,,just ,,published4 ,,laurent ,,de ,,lara',s ,,shaksperian ,,proverbs1 ,,from ,,his ,,plays4 ,quarto ,imperial1 price #as4 #f;d4 ,plain2 #cs4 ,partly ,coloured4 #a4 ,,all ,,the ,,world',s ,a ,,stage4 #b4 ,,rich ,,gifts ,,wax ,,poor4 #c4 ,,suspicion ,,always ,,haunts4 #d4 ,,fast ,,bind1 ,,fast ,,find4 #e4 ,,sweet ,,are ,,the ,,uses ,,of ,,adversity4 #f4 ,,there ,,is ,,no ,,vice ,,so ,,simple4 #g4 ,,virtue ,,itself ,,turns ,,vice4 #h4 ,,come ,,what1 ,,come ,,may1 ,,time4 #i4 ,o ,,it ,,is ,,excellent ,,to ,,have ,a ,,giant',s ,,strength4 #aj4 ,,there',s ,a ,,divinity ,,that ,,shapes ,,our ,,ends4 #aa4 ,,one ,,touch ,,of ,,nature ,,makes ,,the ,,whole ,,world ,,kin4 #ab4 ,,life',s ,,but ,a ,,walking ,,shadow4 #c4 ,,shakspere ,,in ,,memoriam1 with ,vignette ,portrait4 #bs4 and #cs4 #f;d4 #d4 ,,the ,,christian ,,martyr4 ,be thou faithful1 c4 ,with ,photograph1 #bs4 plain2 #cs4 #f;d4 partly coloured4 ,,crosses4 #a4 ,,no ,,cross1 ,,no ,,crown1 ,c4 ,imperial #dto1 #ad by #aj1 #as4 #f;d4 plain2 #cs4 partly coloured4 #b4 ,,take ,,up ,,thy ,,cross ,,and ,,follow ,,me4 #ah by #g1 #as4 #f;d4 plain2 #cs4 partly coloured4 ,,illuminated ,,works ,,published ,,by ,,messrs4 ,,longman1 ,,green ,,co4 ,the ,parables of ,our ,lord4 ,a ,selection of the most striking ,parables from the four ,gospels1 richly illuminated on every ,page by ,,henry ,,noel ,,humphreys4 ,in rich binding1 in high relief1 imitative of carved ebony1 #bas4 ,the ,miracles of ,our ,lord4 ,being a ,selection from the ,miracles of our ,saviour1 richly illuminated with appropriate borders of original design on every page1 and #f illuminated miniatures by ,,henry ,,noel ,,humphreys4 ,in a carved binding of appropriate design1 #bas4 ,maxims and ,precepts of the ,saviour4 ,a ,selection of the most striking ,aphorisms and ,moral ,precepts of the ,saviour1 richly ornamented with decorative borders of appropriate design by ,,henry ,,noel ,,humphreys1 founded on the passage1 ,behold the lilies of the field1 c4 ,in an ornamental cover of novel character1 after the ,style of the famous ,opus ,anglicum of the #ith and #ajth centuries4 #bas4 ,sermon on the ,mount4 ,gospel of ,st4 ,matthew1 illuminated by ,f4 ,,lepelle ,,de ,,bois-,,gallais4 ,printed on plates of ,silver with ,landscape1 illustrative ,vignettes1 and illuminated borders4 ,square #ahmo1 bound1 #bas4 ,the ,book of ,ruth1 from the ,holy ,scriptures4 ,enriched with coloured borders4 ,the illuminations arranged and executed under the direction of ,h4 ,,noel ,,humphreys4 ,in embossed leather cover1 square fcap4 #hvo41 #bas4 ,the ,good ,shunammite4 ,from the ,scriptures--#b ,kings1 chap4 ,,iv4 vv4 #h to #cg4 ,square fcap4 #hvo4 ,with ,six original designs1 and an ornamental border to each page1 printed in ,colours and ,gold4 ,in carved binding1 #bas4 ,sentiments and ,similes of ,shakspeare4 ,illuminated by ,h4 ,n4 ,,humphreys4 ,new ,edition1 square #hvo1 in massive carved binding1 #bas4 ,,london3 ,,longman1 ,,green1 ,,longman1 ,,roberts ,,green4 ,,the ,albert ,lithographic ,printing ,office1 ,established to promote ,female ,employment1 #afh1 ,,great ,,portland ,,street1 ,,oxford ,,street1 ,,london1 ,w4 ,e4 ,,fuller ,,co41 ,,are ,,prepared ,,to ,,execute ,every description of ,chromo-,lithography1 ,,also ,,copper-,,plate ,,letter-,,press ,,printing1 ,,with ,,promptness ,,and ,,despatch1 ,at ,twenty per ,cent4 lower than any other ,house4 #ajjj ,,circulars ,,on ,,good ,,paper ,,for #bas4 ,lithographic ,fac-simile ,circulars1 and all kinds of ,commercial ,printing ,,executed ,,for ,,the ,,trade ,,on ,,liberal ,,terms4 ,the artistic ,branch of ,lithography wholly carried out by ,females4 ,,elementary ,,instruction ,,in ,the ,art of ,illuminating and ,missal ,painting on ,vellum1 ,a ,,guide ,,to ,,modern ,,illuminators4 ,with ,illustrations in ,outline as ,copies for the ,student4 ,,by ,d4 ,,laurent ,,de ,,lara1 7,illuminating ,artist to the ,queen47 ,seventh ,edition1 ,,with ,,considerable ,,enlargements ,,and ,,additions4 ,ingenuas didicisse fideliter artes ,emollit mores1 nec sinit esse feros4 ,,london3 ,,longman1 ,,green1 ,,longman1 ,,roberts1 ,,and ,,green1 ,,paternoster ,,row4 ,,and ,,all ,,booksellers4 ,price ,three ,shillings4 ,the ,author reserves the right of translation to himself4 ,,london3 ,,printed ,,by ,j4 ,,wertheimer ,,and ,,co41 ,,circus ,,place1 ,,finsbury ,,circus4 ,,dedicated ,,by ,,kind ,,permission ,,to ,,the ,,lady ,,harriet ,,ashly4 ,,madam1 ,irrespective of the honor your ,ladyship confers on me1 by allowing the privilege of associating your name with this edition1 a nobler motive which actuated your generous sanction1 viz41 the high interest you feel in the revival of an obsolete but noble art1 and of which you are at once its zealous ,patroness1 and its more than accomplished votary1 are claims on my gratitude1 which words scarcely can express1 even in the hackneyed terms the humble sometimes venture to address to rank6--,appreciating1 therefore1 deeply the distinction you thus confer on one of your fellow-labourers in art1 ,allow me1 ,,madam1 ,to remain with profound respect1 ,your ,ladyship's devoted and obliged servant1 ,d4 ,,laurent ,,de ,,lara4 #c1 ,torrington ,square1 ,october1 #ahfc4 ,,contents4 ,,page4 ,,preface #g ,,preface ,,to ,,the ,,sixth ,,edition #i ,,introduction #aa ,on ,illumination #ag ,general ,rules #be ,on ,colours3--,ultramarine ,blue--,vermilion--,emerald ,green--,cobalt ,blue--,purple--,orange ,chrome--,chrome ,yellow--,carmine1 plain and burnt--,hooker's ,green--,burnt ,sienna--,lamp ,black--,middle ,tints--,enamel ,white--,platina and ,silver--,green or ,yellow ,gold--,the ,agate #cj ,on the ,arrangement of ,colours #dg ,on ,composition #eb ,on ,preparing the ,vellum #ei ,on ,tracing and ,transferring #fa ,on ,raised ,gold ,ornamentations #fd ,conclusion #fg ,on ,outlines #gh ,list of ,colours #hb ,plates #hc ,appendix #hc ,,preface ,,to ,,the ,,seventh ,,edition4 ,two years sufficed to exhaust the sixth edition 7the first shilling one7 of my ,elementary ,instruction on ,illuminating1 in opposition1 too1 of a rival author2 who was1 however1 more fortunate--for he was enabled to illuminate the world1 with seven consecutive editions in as many months1 and left the world for two years after in as much darkness as ever4--,far from envying him this inordinate success1 ,i rest secure on my laurels1 humble though they be4--,ten years were needed to bring forth my seventh edition1 and here it is--as unpretending as ever--but fully understood1 and understandable--no new theories erudite in print and bad in practice--no old ones1 filched from musty manuscripts1 alike impracticable as complicated1 and displayed with learning and research1 to bolster up repute and attach importance to very questionable utility2 wholly unimportant to those who seek information4 ,i address the few and the few only1 who will take practical hints1 from a practical man1 clothed in the plainest ,english4 ,i do not trade on other men's brains1 but endeavour to live by my own4 ,those who encourage the empiric in art must buy experience1 and be contented with their shillings worth4787 ,i have added only some additional matter on colours and composition1 as applied to illumination1 which ,i hope the public may find useful--in other respects the seventh edition is like its predecessors--a claimant to public favour4 ,d4 ,l4 ,,preface ,,to ,,the ,,sixth ,,edition4 ,the steady revival of the ,art of ,illuminating during the last few years1 and the rapid progress it has made amongst the educated classes1 even since the fifth edition of this work was published in #ahei 7all the copies of which are now sold71 has induced me to re-publish it1 under the present less expensive form1 in order to keep pace with the many publications which1 under the names of ,manuals1 ,primers1 ,treatises1 ,guides1 and ,instruction ,books1 have lately been forced on the public notice1 each pretending to give the desired information to the followers of this beautiful art1 with more or less display of talent2 but all tending towards the cultivation of a highly interesting pursuit1 and proving that the nineteenth century may in future history be distinguished as having produced a style of its own1 and identifying it with the happy and peaceful reign of ,victoria1 under whose mild rule1 arts and civilization are so eminently flourishing4 ,the perusal1 however1 of these various publications has confirmed me in the conviction1 that1 for the purposes of instruction1 the plan originally carried out by me was best fitted to achieve the object in view1 my aim being to instruct in1 and not to lecture on the art4 ,i have1 therefore1 studiously divested the present publication of technicalities1 or of any attempt to display learned research1 in the origin or progress of the art1 which1 to the uninitiated1 would not be instructive1 and could only prove caviare to the general4 ,my long professional experience as a practical artist1 has induced me to clothe1 in the plainest language1 the information ,i wished to convey2 and1 in common ,english1 endeavour to speak to the understanding of my readers4 ,if1 therefore1 the present volume prove continuously useful1 as it has hitherto been1 my readers will absolve me from blame or egotism1 in thus adhering to my original plan2 my care having been not to fall into the error of my contemporary imitators4 ,all ,i have ventured to add1 is such information as my continued practical experience has enabled me to collect1 and ,i cheerfully communicate it to my readers4 #c1 ,torrington ,square1 ,october1 #ahfj4 ,,introduction4 ,the beautiful ,art of ,illuminating1 which sprang up with the early dawn of ,christianity1 and attained its highest perfection in the fourteenth and fifteenth centuries1 owes its total extinction to that powerful instrument of modern civilisation1 the ,printing ,press4 ,whether it be the phlegmatic ,dutch ,coster1 or the ,german ,necromancer1 ,guttenberg1 who was the first inventor of moveable type1 ,i know not2 but it is quite certain that the printing process struck a fatal and decisive blow to illuminated painting1 the relics of which at present are carefully hoarded up in our ,museums and ,public ,libraries1 and are at once the living and imperishable oracles of the bygone ages of romance and chivalry1 and form the glorious monuments of the known and unknown artists who created them6 ,it is equally true1 as well as curious1 that to another mode of printing 7chromo-lithography7 the present century is indebted for the partial revival of this beautiful art1 since the many publications from the lithographic press have engendered a corresponding taste