clear as to almost supersede the need of
 a teacher4--,liverpool  ,courier4      
,,illuminating4    ,nine examples in    
,colors and ,gold of ancient            
,illuminating of the best  periods of   
this interesting and almost forgotten   
art1 with numerous  ,illustrations in   

,outline1 historical and other ,notes1  
and full  descriptions and instructions 
by the ,rev4 ,w4 ,j4 ,,loftie1 ,b4,a41  
,f4,s4,a4  ,immediately4    ,adopted by 
the ,science and ,art ,department1      
,south ,kensington4    ,,vere           
,,foster',s ,,drawing ,,copy-,,books4   
,,graded ,,and ,,progressive4    ,,with 
,,instructions ,,and ,,paper ,,to ,,draw
 ,,on4    ,,in ,,twelve ,,parts ,,at    
,,one ,,shilling ,,each4      ,part     
,i4--,,elementary ,,lessons4 ,part      
,,ii--,,objects ,,with ,,curved ,,lines4
  ,part ,,iii4--,,plants ,,and ,,flowers
 ,part ,,iv4--,,ornament1 by ,f4 ,e4    
,,hulme4  ,part ,v4--,,trees ,,in ,,lead
 ,,pencil4 ,part ,,vi4--,,landscape ,,in
 ,,lead ,,pencil4  ,part                
,,vii4--,,marine1 by ,,callow1 c4 ,part 
,,viii4--,,animals1 by ,h4 ,,weir4      
,part ,,ix4--,,animals1 by ,h4 ,,weir   
7continued74 ,part ,x4--,,human         
,,figure4 ,part ,,xi4--,,practical      
,,geometry4 ,part ,,xii4--,,mechanical  
,,drawing4      ,,published ,,also ,,in 

,,fifty ,,numbers ,,at ,,threepence     
,,each4      ,,elementary ,,lessons4 ,a 
#a ,initiatory ,lessons4 ,a #b ,letters 
and ,numerals4  ,b #a ,objects          
7,straight ,lines74 ,b #b ,domestic     
,objects 7,simple74    ,,objects ,,with 
,,curved ,,lines4 ,c #a ,domestic       
,objects 7,flat ,treatment74 ,c #b      
,domestic ,objects 7,perspective74 ,d #a
 ,leaves 7,flat ,treatment74 ,d #b      
,leaves 7,natural ,treatment74          
,,plants ,,and ,,flowers4 ,e #a ,plants 
7,simple ,forms74 ,e #b ,plants         
7,advanced74  ,g #a ,flowers 7,simple   
,forms74 ,g #b ,flowers 7,advanced74    
,,ornament1 by ,f4 ,e4 ,,hulme4 ,i #a   
,elementary ,forms4 ,i #b ,simple ,forms
  7,fretwork1 c74 ,i #c ,advanced ,forms
 7,carving1 c474 ,i #d ,ornament        
7,classic1 c474    ,,trees ,,in ,,lead  
,,pencil4 ,j #a ,oak1 ,fir1 c4 ,j #b    
,beech1 ,elm1 c4 ,j #c ,oak1  ,chestnut1
 ,birch4 ,j #d ,birch1 ,larch1 ,poplar1 
c4    ,,landscape ,,in ,,lead ,,pencil4 
,k #a ,rustic ,landscape in ,outline4 ,k

 #b ,shaded  ,objects1 c4 ,k #c ,shaded 
,landscape4 ,k #d ,advanced ,landscape4 
,,marine1 by ,,callow1 c4 ,m #a ,boats1 
,foregrounds1 c4 ,m #b ,fishing ,craft1 
,coasters1 c4 ,m #c ,yachts and other   
,vessels4 ,m #d ,drawing of ,waves4     
,,human ,,figure4 ,q #a ,features4 ,q #b
 ,heads1 ,hands1 c4 ,q #c ,rustic       
,figures1  by ,duncan4 ,q #d ,figure    
from the ,antique4    ,,animals1 by ,h4 
,,weir4 ,o #a ,birds and ,quadrupeds4 ,o
 #b ,poultry1 various  breeds4 ,o #c    
,british ,small ,birds4 ,o #d ,british  
,wild ,animals4 ,o #e ,horses  7,arab1  
,hunter1 c474 ,o #f ,horses 7,racer1    
,trotter1 c474 ,o #g ,dogs  7,seventeen 
,species74 ,o #h ,cattle1 ,sheep1 ,pigs1
 c4 ,o #i ,lambs1 ,ass1  ,foal1 c4 ,o   
#aj ,foreign ,animals1 c4    ,,practical
 ,,geometry4 ,r #a ,definitions and     
,simple ,problems4 ,r #b ,practical     
,geometry4 ,r #c ,applied ,geometry4    
,,practical ,,mechanical ,,drawing4 ,t  
#a ,initiatory4 ,t #b ,details of       
,tools1  c4 ,t #c ,models for ,working  

,drawings1 c4 ,t #d ,details of         
,machines and  ,engines4    ,z ,blank   
,exercise ,book4      ,,vere ,,foster',s
 ,,drawing ,,cards4    ,,beautifully    
,,printed ,,on ,,fine ,,cards ,,and     
,,done ,,up ,,in ,,neat ,,packets4      
,first ,grade1 ,set ,i4--,,familiar     
,,objects1 #bd cards1 #as4 ,first       
,grade1  ,set ,,ii4--,,leaf ,,form1 #bd 
cards1 price #as4 ,first ,grade1 ,set   
,,iii4--,,elementary ,,ornament1 #bd    
cards1 price #as4 ,second               
,grade4--,,ornament1 by ,f4 ,e4 ,,hulme1
 #ah large cards1 price #bs4  ,advanced 
,series4--,,animals1 by ,,harrison      
,,weir1 #bd cards1 price #as4  #f;d4    
,,of ,,vere ,,foster',s                 
,,drawing-,,books    ,the ,,standard    
says--,there is no book of instruction  
in drawing1 no  matter what its price1  
so well calculated to aid self-help as  
,vere  ,foster's books4 ,even in schools
 that possess the advantage of apt and  
experienced teachers of drawing1 their  
advantages will speedily become         

manifest4 ,mr4 ,vere ,foster has done a 
public service by the production  of    
this series4    ,the ,,graphic says--,if
 any parent who reads these lines has a 
boy or  girl who wishes to learn how to 
be an artist1 let us boldly recommend   
,vere ,foster's ,drawing-,book4 ,it is  
not only the cheapest1 but by far  the  
best that we have seen4    ,the ,,art   
,,journal says--,it would be difficult  
to overrate the value of  this work--a  
work that is not to be estimated by its 
cost3 one is  great1 the other very     
small4 ,any learner may find in it a    
huge volume  of thought1 his studies    
rightly directed by a competent         
practical  teacher1 who will teach him  
nothing by which he can be led astray1  
or  that he will have to unlearn when he
 consults the great ,book of  ,nature4  
,adopted by the ,science and ,art       
,department1 ,south ,kensington4        
,,poynter',s ,,south ,,kensington       
,,drawing-,,book4      ,this ,new       
,series of ,drawing ,copies has been    

issued under the direct  superintendence
 of ,e4 ,j4 ,,poynter1 ,r4,a4 ,the      
examples have been selected  for the    
most part from objects in the ,,south   
,,kensington ,,museum1 and the          
,drawings have been made under ,mr4     
,poynter's careful personal  supervision
 by ,pupils of the ,,national ,,art     
,,training ,,school4    ,each ,book has 
,fine ,cartridge ,paper to draw on4     
,two ,books4 ,,elementary ,,freehand    
,,drawing4 ,sixpence ,each4             
,i4--,,simple ,,geometrical ,,forms4    
,,ii4--,,conventionalized ,,floral      
,,forms4    ,six ,books4 ,,freehand     
,,drawing1 ,,ornament1 ,,first ,,grade4 
,sixpence ,each4    ,i4--,,simple       
,,objects ,,and ,,ornament--,flat4      
,,ii4--,,various ,,objects--,flat4      
,,iii4-,,objects ,,and ,,architectural  
,,ornament--,flat and ,perspective4     
,,iv4--,,architectural                  
,,ornament--,flat4 ,v4--,,objects ,,of  
,,glass ,,and                           
,,earthenware--,perspective4            