with the public for its cultivation1 which is daily increasing4 ,that taste is now so manifest1 and so general amongst the higher and middle classes1 that it can no longer be considered as a mere fashionable pursuit1 subject to the capricious ebb and flow of the tide of fashion1 and again to be doomed to pass into oblivion4 ,i believe a healthier motive is apparent in its cultivators2 and the desire of re-instating it to the rank it once held amongst its sister arts is not unmixed with the holier emotions which a genuine religious feeling1 arising from the daily contemplation of the divine truths of ,holy ,writ 7as exhibited in the study of our finest missals71 is capable of producing4 ,in this respect1 it presents itself to the devout mind of the novice as a labour of love1 for the glorious poetry of the ,bible offers such a singularly fertile source1 to which the imagination and pencil may look for artistic inspiration4 ,the seductiveness of the art1 too1 on which the meanest capacity can employ itself1 is another incentive1 which will cause many to venture on so pleasing an occupation4 ,the interesting question then arises3 ,what probable results are likely to follow from this general revival of an obsolete art8 ,my answer is1 ,that modern civilisation will adapt it to our modern wants1 and will gradually lay the foundation of forming a new school1 identical with the nineteenth century4 ,to attain this end1 conscientious artists only can pave the road2 they have it in their power to direct and guide the masses1 and the public is sure to go with them4 ,the ,,illuminating ,,art ,,union ,,of ,,london1 in its annual expositions1 invites artists to exhibit their productions1 by which others less gifted may be incited to follow their example4 ,true ,genius1 however exalted1 does not feel itself above instructing others1 as long as through the medium of its productions the very best interests of the art are likely to be promoted4 ,gradually1 these productions will develop new ideas1 new resources1 and features of originality1 in addition to the improvements which modern civilisation and modern appliances necessarily suggest4 ,already three prizes have been awarded for original designs of the ,beatitudes2 and1 as a first essay of a young ,society1 they are eminently creditable4 ,the highest in the land1 and1 perhaps1 the humblest also1 are its members and supporters2 and however the effort to increase its strength and its popularity might have been thwarted1 by the lukewarmness of those professedly the most interested in the art1 we owe it a debt of profound gratitude1 for the real good it has already achieved1 and cheerfully join our wishes for its welfare and success in what it still hopes to accomplish4 ,a tendency to undermine the best interests of the art is1 however1 insidiously at work to misguide the public taste4 ,the hired pen of the unprincipled and unskilful scribbler has been used by mere traders1 to advertise their own materials1 and bring into notice worthless designs for illuminating2 the former without the slightest regard to their adaptability for the purposes of missal painting1 and the latter without the least pretence to artistic merit4 ,unscrupulous authors have been found to dictate rules for instruction1 when1 practically1 they require instruction themselves1 judging from the ignorance they display in their own pages4 ,these very books1 miscalled ,guides and ,outlines1 facetiously named ,useful ,models1 have received1 in their turn1 fulsome praise in the pages of those1 whose talents 7to their shame be it written7 as illuminators are unquestionable1 and whose commendations1 though valuable 787 in a trading sense1 are sadly detrimental to the interests of those who seek for information and instruction4 ,it is1 however1 to be hoped that a discriminating public1 whose taste in ,missal ,painting and ,illuminating has become considerably enlightened and developed of late years1 by the daily contemplation of1 and familiarity with1 the works of our greatest masters1 7owing to the great liberality displayed by the trustees of the ,british ,museum1 in throwing open1 without reserve1 for daily inspection1 the glowing vellums contained in its various collections1 together with the publication of such immortal works as the ,hours of ,anna ,brittanny published in ,paris1 etc41 etc47 will be enabled to discern the useful from the worthless1 and separate the gold from the dross4 ,,on ,,illumination4 ,the necessity for an ,elementary ,instruction ,book1 to acquire the art of illuminating on vellum1 for the use of those who are desirous of practising this beautiful and graceful accomplishment1 has long since become imperative2 particularly since1 to my own knowledge1 several handbooks have made their appearance1 professedly with the object of affording instruction to the many amateur artists1 who eagerly seek for such information in the first one that is presented to them by the bookseller2 and it often happens1 that such books1 by their high sounding titles1 deceive both the vendor and purchaser4 ,the subsequent disappointment to the latter may be easily imagined1 when1 instead of the instruction anxiously looked for1 he finds an elaborate treatise cut short on the plea of the necessary limits of the little work1 etc2 and then only obtains snatches of information of extraordinary existing specimens to be found in the various libraries of ,europe1 to which he can have no access2 interlarded with technical phrases1 of which he can have no idea1 and elaborate fragments of ornamentation1 illustrative of the author's text1 but without affording him the slightest clue what to do with them1 or how1 in his experience1 he can apply them to a useful purpose4 ,the disappointed amateur artist1 therefore1 turns away and feels himself sadly at a loss for some aid in his endeavour to pursue a most beautiful1 and1 at the same time1 easy accomplishment1 simply from the fact of unexplained difficulties having been thrown in his path2 for though specimens of illuminations have from time to time been published1 from which the student may have derived some slight advantage1--if only a superficial insight into style and taste1--yet they are universally of too elaborate a character to be of much utility to the beginner2 and in the attempt to copy such specimens as ,noel ,humphreys has published in his ,illuminated ,books of the ,middle ,ages1 the pupil frequently must become embarrassed by the intricacy of the design2 and not knowing any method where to commence or how to proceed1 would1 in attempting such specimens1 make such signal failures1 that in despair he would throw his work aside1 and for ever abandon an art1 which1 simple and highly interesting in itself1 would by him be considered at once as futile and impracticable4 ,the beauty of illuminated drawing consists chiefly in the nicety of execution1 elaborate ornamental detail1 and the mathematical precision with which ornaments are frequently repeated throughout the same design4 ,the arrangement of colours requires also much judgment and taste1 whilst the knowledge how to lay them on evenly and smoothly1 requires the practical instruction of the teacher1 without whom it is almost impossible to overcome these difficulties1 or acquire proficiency1 particularly in raised gilding1 and the nicety which is required in using the agate1 with which the ornamentations are engraved on matted gold or silver4 ,as an art1 which originated at the remotest period of ,christianity1 and which originally was practised by very limited artistic intelligence1 its first development was exceedingly simple1 crude1 and grotesque4 ,when the rolled papyrus manuscripts were superseded by squares of parchment1 in the form of our present books1 the ,scribes or ,monks of the early ,christian period were the first who were engaged in the writing of prayer-books or missals for the wealthier classes of people1 who at that time were alone enabled to indulge in the luxury of a book2 it is then we find the first germs of artistic composition displayed1 in the initial letters which began to be conspicuously large and ornamental1 fanciful1 and sometimes intricately and ingeniously contrived1 in contradistinction to the older rolled manuscripts discovered in ,herculaneum and ,pompeii1 in which no traces of ornamentation could be found4 ,from this simple source of artistic development1 we may contrast the productions of ,giulio ,clovio of a much later period1 and his many and unknown contemporaries1 who have astonished the world by productions1 unequalled by anything that modern art could achieve4 ,as ,i shall have occasion to speak of the progress of illuminating1 and ornamental art1 in a separate work about to be published1 ,i merely hint here1 at the commencement1 that1 for modern purposes of illumination1 it would be highly pedantic to copy the earlier productions of missal painting1 merely because they are antique1 if in other respects they do not possess some artistic quality of graceful development both in outline and colouring1 to which the modern artist may1 with very good taste1 give preference4 ,the object of this little work is not so much to enter into any detailed history of the progress of ornamental art1 which may well become a separate and intricate study1 as to smooth down the difficult path of the beginner1 to unravel for him apparent mysteries in the art1 to give him examples of practical designs to imitate from1 suitable to his skill2 to point out to him clearly and unmistakeably such rules as1 from my experience1 ,i have found absolutely necessary to adopt1 and which if studiously followed up will1 in a great measure1 assist his first efforts and enhance his ultimate success and proficiency4 ,that which is most remarkable in those medival vellum-illuminations which have been preserved in the various collections of ,europe1 is the brilliancy of their colours1 tints unsurpassed by anything that our modern contrivances can equal1 or our colour-box approach4 ,specimens which have stood the test of a thousand years' duration1 are as fresh and as brilliant as if they came newly from the artist's hands4 ,such orange1 and such greens1 and purples1 as if directly snatched and stolen from the rainbow itself1 or distilled from the prismatic rays of a benignant sun4 ,the borders are actually studded with gems of colour which sparkle on the insects as if they were photographed from nature1 colours as well as form4 ,drapery1 damask1 armoury1 furs1 and feathers1 are all portrayed in such rich and gorgeous tints1 that we may well doubt whether the secret of these colours has not died with those who used them centuries ago4 ,our water-colours were as brickdust at the side of them4 ,in order somewhat to remedy the deficiency of our colours 7as ,i found them7 in comparison with what was desirable1 the attempt has been made to manufacture them on a new principle1 in order to preserve all the brightness of the chief tints predominant in illuminations2 and ,i am happy to say1 that1 after years of experience1 ,i have entirely succeeded in producing a set of colours suitable for the purposes of illumination2 and ,i now beg to recommend to my pupils and readers those only called ,illuminating ,colours4 ,chemically speaking1 they are manufactured on a totally distinct principle from other water-colours1 and are made to answer all the purposes of illuminated drawing1 affording perfect facility on the one hand in laying them on evenly and smoothly1 and1 on the other1 saving a great deal of time and labour1 and enhancing much the general effect of the design1 in the brilliancy of the tints2 this refers more particularly to their use when applied to vellum1 which from its greasy surface is apt to reject the usual water-colours1 whilst those of the illuminating-box are found perfectly to answer the purpose4 ,i beg also to recommend the water gold-size1 which in its application to the drawing1 can be raised considerably above its surface1 assuming all the appearance of being embossed1 and can be immediately gilded over1 which greatly expedites the process over that of any other gold varnish4,a ,a ,vide list of materials at the end of the book4 ,that persons having a knowledge of drawing can and will make better illuminators than those who have not1 there can be no doubt2 and the more accomplished the artist1 the better illuminator he will make is also obvious4 ,yet the art of illumination may be practised by persons who may be but indifferent artists in general design1 and with a great deal of success2 whilst others1 conversant with the highest principles of art1 have frequently been found to be but very indifferent illuminators4 ,the reason of this is apparent2 illuminating being for the most part a strictly mechanical art 7though subject to artistic principles71 any one possessed of natural gifts of taste1 patience and perseverance1 will1 by studiously following out some slight mechanical contrivances1 easily attain the first principles primarily necessary to copy any given outline however intricate2 not even excluding the human figure4 ,the ornamental arabesque scroll1 from its primitive simplicity to the most elaborately finished foliage1 interlaced initials1 etc41 are given in due succession for the pupil to copy2 by which means his hand becomes gradually trained to curval delineations1 and his eyes get by degrees educated1 till at last all angular tendency in his ornamentations is entirely eradicated4 ,once trained to that perfection1 colouring and shading become comparatively easy1 and a little instruction1 with practice1 will enable the hitherto uneducated artist to overcome almost every obstacle4 ,the free-hand artist1 on the other hand1 relying on his capacity alone1 and disregarding the mechanical contrivances at his command1 not unfrequently stumbles over the easiest parts1 pettishly condemns all such appliances1 the neglect of which destroys the uniformity and mathematical precision of his work1 and finally he leaves off1 disgusted with his ill success4 ,i would1 therefore1 recommend first of all to the pupil to provide himself with a box of ,illuminating ,colours1 which can be obtained of the author1 or at any of the authors agents1 which also includes compasses1 parallel rule1 ruling-pen1 agate1 gold1 etc41 and other little but indispensable tools2 without which the student would be at a loss to proceed4 ,having procured these1 ,i would then place this book in his hand1 and1 by following up the rules laid down here he will find himself1 at least1 enabled to make such progress1 that1 with the aid of one or two courses of instruction from a proper and experienced artist1 he will completely overcome those difficulties which it would be vain to struggle against by himself4 ,the manuscript room in the ,british ,museum1 to which1 on a proper recommendation1 access can be had1 will finally give him an opportunity of studying the art more fully1 and make him conversant with the immense store of medival treasures hoarded up there in endless variety and profusion4 ,,general ,,rules4 ,beginners should not be too ambitious2 let them be1 therefore1 contented to copy first1 before attempting original designs1--it will give them experience and method4 ,in the higher walks of art1 copying is always resorted to2 the painter has models1 casts1 and drapery to guide him1 and ,nature is his instructor2 and let him be ever so original1 he still imitates nature4 ,now1 since there are no ornamentations in nature to guide our illuminating art-student1 let him be content to copy1 first1 from those whose works are acceptable for their originality1 their effect1 and their classical beauty4 ,the more these are studied and copied from1 the nearer the pupil will arrive at perfection1 and may gradually become an original artist himself4 99 99 99 99 99 ,in commencing a subject1 it is absolutely necessary first to arrange a rough design of the intended subject2 to perfect a sketch1 and then to make careful and correct tracings of the various parts 7if the design is a subject of repetition71 or the whole2 to retrace them to the vellum1 or ,bristol board1 with the red prepared paper1 as faintly as is consistent with being able to see it4 ,this is accomplished by placing the red paper between the tracing and the vellum1 or drawing board1 and following its outline rather briskly with a fine pointed ,h ,h ,h lead pencil1 reversing the tracing when the ornament or border forms the counterpart of the design1 which secures a perfect facsimile reversed2 and1 when completed1 repairing any part which may be defective with the pencil1 and perfecting the outline where it is uneven1 or the scrollwork is broken or ungraceful4 ,the beauty of illuminations is always best secured when the scrollwork runs gracefully smooth1 not broken or angular1 which gives it an awkward and unartistic appearance4 ,in order to prepare the pupil1 ,i have given1 in the illustrations1 the arabesque scroll and curval lines to be drawn at the beginning in pencil only2 and when form is thoroughly attained1 let him re-execute it with a fine sable brush and carmine1 which will give proper practice to use the brush effectually4 ,i have adopted the arabesque scroll as the principle of all ornamental design2 and ,i would advise the novice to practise it continually1 on the same principle that exercises and scales are recommended in music to train the hand4 ,referring back to the design1 when the sketch is complete 7which should always be as faint and delicate as possible1 since it is no easy matter to erase a coarse outline from the vellum or cardboard by the usual mode of india-rubber71 the process of colouring may then commence1 by placing in the various compartments of the design the colours as previously arranged1 somewhat in the following order1 viz41 first1 all the blue throughout the drawing1 or any portion of it intended for completion2 then the vermilion1 the orange1 the purple1 the green or yellow1 and any other colour which may be in the design2 next1 the gold forming the outlines of the next ornamentations2 and last of all1 the shading of scrollwork1 both gold and coloured1 and also the shadings on the gold backgrounds2 that being completed1 you put white or gold arabesque ornamentations on the ultramarine1 carmine damask on the vermilions and orange1 and ,hooker's green or cobalt ornamentations on the emerald4 ,after the whole has been thus far finished1 the raised gold may be introduced1 finishing the matted or dead gold with burnished ornamentations1 dots1 scrolls1 arabesques1 or any other design4 ,this should be the last process of all1 since the atmosphere is somewhat apt to deaden its brilliancy2 and1 therefore1 it should be the concluding operation before the drawing is finally consigned to the frame or album4 ,i must here also state1 that if the vellum be somewhat soiled whilst the drawing proceeds 7which every care should be taken to avoid1 by always using a mat of blotting paper to rest the hand on71 it may be rubbed over with a piece of stale bread1 which will perfectly cleanse it4 ,this process1 however1 must always be done before filling in the gold1 silver1 or platina1 as it cannot be used over the gold with safety4 ,all straight lines1 however short1 should be drawn in with the ruling-pen1 opening it wider or narrowing it1 as the line is required to be thick or thin2 if very thick1 rule in two thin lines equally distant1 and then fill up the intermediate space with the brush4 ,a circle1 or portion of a circle1 is drawn with the bow-pen2 and any portion of a curve is drawn in by the aid of the wooden scroll1 which is fixed on the drawing in such a position1 that its curve corresponds with the outline to be ruled4 ,the nicety of the drawing depends entirely on the execution1 and the carefulness with which the details are accomplished4 ,,on ,,colours4 ,if the observations on ,colours1 advanced elsewhere1 hold good1 as to their brilliancy in the medival missals1 the improvement which the modern manufacturer has been able to effect is not less apparent2 for1 although the medival productions are mostly painted in body colours1 which are managed so exceedingly and wondrously skilfully1 with touches so light and arial1 that to the beholder the dew-drops might almost seem capable of being gathered from the flowers1 or the mealy dust brushed from off the wings of the butterfly--that furs and feathers would almost seem to yield to the touch1 so nicely is the perception of their appearance preserved1 that one may well look with amazement1 not only at the marvellous tints themselves1 which are preserved to this day in all the brilliancy of their pristine freshness and beauty1 but also question as to whether these effects were mostly attributable to the skill of the artist1 or to the quality of the body colours themselves4 ,still1 ,i am inclined to think1 from general observation and historic tradition1 that the secret of the chemical admixture of these pigments was as much the individual secret of the artist himself1 as was his particular mode of executing his handiwork4 ,for it is reliably known1 that the great ,rubens1 and his predecessor ,van ,eyck1 both ,flemish artists1 most assiduously