,,vi4--,,common ,,objects--,perspective4
    ,six ,books4 ,freehand ,drawing1    
,plants1 ,first ,grade4 ,sixpence ,each4
    ,i4--,,leaves ,,and                 
,,flowers--,simplest4 ,,ii4--,,leaves1  
,,flowers1 ,,fruits4  ,,iii4--,,flowers1
 ,,fruits1 ,c4 ,,iv4--,,flowers ,,and   
,,foliage4 ,v4--,,flowers4              
,,vi4--,,flowers4    ,four ,books4      
,,freehand ,,drawing1 ,,second ,,grade4 
,one ,shilling ,each4    ,i4--,,forms   
,,of ,,anthemion ,,ornament1 ,c4--,flat4
 ,,ii4--,,greek1 ,,roman1 ,,and         
,,venetian--,flat and ,perspective4     
,,iii4--,,italian ,,renaissance--,flat4 
,,iv4--,,roman1 ,,italian1 ,,japanese1  
,c4--,flat and ,perspective4    ,,the   
,,same ,,subjects ,,on ,,cards4         
,elementary ,freehand 7,cards71         
,four ,packets1 ,price #i;d4 each4      
,first ,grade1 ,freehand ,ornament      
7,cards71   ,six               #a_/     
,first ,grade1 ,freehand ,plants        
7,cards71     ,six               #a_/   
,second ,grade1 ,freehand 7,cards71     

,four              #a_/f       ,four    
,books4 ,,elementary ,,human ,,figure4  
,sixpence ,each4                        
,i4--,,michelangelo',s                  
,,david--,features4 ,,ii4--,,masks1     
,,from ,,antique  ,,sculpture4          
,,iii4--,,hands1 ,,from ,,sculpture4    
,,iv4--,,feet1 ,,from ,,sculpture4      
,three ,books4 ,,advanced ,,human       
,,figure1 ,imp4 #dto1 ,two ,shillings   
,each4    ,book   ,i4--,,head ,,of ,,the
 ,,venus ,,of ,,milos4  ,book           
,,ii4--,,head ,,of ,,the ,,youthful     
,,bacchus4  ,book ,,iii4--,,head ,,of   
,,david ,,by ,,michelangelo4    ,four   
,books4 ,,figures ,,from ,,the          
,,cartoons ,,of ,,raphael4 ,imp4 #dto1  
#bs4 ,each4    ,twelve ,studies of      
,draped ,figures4 ,drawn direct from the
 ,originals in  the ,south ,kensington  
,museum4 ,with ,descriptive ,text1 and  
,paper for  ,copying4    ,four ,books1  
#as4 ,each4 ,,elementary ,,perspective  
,,drawing4 ,one ,vol41 cloth1  #es4     
,by ,s4 ,j4 ,cartlidge1 ,f4,r4,hist4,s41

 ,lecturer in the ,national ,art        
,training  ,school1 ,south ,kensington4 
,book   ,i4  ,for ,second ,grade        
,examination of the ,department4  ,book 
,,ii4  ,book ,,iii4--,,accidental       
,,vanishing ,,points4  ,book            
,,iv4--,,higher ,,perspective4      ,the
 ,,pall ,,mall ,,gazette says3    ,the  
choice of subjects is admirable2 there  
is not an ugly drawing in  the book4    
,parents and teachers who have been     
looking in vain for  drawing-books that 
should really train the eye in the study
 of  beautiful forms1 as well as the    
hand in the representation of what the  
eye sees1 will be very grateful to the  
,science and ,art ,department for  these
 cheap and most satisfactory            
productions4      ,,blackie  ,,son',s   
,,books ,,for ,,the ,,young4      ,price
 #gs4 #f;d4    ,the ,universe3 ,or the  
,infinitely ,great and the ,infinitely  
,little4 ,a  ,sketch of ,contrasts in   
,creation and ,marvels revealed and     
explained by  ,nature and ,science4 ,by 