studied chemistry in ,germany before they applied themselves to painting2 and that1 to a great extent1 the brilliancy of their colours was owing to their extensive knowledge of that science4 ,if1 therefore1 the science of chemistry was considered so material a qualification in the medival painter1 it is not at all improbable1 that the illuminator of the period was actuated by the same motive to acquire this knowledge1 by which only his works could be appreciated1 as so much was depending on the quality of his colours1 to produce those mysterious and almost miraculous effects1 which the present age is still at a loss to imitate4 ,i am strengthened in this assumption by the fact of having seen a curious old missal1 in the library and museum of the ,hague1 a few years ago1 attributed to ,van ,eyck 7who is known1 not only as an illustrious painter1 but also as a skilful illuminator71 in which is embodied an illumination representing a studio1 where the scribe is assiduously engaged on his work1 whilst an assistant is seen grinding materials on a stone slab1 and arranging them on a pallet1 for the use of the artist4 ,with work on hand1 and1 perhaps1 with commissions for years1 is it too much to assume1 that he would never incur the additional trouble of preparing his materials1 were it not that the secret of his preparations was his motive for so doing8 ,this secret1 ,i contend1 is lost to us1 and with it the character of these body-colours1 which our present ones do not equal4 ,for instance1 ,i ask the student and observer to compare the delicacy and permanency of the white ornamentations in the works of the older masters with what our present ,chinese white will effect4 ,whether1 in the present day1 we can again produce such glowing scarlet or brilliant orange1 remains a matter of doubt2 but enough has been done already to make us hope that much more may be expected1 in proportion as the attention of chemical science is directed to the object1 and the urgency of the illuminator furnishes suggestions4 ,i have come1 however to the conclusion1 that with our present appliances1 we may make a tolerably good shift2 and ,i recommend1 therefore1 for general purposes of the art1 the ,,illuminating ,,cake ,,colours as the best1 and as the safest 7particularly to place in the hands of the beginner74 ,they are capable of being used with the greatest facility1 and can be worked up1 with the happiest effect1 in shading very minute ornamentations or miniature paintings2 and it would require more than ordinary skill1 and a vast amount of experience1 to handle ,moist ,colours equally well4 ,how the several writers on this art can recommend them1 ,i am totally at a loss to imagine4 ,one colour manufacturer1 in his eagerness to go with the stream1 has actually produced an illuminating box with ,powder ,colours4 ,i advise the unlucky purchaser to lay them by1 to tint wax-flowers with1 since1 for the purposes of illumination1 they are totally useless4 ,the ,cake ,colours1 from my own experience1 are the only means the illuminator has to rely on1 in order to give a soft tone to his work2 and when mixed with the enamel white1 they form opaque tints1 which even then can be used with greater facility than when compounded with ,moist ,colours4 ,half a dozen only of the ,moist ,colours ,i recommend1 in addition to the ,cakes1 to produce finishing effects in touching up1 when all the subject has been completed1 or to use wholly for deep-tinted fruits or flowers1 such as cherries1 currants1 carnations1 or hearts'-ease1 in which the rich1 moist1 purple carmine will give the happiest and quickest effects4 ,hooker's green1 carmine1 burnt carmine1 purple1 burnt sienna1 and emerald green1 will be amply sufficient for this purpose4 ,in conclusion1 ,i therefore warn the purchaser not to be allured by the sounding title of an ,,illuminating ,,colour-,,box1 though highly-priced and costly fitted up1 but to purchase that only which is likely and capable of answering his purpose4 ,i must give the present age credit for having left no means untried to supply the demand of suitable materials for the purposes of illuminating1 in the hope of approaching1 or even equalling1 the effects displayed in the missals of the middle ages2 and1 as these effects vary in the originals1 owing to different theories pursued by different artists1 so the present systems adopted by various and eminent manufacturers in their present ,illuminating ,colours1 are apt also to produce different results4 ,we have then before us--,powder1 ,moist1 ,cake1 and recently again a new contrivance of ,liquid ,colours1 produced by a firm of eminent repute1 and which1 from my own experience1 are certainly as bright and brilliant as one would wish to see--each of these possesses merits useful in its own way1 provided the skill of the ,artist has been able to seize on their adaptability1--but placing each of these four different kinds of colours in four equally clever hands1 there will be four distinct results2 thus1 with our present ,moist colours1 we shall obtain 7if we wish to imitate that7 the coarsest results of the earlier productions of medival art1 without their brilliancy1 looking heavy1 and wanting the transparency so charming in the better productions of the later ,italian style4 ,the ,powder colours again look transparent1 and perhaps brilliant1 but require great skill and much manipulation1 to keep the shading soft1 and prevent the hard line1 where the colour unhappily was suffered prematurely to dry2 depth of tone1 too1 is out of the question4 ,the ,liquid colour possesses brilliancy of tint1 a perfectly flat and even appearance like enamel1 depth of tone1 and is most useful for flat illuminations where no shading is required2 transparency1 however1 according to my present impressions1 is wanting4 ,cake colours1 therefore1 aided here and there by the adjuncts of moist or liquid colours1 as the nature of the work in hand may suggest1 are1 in my opinion1 the best medium through which the higher qualities of finish1 and the general impression which those better and unapproachable specimens of our best models leave on our mind1 can be attained4 ,since brightness and effect are essentials in missal painting1 all the fault must not be laid at the door of the colour-box1 but frequently to the unskilful manner in which they are used4 ,it is astonishing the difference which is perceptible in the drawings of one artist and another4 ,i have frequently had occasion to ask my pupil where she obtained that orange or this vermilion4 ,it is from your colour-box1 would be the reply1 and whilst1 in another instance1 ,i might find fault with a colour for being dingy and impure1 she might have been heard to answer1 that it was my own colour she had used4 ,the fact is thus quite clear1 that one artist has better skill to use the colours than another2 and it requires a certain knowledge and method to use them properly4 ,from my own experience1 therefore1 ,i will give explanations how each colour should be used1 for what applies to one may be totally different in another4 ,i shall1 therefore1 commence with-- ,the ,ultramarine ,blue1 ,which is a metallic colour of recent invention1 and chiefly manufactured in ,germany4 ,the best and purest is prepared in ,france1 and varies considerably in price and quality4 ,it forms one of the most essential colours in illuminated painting1 giving tone and life to the whole1 and forming a strong contrast against any other bright colour2 it should1 however1 not be too predominant1 but judiciously introduced4 ,it is manufactured without any component ingredient which tends to affect its brightness1 or its brilliant depth4 ,in combination with enamel white it can be tempered to any shade1 resembling the pure ultramarine in tint1 but of a brighter and less greenish quality4 ,it must be laid on very evenly1 very rapidly1 and after once being painted in and yet moist1 a full brush must immediately be used1 to let an additional quantity freely and fully drop in2 when dry1 it will be perfectly even and equally dispersed4 ,gold1 platina1 or enamel white may form graceful ornamentations over it1 as also a deep black1 which forms a rich contrast against the ultramarine2 particularly if a bright spot of orange or carnation1 such as a dot1 is introduced4 ,the drawing of any ornamentation over it should be done very finely1 and with the finest brush1 so as to look delicate1 artistic1 and studiously neat4 ,the best mode of shading it is not with black1 but with deep carmine and a little gum arabic in solution2 it forms an intense purple1 and is much more effective than black4 ,vermilion4 ,the vermilion1 which at all times is difficult to obtain very bright1 requires to be laid on evenly and not too thin2 it should not be allowed to dry before the intended space be completed1 otherwise you obtain a sharp edge4 ,the brush should be moderately full1 but if too full1 it will cause the colour to run towards one point1 and form a dark spot4 ,once is sufficient to go over with the brush1 if carmine ornamentations are intended to embellish it2 but when a bright red only is intended1 it would be better to paint over twice1 always taking care to let the first wash dry first1 before applying the colour a second time4 ,carmine should always be used to shade or ornament it1 and if in some instances a deeper contrast is desirable1 add a little burnt carmine to it1 where the greatest amount of intensity is required4 ,never use black to effect the object4 ,emerald ,green ,requires nearly the same treatment as vermilion1 with a little more care in washing in a second time1 since that colour is easily displaced by the second time going over it1 which would give it an uneven appearance4 ,the beauty of illuminated drawing is greatly increased by the solid and even appearance of the colours4 ,if used faintly1 it may be shaded and ornamented with cobalt2 if used intensely1 ,hooker's green may be more effective2 mixed with a little cobalt1 it forms a bluish green1 frequently introduced in drapery in the old missals4 ,it is a useful and effective adjunct in scrollwork1 but should not be used for the painting of natural leaves2 they look then as if cut from bright green paper1 instead of representing nature's variegated ornaments4 ,cobalt ,blue ,is used precisely as the emerald green4 ,a thin and even wash is most essential in the first place1 to be gradually tinted up with the same tint4 ,a good deal of patience and manipulation is necessary to smooth this most difficult colour into obedience4 ,young beginners will find it most irksome to handle1 but it forms an agreeable variety amidst the other blues4 ,it looks well for skies in tiny landscapes1 and may be used for water1 if copying the older missals1 in which it will be seen that water is always blue4 ,white ornamentations are used over it1 to hide any defects4 ,purple ,is not a permanent colour1 but being in combination with another1 it changes to a bluish tint2 it is easily applied1 and very useful and rich in contrast with orange1 silver1 or light colours in general4 ,this colour has been much esteemed1 as preferable to the made-purple of carmine and cobalt4 ,it can be used for backgrounds if intensely laid on1 two or three times over3 it has almost the appearance of velvet1 and may be used with advantage in every shade1 and modified with a little burnt carmine to suit the taste of the artist4 ,orange ,chrome ,is not so bright as the red lead1 but is permanent1 and will not turn black4 ,i have preserved all its brightness that was possible to obtain1 and have1 therefore1 entirely abandoned the more seductive red lead3 it is used precisely as the vermilion4 ,chrome ,lemon4 ,requires no particular treatment2 it is both permanent and bright4 ,we place it in the box to be occasionally used for illuminations1 where an opaque colour is desirable4 ,the gamboge can be used instead1 when a transparent colour is preferable1 and it will1 in combination with prussian blue1 form beautiful greens for foliage4 ,carmine1 plain1 burnt1 and purple4 ,is one of the most useful colours in illuminations2 its richness1 either diluted or not1 gives life and brilliancy to the surrounding colours4 ,in combination with enamel white1 it makes a rich pink2 with cobalt1 it forms a soft lilac2 and with burnt carmine1 it produces a rich brown1 and invariably adds to the general effect4 ,carmine is so generally useful1 so easily applied1 that the artist will soon discover its inestimable value4 ,hooker's ,green ,is equally useful1 brilliant1 and easily applied4 ,it adds intensity to the shading of all the greens4 ,in combination with white1 a beautiful middle tint is obtained1 and may be used for ornamentations1 scrollwork1 etc4 ,burnt ,sienna ,is used with the greatest advantage in shading gold or silver 7particularly the former71 intensified with lamp-black4 ,it is used in figure-drawing for the hair1 eyebrows1 etc4 ,in combination with burnt carmine and lamp-black1 it forms a rich brown for backgrounds1 and touches up foliage to much advantage4 ,lamp-black ,for its intensity1 is preferable to ,indian ink1 and is very effective for backgrounds4 ,to add to its intensity1 you may mix a little gum arabic with it1 when required as a shadow on the same colour4 ,middle ,tints ,or opaque colours1 which form so conspicuous a feature in the old missals1 such as pink1 salmon1 gray1 lilac1 pale green1 primrose1 or pale blue1 are severally produced1 by the addition of enamel white with the following colours3 carmine1 vermilion1,b black1 cobalt and carmine1 ,hooker's green1 yellow and ultramarine1 in such proportion as the tint requires to be high or faint2 but care must be taken in laying these on evenly to preserve an equal surface1 which is easily displaced by going over it a second time4 ,b ,a contemporary has asserted1 that vermilion and white should not be mixed2 he says3 ,the vermilion must not be mixed with white1 or it will lose its brilliancy1 and become a colour like brickdust4 ,i know not what vermilion or white he used to induce him to come to this conclusion1 but1 after an experience of many years1 ,i assert1 that if the proper illuminating colours are used1 they will1 in combination1 form that beautiful salmon tint1 so frequently to be found in the old missals4 ,enamel ,white ,forms a distinguished feature in illuminating2 its utility for various objects is apparent2 a small dot1 the size of a pin's point1 tells on the blue1 red1 pink1 or lilac with most delicate effect4 ,it adds1 also1 a brightness to the gold and on colours1 when judiciously applied4 ,the artist can extensively avail himself of it1 and may modify its intensity as circumstances require4 ,it forms a hard enamel over the gold size1 which then may be painted over with gold or silver from the shell2 and when perfectly dry1 may be burnished richly over with the agate1 and forms a bright gold or silver raised ornament4 ,it aids him1 also1 to repair any damage or imperfection which may accidentally occur2 and its general utility will soon be discoverable1 when the student begins to advance in the art4 ,with respect to other colours1 not enumerated here1 they may be used as occasion requires2 and those acquainted with water-colour painting1 can apply them to the painting of flowers1 landscapes1 miniatures1 etc41 in the same manner as on drawing-board4 ,the delicacy of vellum1 however1 is much better fitted for the purposes of painting than either ivory or paper2 ,i need not add1 that the most pleasing and the highest finished drawing may be successfully executed on it4 ,platina and ,silver4 ,i have adopted platina1 or aluminium1 in preference to silver1 since the two former retain their colour permanently1 whilst the silver generally discolours after two or three weeks' exposure to the air4 ,those who prefer the more brilliant colour of bright silver1 can1 however1 use it2 gently washing it over with a soft new brush dipped into spirits of wine 7which1 when dry1 forms a varnish over it71 thus excluding atmospheric air1 and thereby effectually preventing discoloration4 ,care should be taken that in the process the silver be not removed1 by the brush being too dry or too roughly used4 ,green or ,yellow ,gold4 ,the application of the green gold forms also a pleasing variety1 amidst illuminations of yellow or matted gold1 and gives a richness to the design1 entirely unknown in the ancient missals1 since its use at that period was not discovered4 ,for this reason1 many of my orthodox pupils have objected to use it1 because they could not find it in the ancient manuscripts2 but whilst ,i would encourage the study and close imitation of the style of the ancient masters1 as far as artistic principles are concerned1 ,i cannot object to the introduction of any improvement in ,,effect1 which modern art may suggest1 merely on the ground that our productions should be slavishly imitative of the old originals4 ,for this reason1 ,i also always discourage the introduction of quaint and grotesque figures1 mis-shapen animals and monstrosities1 imaginary flowers or fruits1 which never had existence1 and which merely indicate a want at the time of artistic knowledge of the real beauties which are to be found in the productions of nature1 the want of which knowledge1 taught them to supply us with the defective creations of their untutored imaginations4 ,of these1 plenty of specimens are found in the earlier productions of the sixth and seventh centuries2 they are1 however1 gradually improved upon in the later productions4 ,i prefer1 therefore1 the pleasing consistency of representing objects of accurate design1 to such as1 at the present moment1 would incur the ridicule and just censure of the critic4 ,very little observation need be made in the use of either gold1 silver or platina1 since it is applied easily from the shell with a paintbrush and clean water to the vellum1 and can be ornamented or burnished with the agate at pleasure1 or be painted over with blue1 white1 or red scrollwork4 ,the ,agate ,is used1 with a little practice1 to great advantage1 and is capable of producing beautiful effects on the shell gold4 ,a large field of gold would look rather monotonous2 the agate is1 therefore1 employed for engraving1 as it were1 little ornaments over it1 of various designs1 which appear in bright contrast to the dead gold4 ,a steady hand is required to make the scrollwork run smoothly and freely2 a little dot1 or a cluster of them1 a stalk producing little flowers1 and an indented rose-leaf or vine-leaf1 with its arteries1 can also successfully be produced4 ,it were best1 however1 to practise this on a small scale first1 before progressing with the drawing in too great a hurry4 ,i entirely disagree with the use1 under any circumstances1 of any kind of imitation or liquid gold1 firstly1 because its permanency is quite uncertain2 secondly1 it is too coarse and brassy in appearance2 and lastly1 the agate could not produce the delicate tracings on its surface1 as when applied to the real shell gold4 ,,on ,,style ,,and ,,the ,,arrangement ,,of ,,colours4 ,the immense variety of styles adopted formerly in illuminations1 makes it somewhat difficult to classify them in this little volume2 and ,i will1 therefore1 confine myself to those which are the most popular and the most admired4 ,we have the transparent border1 with a profusion of scrollwork1 foliage1 fruits1 flowers1 and insects1 relieved by tre-foiled ornamentations in raised gold1 and the blank spaces filled up with black filigree work1 and which ,i perform simply with the lead pencil4,c ,the colours to be arranged in such borders may be as varied as possible1 in proportion as the design consists of small and numerous ornamentations4 ,the contrast and variety cannot here be too profuse1 so long as they are made with discretion4 ,a predominance of too much blue1 or red1 or green1 becomes tiresome to the eye2 and1 therefore1 the greater number of varied tints introduced the better4 ,avoid1 above all1 ugly colours4 ,no olive greens or bad blues1 but rich and decided tints2 a deep orange1 a bright red1 a clear purple--against a soft pink1 a delicate primrose1 or a blushing carnation2 a sky blue against a deep bronze1 or chocolate brown2 the gold between1 and the silver1 will divide the monotony of effects2 sameness will be avoided1 and yet unity preserved4 ,the same rule does not apply to the solid border1 where the ornamentation is formal and large1 and conspicuously relieved by a background of solid gold or colour4 ,a profusion of colours then would resemble the harlequin's coat of many shreds and patches4 ,simplicity1 to my mind1 is its greatest merit and recommendation4 ,i have seen the best effects produced by the simplest means1 and by two or three colours only4 ,much depends on taste1 everything on effect and sound judgment2 and if1 in such class of design1 the object must be attained by the quantity of colours1 it proves the poverty of the artist's resources4 ,c ,or with one of ,gillott's fine ,lithographic ,pens4 ,the partially solid border1 which is a combination of the first mentioned1 consisting of square1 or undulated solid bands1 with transparent background1 should1 in character and combination