,f4 ,a4 ,,pouchet1 ,m4,d4 ,with #bgc    
,engravings on  wood4 #hth ,edition1    
medium #hvo1 cloth elegant1 gilt edges4 
,price #fs4    ,true to the ,old ,flag3 
,a ,tale of the ,american ,war of       
,independence4 ,by  ,g4 ,a4 ,,henty4    
,with #ab full-page ,illustrations by   
,,gordon ,,browne4 ,cloth  elegant1     
olivine edges4    ,in ,freedom's ,cause3
 ,a ,story of ,wallace and ,bruce4 ,by  
,g4 ,a4 ,,henty4 ,with  #ab full-page   
,illustrations by ,,gordon ,,browne4    
,cloth elegant1 olivine  edges4    ,with
 ,clive in ,india3 ,or the ,beginnings  
of an ,empire4 ,by ,g4 ,a4 ,,henty4     
,with #ab full-page ,illustrations by   
,,gordon ,,browne4 ,cloth elegant1      
olivine edges4    ,bunyip ,land3 ,the   
,story of a ,wild ,journey in ,new      
,guinea4 ,by ,g4 ,,manville  ,,fenn4    
,with #ab full-page ,illustrations by   
,,gordon ,,browne4 ,cloth elegant1      
olivine edges4    ,the ,golden ,magnet3 
,a ,tale of the ,land of the ,incas4 ,by
 ,,geo4 ,,manville  ,,fenn4 ,with #ab   

full-page ,pictures by ,,gordon         
,,browne4 ,cloth elegant1  olivine      
edges4    ,the ,life and ,surprising    
,adventures of ,robinson ,crusoe4 ,by   
,,daniel  ,,defoe4 ,beautifully         
,printed1 and ,illustrated by above #ajj
 ,pictures  designed by ,,gordon        
,,browne4 ,cloth elegant1 olivine edges4
 ,reprinted  from the ,author's         
,edition4    ,in the ,king's ,name3 ,or 
the ,cruise of the ,kestrel4 ,by ,,geo4 
,,manville  ,,fenn4 ,with #ab full-page 
,pictures by ,,gordon ,,browne4 ,cloth  
elegant1  olivine edges4    ,under      
,drake's ,flag4 ,a ,tale of the ,spanish
 ,main4 ,by ,g4 ,a4 ,,henty4 ,with  #ab 
full-page ,pictures by ,,gordon         
,,browne4 ,cloth elegant1 olivine edges4
      ,price #es4    ,st4 ,george for   
,england3 ,a ,tale of ,cressy and       
,poitiers4 ,by ,g4 ,a4 ,,henty4  ,with  
#h full-page ,illustrations4 ,cl4       
elegant4    ,menhardoc3 ,a ,story of    
,cornish ,nets and ,mines4 ,by ,g4      
,,manville ,,fenn4  ,with #h full-page  

,illustrations4 ,cl4 elegant4    ,the   
,pirate ,island3 ,a ,story of the ,south
 ,pacific4 ,by ,,harry ,,collingwood4   
,with #h full-page ,pictures4 ,cloth    
elegant4    ,the ,wigwam and the        
,warpath3 ,stories of the ,red ,indians4
 ,by ,,ascott ,r4  ,,hope4 ,with #h     
full-page ,pictures4 ,cloth elegant4    
,by ,sheer ,pluck3 ,a ,tale of the      
,ashanti ,war4 ,by ,g4 ,a4 ,,henty4     
,with #h  full-page ,illustrations4     
,cloth elegant4    ,stories ,of ,old    
,renown4 ,tales of ,knights and ,heroes4
 ,by ,,ascott ,r4 ,,hope4  ,with #ajj   
,illustrations by ,,gordon ,,browne4    
,cloth elegant1 olivine edges4          
,facing ,death3 ,or the ,hero of the    
,vaughan ,pit4 ,by ,g4 ,a4 ,,henty4     
,with #h  full-page ,illustrations4     
,cloth elegant4    ,nat the ,naturalist3
 ,or a ,boy's ,adventures in the        
,eastern ,seas4 ,by ,,geo4  ,,manville  
,,fenn4 ,with #h full-page ,pictures4   
,cloth elegant4      ,price #cs4 #f;d4  
,cheep and ,chatter2 ,or ,lessons from  