of colours1 be also alike2 modified1 however1 by the consideration of these solid spaces1 on which the ornamentation should be simpler1 and in good harmony against the colour of the background4 ,these backgrounds are in various tints--the most common in use is gold2 we have also crimson1 ultramarine1 purple1 and not unfrequently black4 ,on all these1 the taste of the illuminator is called in to produce a good contrast in the arrangement of colours1 and the less confused by quantity the better4 ,there is another style which ,i have adopted1 and which scrupulous antiquarians would not designate as being strictly legitimate1 in which the arrangements and a profusion of contrasting colours1 is allowable and even desirable4 ,i published the class of design ,i allude to in the ,victoria ,annual of #ahdd1 the originals of which are in ,her ,majesty's possession--the chief attraction consists in the design of the initial letter1 and the first word of the poem or subject1 which is prominent at the head of the drawing1 enclosing the remaining text in a small narrow framework1 surrounded more or less by elaborate scrolls1 arabesques1 medallions1 etc41 always avoiding known and accepted medival ornamentations from the old missals as much as possible1 in order not to mix the different styles in one drawing4 ,this style has found much favour with modern artists1 on account of its graceful effect1 the absence of conventional stiffness1 and the rapidity with which a composition may be arranged4 ,legitimists do not like it from mere affectation2 they would prefer crude1 ugly1 misshapen ornamentation1 flat and unfinished1 as long as it resembled a conventional style4 ,for the same reason they object to green gold1 or agate ornamentations2 yet what can be more attractive than the yellow and bright green gold in combination1 enriched by the artistic engravings of the agate8 ,what more gorgeous to the eye than a display of graceful curves fantastically interwoven1 enclosing highly-finished medallions1 and thrown up by all the effects imagination and art can conjure up8 ,some of these specimens may be seen at my own gallery1 and amongst them a rich specimen of a chess table which figured at the ,great ,exhibition in #ahea1 and which occupied me two years in painting4 ,there are numerous other styles2 and even modern art illuminations may be multiplied in an almost infinite variety2 but the experience in such as are above alluded to1 will give sufficient instruction1 and regulate a classical and perfect taste1 under whatever circumstances afterwards the pupil may be called upon to exercise his skill4 ,within the last few weeks1 ,i have designed and published a ,series of ,outlines1 called the ,beauties of ,shakespeare1 illustrative of the poetical genius of the great bard1 in which the attempt has been made to embody the poetical creations of the ,poet in vignette illustrations of the text1 interwoven with suitable ornamentations1 light and arial as the fleeting thoughts of the ,poet himself1 unencumbered by formal square borders1 and avoiding all conventional ornamentations1 which1 strictly speaking1 belong to sacred art only4 ,six subjects from the ,tempest form the first series1 in which the songs of ,ariel are surrounded by descriptive and pictorial illustrations of the text1 and the choice sentiments of the chief personages in the play1 such as ,prospero1 ,ferdinand1 and ,caliban1 are duly illustrated throughout the ornamentations with pleasing and appropriate effect4 ,six more subjects from the ,merchant of ,venice1 which forms the second series1 are treated similarly1 and to this1 the more dramatic description of the text1 afforded a widely different opportunity in producing totally distinct effects1 by which sameness was entirely avoided4 ,sufficient of ornament is1 however1 preserved to throw in harmony and healthy contrast of colour and gold1 to keep it legitimately within the range of illuminated illustrations4 ,whether the modern taste will encourage this attempt at innovation1--whether it will attract the sympathies of a new school of artists1 or not1--or be condemned by the more severe and uncompromising antiquarian1 experience and the success or failure of this publication will prove2 if successful1 the boundless wealth to be found in the pages of the illustrious dramatist1 will afford ample material to follow up this publication by similar attempts in his other1 and perhaps more popular plays4 ,,on ,,composition4 ,whilst the student may profitably employ himself in attempting minor trifles--initials1 copies of anything within his reach1 or his own ideas2 to acquire proficiency in the art1 it is requisite to employ a master to direct his taste on the one hand1 and to lead him on step by step to perfection1 on the other4 ,it would be highly essential to him to study the ancient missals1 so as to enable him to distinguish the progress the art has made in various countries and in different ages4 ,it is a field for deep research and study1 to note the different styles adopted at different epochs1 from the crude development of art of the fifth and sixth centuries1 to the refined and exquisite productions of the ,italian and ,flemish schools of the fourteenth century1 and again down to the inferior and flimsy style of ,louis ,quatorze4 ,it is from the study of these1 that his own ideas will be developed and improved1 and that his modern notions of beauty and effect may be advantageously thrown in1 to produce original and classical productions1 abandoning that which is absurd and meaningless1 and substituting that which is rational1 effective1 and beautiful4 ,the pedantic absurdity of retaining any class of ornamentation1 solely because it was used in the early ages by our ancestral predecessors1 on account of their notions of drawing and perspective being imperfect1 is as rational1 as it would be for the vigorous offspring of a lame parent to use crutches and insist on walking lamely2 and whilst we may justly admire the ingenuity of their efforts in producing the historic records of their skill1 we may1 at least1 elevate our taste in improving on that which plainly bears the stamp of their imperfections4 ,in composing a drawing1 the student should select the style of a certain period1 to which throughout he should strictly adhere1 as the adoption of different styles in the same drawing is both inconsistent1 and evinces bad taste2 to mix up the ,gothic with the ,louis ,quatorze1 or the ,elizabethan with the ,italian style1 would simply be absurd4 ,the writing of the text1 the initial letters1 the ornaments1 costume1 armory1 etc41 all should partake of the corresponding epoch4 ,illustrations also should be introduced according to the subject1 and the ornamentations be also adapted to1 and harmonize with1 the whole4 ,if1 for instance1 it was determined on to illuminate the ,creed or the ,lord's ,prayer1 pictures might be introduced illustrative of the lives of the ,saviour and the ,apostles1 historical and pictorial illustrations of the ,christian creed1 etc4 ,if a secular subject from ,milton1 ,shakespeare1 or ,byron1 the same rule should be adopted4 ,the ,lines on a ,skull from ,byron might happily be illustrated with emblems of mortality1 whilst the numerous episodes to be gleaned from the immortal pages of our great dramatist1 ,shakespeare1 furnish an almost inexhaustible spring of truth and beauty1 from which the young illuminator may draw his subjects for illustration2 great liberty being allowed for embodying the imaginations of the poet with his own1 and affording ample opportunities and material for the exercise of his inventive powers as an illustrator1 thereby evincing a decided stamp of reflective genius4 ,above all1 never attempt to illustrate a common-place subject1 or defective and puerile poetry2 it is not worth the pains of a single daub of colour4 ,in arranging a subject for illumination1 ,i should first draw my attention to the initial letter at the head of the text4 ,there are thousands of specimens in the ,british ,museum2 and many publications of alphabets are in existence1 very useful for the beginner2 these may be varied1 or strictly copied at pleasure4,d ,colours may be changed1 scrolls or foliage altered1 taking care that alterations are judiciously made1 and really improve the general effect4 ,the initial letter being settled on 7which should1 if possible1 in some manner bear on the subject-matter of the poem or episode71 ,i would recommend next1 to write the text in old ,english1 or ,church ,text1 each line being ruled-in equi-distant1 and the capitals left blank1 to be painted in afterwards2 and where a word at the end of a line is so short as not to fill up close to the margin let the space be filled up with a small ornament in some colour2 where a word is to be prominent1 write it in gold1 or red1 or a different colour to the general body of the text2 when the writing is completed1 ,i would arrange the border1 one side of which may be double the width of the other1 the bottom also wider than the top2 if pictures are to be introduced1 sketch out a proper framework first for their reception4 ,these arrangements form the groundwork of the drawing2 scrollwork may then be introduced1 beginning at some corner1 or springing from the framework of the intended picture2 when that is nicely arranged1 the same scroll might be repeated1 upwards or sideways by transferring the tracings2 the intervening spaces1 if too naked1 can be filled up with flowers1 taking care that1 in the reduction of the size of the flowers1 they each shall preserve a relative proportion to the other1 equal to the scale to which they are reduced2 this is very essential4 ,if any insects are introduced1 this rule should also be observed4 ,it would look very ridiculous that a butterfly1 fluttering over a rose1 should be as large or larger than the rose itself1 or that a caterpillar should assume the size of a conger eel in proportion to the size of a heart's ease introduced in the same drawing2 one's natural judgment will suggest such faults as absurd1 and they should be avoided4 ,if the border is to remain transparent1 lighter ornamentations may be introduced to fill up the blanks2 and finally1 all the white parts may be covered by thousands of little dots1 in colour and gold1 taking care that in size and distance they are all alike2 this last process can be effected either with the brush or fine steel pen1 as best suited to the ability of the pupil2 if it should be determined on to fill up the blanks with a solid background of gold1 the spaces need not be crowded too profusely with small details1 since the filling up of the gold would become tedious4 ,if solid1 a white line of equal distance may be preserved round every object in the border3 these lines should be drawn round carefully first 7not too wide71 and afterwards filled up solid4 ,this white edging forms a very soft and pleasing appearance in the drawing4 ,if the gold is closely to fill up against the scroll or flowers1 you may throw a strong shadow under it on the gold1 by which means the ornaments will appear to stand out in bold relief1 and be very effective1 taking care that the shadows are properly thrown on1 and always according to the strict rules of drawing4,e ,the solid part1 instead of gold or silver1 may also be made of a light tint1 such as a pink1 or light blue1 or deep purple1 or even black2 in which case the same colours in deeper tint1 with solution of gum arabic may be used1 this will throw up the shadow more perfectly2 the solid parts should then be scrolled over with close and fine ornamentations of permanent white or gold on the black background4 ,as the varieties of effect are so very numerous1 ,i think it best to leave the judgment of the pupil unfettered1 to suggest the varieties himself1 or to consult the various specimens in the manuscript room of the ,british ,museum4 ,a very effective mode of painting pictorial illustrations 7known by the name of ,cameo painting7 may also be resorted to1 viz41 to draw a subject for illustration or a group of figures1 all in one colour1 including the background1 say blue1 the outlines are given on the side where the light falls1 in gold2 on the shaded side1 with a deeper blue1 the lights are gradually tinted over with gold1 and the shadows shaded in with darker blue4 ,this mode of introducing pictures was very prevalent in the ,italian missals of the twelfth and thirteenth centuries2 and ,i have seen them executed in every colour1 with very good effect4 ,d ,i have prepared a variety of drawings of initial letters1 and classical borders both on vellum and cardboard1 with accompanying outlines of the same1 very faintly lithographed1 on super-fine drawing-boards which may be purchased for a trifling expense at most art repositories and booksellers4 ,the illuminations may also be purchased1 or are lent on hire1 for the purposes of copying4 ,these are executed under my direction and superintendence1 by my numerous pupils1 who now follow out the art as a lucrative profession4 ,as the student will obtain better and more accurate ideas of copying from drawings than from prints1 ,i have1 at the suggestion of many of my friends1 adopted this plan of supplying the amateur artist with an illuminated copy1 and its outline1 which he may easily fill up according to his own taste1 or strictly follow the original3 the encouragement this suggestion has received from the public has tended to confer a great boon on a worthy class of female artists1 who have been zealous and successful in a beautiful branch of female accomplishment4 ,e ,some eminent writer on ornamental art strongly objects to introduce casting shadows in ornamentations1 or in other words bringing out objects in relief1--he argues1 with some apparent plausibility1 that if treading on a carpet1 where flowers or scrollwork were introduced1 he should be afraid of crushing the flowers1 or stumbling over the ornamentations4 ,i know not which to admire most1 the pedantry of modern philosophy on art1 or the actual beauty displayed in the ,old ,missals1 in which these charming casting shadows present such bewitching reality to the imagination4 ,i leave the question to be answered by the untutored beholder1 without venturing on any theory of my own4 ,,on ,,preparing ,,the ,,vellum4 ,the vellum 7which should be the best ,italian1 and prepared from the kid71 is of peculiarly fine and white texture1 different from parchment both in substance and quality4 ,i import it myself1 and previously prepare it for the artist1 so that both sides are equally good to receive the drawing upon4 ,yet there is always a preferable side1 which can easily be distinguished3 it is in reality the inside of the skin1 and has the smoothest appearance4 ,the price varies1 according to the size1 from #ajs4 to #cl4 the skin4 ,parchment of course is much cheaper1 and ,english vellum may also be had1 but it does not possess the beautiful and even quality of ,italian4 ,to prepare it for drawing1 it should be stretched on a board made of good deal2 the vellum should be cut larger all round than the board1 by about its thickness 7three-quarters of an inch71 and sponged with a perfectly clean sponge and water1 on the side only which is to lay against the board4 ,when moderately soaked1 it should be laid between a fresh mangled napkin for about five minutes1 to let the vellum get an equal moisture2 the board is then placed on the top1 and the two corresponding sides are tightly folded over1 and resting it on the side1 you begin to nail from the centre1 with small gimp-pins1 till one side is completed1 each pin to be about one inch and a half apart4 ,you then do the same operation on the other side1 previously stretching it slightly and evenly with the hand1 and then again fixing the pin1 from the centre till the second side be completed4 ,you then again lay the board flat on the napkin1 and fold the two ends over as before1 and complete the stretching of the vellum in a similar manner4 ,you will then have only the back of the drawing-board uncovered by the vellum4 ,let it gradually dry when it will lie perfectly smooth and unwrinkled2 and it is then ready to work upon4 ,,on ,,tracing ,,and ,,transferring4 ,if a copy is to be made of any illumination1 the easiest mode is by affixing a piece of ,french tracing paper on the back of the drawing1 and throwing it over the front2 begin with a fine-pointed ,h ,h ,h pencil1 to draw an accurate outline of the whole thin1 pale and delicate4 ,above all things1 be correct2 do not trace more than is necessary for your object1 and avoid details1 which may more easily be put in by the eye4 ,too much tracing often confuses4 ,the upper and inner line of the hair1 the eyebrows1 the line of the nose1 the upper line of each eyelid1 the central line of the mouth1 and the contour of the cheek and chin1 is sufficient to give a correct tracing of a face2 if you trace more1 in retracing it you will get confused4 ,with ornamentations the same rule applies2 trace only as much as will secure your object4 ,when your tracing is complete1 unfasten it1 and attach it by two spots of gum to the back of the drawing-board or vellum prepared to receive it1 and placing the red prepared paper between it 7with the prepared side towards the board or vellum71 you trace over it with the same pencil 7using a little pressure71 and you then obtain a fine1 thin1 delicate and faint red tracing on the vellum4 ,in this operation1 in order to work cleanly1 the following rules must be observed4 ,you should use a fine ,h ,h ,h sharp-pointed pencil2 you should not press hard to make the transfer too red1 nor should your pencil-tracing in the first instance be otherwise than light2 it becomes deeper when the pencil goes over it a second time1 which avoids the necessity of lifting up the paper1 to ascertain where you have or have not been over4 ,a good1 correct and delicate transfer makes it pleasurable to paint2 a coarse deep red one gives the artist an infinite deal of trouble1 and the drawing in this case will always look smeared and dirty1 which with a little attention can easily be avoided4 ,as the prepared red paper cannot always be easily obtained1 it is much easier to prepare it yourself1 which is done as follows3 ,purchase at the chemist's a quarter of a pound of red ,french chalk1 scrape some with a table-knife on the thinnest white writing paper you may have handy1 and with a piece of wadding rub it equally over the surface1 taking care that the other side is kept perfectly clean2 no grease or water should be used in this operation4 ,should a pencil tracing be preferred1 blacklead may be used instead of the chalk4 ,,on ,,raised ,,gold ,,ornamentations4 ,the raised gold ornaments1 which form so brilliant a relief1 amidst the gaiety and contrast of well-arranged colours and matted gold1 are subjects which require a great deal of practice2 they should be used1 therefore1 sparingly at first1 on account of their difficulty1 and they should always be introduced with great judgment1 since a profusion of bright ornamentations distracts the eye from the main subject1 and becomes extremely vulgar1 resembling much that ginger bread appearance of the ,french class of tinsel and emptiness2 whilst a moderate use of them1 here and there1 enriches the drawing1 without their effect becoming tiresome and destructive to the general beauties of the drawing itself4 ,they should1 therefore1 be limited to small raised dots1 or tre-foiled leaves only1 a line to form a bright shadow on the dead gold1 or the arteries on a leaf of green gold4 ,they may also form a circle round a gem of ruby or emerald1 representing the setting or mounting of real gold1 and such other trifles as the subject may require4 ,water gold-size1 for the purpose of producing these raised ornaments1 is well calculated to effect this4 ,the brown paste contained in the little vessel is used in a similar manner as a cake of water-colour1 wetting it with a sable brush1 till of sufficient consistency1 and painting with it the desired ornament1 and raising it by dropping freely sufficient paste on it1 which1 by its own gravity1 will be properly rounded off1 and becomes1 when properly set1 fit to receive the gold leaf4 ,it stands then raised on the vellum1 and may be increased ad libitum by dropping more and more on it till sufficiently high4 ,in ten or fifteen minutes1 at furthest1 when sufficiently set1 cut a piece of gold leaf 7always a trifle larger than the object71 and previously slightly breathing on it1 with the warm breath1 place the cut gold leaf on it1 either with the point of a brush1 or clean scissors1 or a pair of steel tongs made for the purpose4 ,the gold1 being thus placed on the top1 should receive the warm breath again1 and immediately it will adhere firmly to the moistened matter3 leave it there for about one hour1 when it will be properly hardened2 after which1 with a soft clean piece of wadding1 rub it over1 and the superfluous parts will loosen easily1 while those intended to be gilded will remain4 ,should any part be imperfect1 apply the paste again as before over the imperfect part1 going through the same process till complete4 ,this1 however1 will not occur when