,field and ,tree4 ,by ,,alice ,,banks4  
,with #ed ,character ,illustrations by  
,gordon ,,browne4 ,cloth elegant4 ,with 
gilt edges1 #ds4    ,the ,wreck of the  
,nancy ,bell3 ,or ,cast away on         
,kerguelen ,land4 ,by ,,john  ,c4       
,,hutcheson4 ,illustrated by #f         
full-page ,pictures4 ,cloth extra4      
,picked up at ,sea3 ,or the ,gold       
,miners of ,minturne ,creek4 ,by ,,john 
,c4  ,,hutcheson4 ,with #f full-page    
,pictures in ,tints4 ,cloth extra4      
,dr4 ,jolliffe's ,boys3 ,a ,tale of     
,weston ,school4 ,by ,,lewis ,,hough4   
,with #f  full-page ,pictures4 ,cloth   
extra4    ,traitor or ,patriot8 ,a ,tale
 of the ,rye-,house ,plot4 ,by ,,mary   
,c4 ,,rowsell4  ,illustrated by #f      
full-page ,pictures4 ,cloth elegant4    
,brother and ,sister3 ,or the ,trials of
 the ,moore ,family4 ,by ,,elizabeth ,j4
  ,,lysaght4 ,with #f full-page         
,illustrations4 ,cloth extra4    ,dora3 
,or a ,girl without a ,home4 ,by ,mrs4  
,r4 ,h4 ,,read4 ,with #f full-page      

,illustrations4 ,cloth extra4           
,garnered ,sheaves4 ,a ,tale for ,boys4 
,by ,,mrs4 ,,emma ,r4 ,,pitman4 ,with #d
  full-page ,illustrations4 ,cloth      
extra4    ,florence ,godfrey's ,faith4  
,a ,story of ,australian ,life4 ,by     
,,mrs4 ,,pitman4  ,with #d full-page    
,illustrations4 ,cloth extra4    ,life's
 ,daily ,ministry4 ,a ,story of         
,everyday ,service for ,others4 ,by     
,,mrs4  ,,emma ,r4 ,,pitman4 ,with #d   
full-page ,illustrations4 ,cloth extra4 
,my ,governess ,life3 ,or ,earning my   
,living4 ,by ,,mrs4 ,,emma ,r4 ,,pitman4
 ,with  #d full-page ,illustrations4    
,cloth extra4      ,price #bs4 #f;d4    
,each book is beautifully illustrated1  
and bound in cloth extra4    ,brothers  
in ,arms3 ,a ,story of the ,crusades4   
,by ,f4 ,,bayford ,,harrison4    ,jack  
o' ,lanthorn3 ,a ,tale of ,adventure4   
,by ,,henry ,,frith4    ,winnie's       
,secret3 ,a ,story of ,faith and        
,patience4 ,by ,kate ,,wood4    ,a ,waif
 ,of the ,sea3 ,or the ,lost ,found4 ,by

 ,,kate ,,wood4    ,hetty ,gray3 or     
,nobody's ,bairn4 ,by ,,rosa            
,,mulholland4    ,miss ,fenwick's       
,failures3 ,or ,peggy ,pepper-pot4 ,by  
,,esm ,,stuart4    ,the ,ball ,of       
,fortune3 ,or ,ned ,somerset's          
,inheritance4 ,by ,,charles ,,pearce4   
,the ,family ,failing4 ,by ,,darley     
,,dale4    ,stories of the ,sea in      
,former ,days3 ,narratives of ,wreck and
 ,rescue4    ,adventures in ,field1     
,flood1 and ,forest3 ,stories of ,danger
 and ,daring4    ,a complete ,list of   
,books for the ,young1 prices from #d;d4
 to #gs4 #f;d41  with ,synopsis of their
 ,contents1 will be supplied on         
application to  the ,publishers4        
,,london3 ,,blackie  ,,son1 #di  #ej    
,,old ,,bailey1 ,e4,c42    ,,glasgow1   
,,edinburgh1 ,,and ,,dublin4