the pupil acquires sufficient experience of the material with which he has to work4 ,another mode of raised gilding1 and one which1 in my opinion1 is more expeditious and less troublesome1 is effected by my ,liquid ,gold ,cement1 which is used in a similar manner as the ,enamel ,white1 and is partly composed of the same material1 with some slight addition4 ,you dip the brush in the bottle1 and use it rather thinly at first1 whilst delineating the ornamentation1 and afterwards drop on it 7whilst wet7 as much of the same as the brush will hold1 till sufficiently ,,raised2 in about half an hour1 being properly set1 ,,paint over it1 in either colour1 gold or silver1 and when quite dry and hard1 let the same be burnished over ,,gently with the crooked agate1 and the ornament will stand brightly out in the drawing2 this mode ,i much prefer to the former4 ,there is still another and better method1 which ,i make use of in large and elaborate work1 but which ,i only can communicate to my pupils personally1 as it is a process that cannot possibly be imparted in any other manner than by personal superintendence and demonstration4 ,,conclusion4 ,having given a detailed explanation of the mechanical means to be employed1 sufficient for the student to practise the beautiful art of missal painting1 permit me to add a few words in conclusion1 which ,i hope will not be thought superfluous4 ,deeming it essential to be as explicit as possible in the treatment to be adopted1 ,i have not left a single subject unnoticed1 which requires the attention of the learner4 ,the illustrations ,i have been enabled to give are merely explanatory1 but sufficient to help the pupil1 with some of the leading features observable in the illuminations of the middle ages4 ,for the purposes of research1 no other than the very originals ought to be consulted1 which lie within the reach of every one to examine1 at the ,british ,museum4 ,in that splendid collection quite sufficient store will be found to furnish the student with ample means of research1 without the necessity of travelling on the continent1 though1 no doubt1 a great many gems of art are to be found in the ,,vatican1 or the ,,royal ,,library ,,at ,,paris4 ,but in a collection so extensive as that in our own national ,museum1 or the libraries of ,oxford and ,cambridge1 we can find sufficient to satisfy the most fastidious and ardent lover of art4 ,it is essential for the student to study originals2 and ,i have made it a practice to accompany my pupils at least half-a-dozen times to the manuscript rooms1 during their course of instruction1 for the purpose of calling the attention to what to him or her is essential to know1 and to afford an opportunity of making such extracts as afterwards may usefully avail4 ,they then can note down the progress of art from age to age1 and the gradual development of decorative improvement1 progressive with the advancement of civilization2 yet1 strange to say1 though our own age claims to have reached that1 in an eminent degree1 the decorative art1 as indeed arts in general1 have not progressed in the same proportion2 how to account for this1 is1 not that art has arrived at its climax of excellence2 but that most of its followers of the present age have contented themselves by strictly admiring and copying the medival artist1 instead of exerting their own powers to excel him4 ,our age is too utilitarian4 ,the artist now merely toils to live2 while1 formerly1 his ambition took a higher flight2 for then he laboured for fame and for posterity4 ,the artist1 however1 who does not solely paint for gain1 and who1 from circumstances1 is happily freed from the trammels of poverty1 should strive to excel his predecessors4 ,there is much room for improvement2 modern inventions have sprung up2 mechanical contrivances have advanced2 new and interesting objects of natural productions have been brought within his reach1 from the furthest limits of the habitable globe1 to enrich the resources of his inventive powers1 unknown to the antiquated monastic scribes1 to whom we owe so much4 ,our advantages over them are obvious4 ,why1 then1 should we not excel them8 ,let it not be considered that this art is a mere mechanical amusement2 a mere ingenious contrivance2 a daub of colours and gold--showy1 flimsy1 and unmeaning4 ,though much of that exists in our modern decorations1 it is highly desirable that it should not partake of that character2 a little taste1 a little poetry1 gracefulness1 order1 and some display of general knowledge1 of artistic combinations and principles1 cannot fail to make our productions more valued and valuable4 ,give a tinge of some originality1--display an attempt of your own inventive powers1 based upon acknowledged principles of beauty and effect1 and your productions will soon reach an eminence of which art is ever capable6 ,though the age of romance and chivalry has gone by1 and we live now1 strictly speaking1 in that of sober reality1 our artistic productions may at least show that such things have been1 and may happily awaken a dream of what life once was4 ,the study of combination and contrast of colours1 affords him ample means to exercise his taste2 and the eye becomes instinctively capable of discerning that which is graceful and beautiful1 and that which is not4 ,but his task is more severe than that of the painter1 inasmuch as the constant demand for new ideas and effects1 is a continual drain upon his inventive powers2 the more these are exercised1 the more original his productions1 and the more likelihood there is of his excelling the medival artists4 ,it is only within the last fifteen years1 that the art of illuminating has been newly revived3 it has slumbered for nearly two centuries in total oblivion4 ,i do not remember ever having seen an old missal in my younger days2 so little was it considered of importance to the artist2 yet what a store of information may be obtained from them6 ,what illustrations do they furnish of the progress of the human mind and of civilization6 ,what light do they throw on the manners1 customs1 and morals of bygone ages6 ,what links do they form in the gap of historical events1 which otherwise would have been left in darkness for ever6 ,there is scarcely a page1 but on which you may trace some interesting event connected with the history of the period1 its arts1 its husbandry1 its revels1 its glories1 or its shame6 ,the application of lithography for purposes of coloured printing or chromo-lithography in the last fifteen years1 has done much to awaken the attention of the artist and the lovers of art to the treasures mouldering in our libraries and museums2 by its aid we have been enabled to obtain copies and specimens of illuminated printing1 almost perfect facsimiles of the originals4 ,it has stimulated the artist to pursue a new track for his operations2 it has infused a corresponding taste in the public mind for ornamental improvement1 which has manifested itself in every branch of manufacture4 ,the interior decorations of the ,house of ,lords afford a striking proof4 ,a century ago1 when pigtails and cocked hats were the fashion1 such a gorgeous display of ornamental grandeur would not1 and could not1 have been suggested4 ,the religious associations which suggest themselves in the study of the old missals1 is an element which has proved itself sufficiently powerful to our present generation1 as to induce a spirit for its revival4 ,the ,english as a nation 7to its credit be it said7 is a truly religious one4 ,as a sacred art1 then1 it is alike reconcilable with their devotional habits on the one hand1 and their indefatigable industry on the other1 not to grudge some spare time1 to its alluring attractiveness4 ,english ladies1 of the highest rank1 even1 have each of their hours apportioned out to some useful object4 ,this art now takes a distinguished place amongst them1 and claims a great share of their solicitude1 as it affords them calm and sacred thoughts to dwell upon1 and ways that may be described1 in the language of the ,proverbs1 as ways of pleasantness and paths of peace1 and that1 which is anything but frivolous or worldly--divested from the pictorial and symbolical emblems of the ,romish ,church--the art has enough left of holy associations1 to make it harmonise with the feelings of the ,protestant profession of faith without being offensive4 ,those possessed of sterner religious scruples can fly to the secular illustration of the poets4 ,our literature1 so rich and so eminently descriptive1 opens a wide field for the followers of this art to indulge in1 thus creating another field for the artist's genius equally imaginative and interesting4 ,tennyson's1 ,longfellow's1 or ,moore's pages are abundantly fertile in images of beauty1 to single them out as fittest for the modern illuminator4 ,all that is required 7for the interest of the art7 is the formation of a good school4 ,,the ,,illuminating ,,art ,,union ,,of ,,london has made a laudable attempt to establish this2 its annual exhibition opens the door and invites the public to co-operate1 not so much by pecuniary support as by the aid of their contributions4 ,those who have the ability1 and have already gained their laurels1 should set the example2 it will add much to their popularity1 and not diminish one jot of that fame their talents have already achieved4 ,,true ,,art should not be selfish4 ,monopoly in art1 as in corn1 affects the food for the mind1 as in the latter1 it affects that of the body4 ,that society1 happily1 is not exclusive4 ,though supported by the highest in the land1 it co-operates with the humblest in one common labour and one common object4 ,rank is forgotten1 so long as their association with their fellow-labourers tends to humanize the masses1 which1 through the means of a sacred art1 is so easily effected4 ,that its labours may be successful1 that its hopes may be realized1 the strenuous efforts of its promoters1 and their persevering exertions1 are ample guarantees that the interest of those sanguine in its success is amply secured4 ,the ,international ,exhibition of #ahfb 7notwithstanding the factious outcry against the unfortunate building1 and its hapless ,architect71 was conspicuously successful1 on account of the marked advance ,industrial ,art had made1 not only in the produce of foreign ,exhibitors1 but mostly so in that of our ,english artizans1 as compared with that of #ahea in ,hyde ,park4 ,as far as ,english ,industry and skill was concerned--it left its unmistakable traces behind1 that since our first exhibition1 when ,england entered the lists with foreign competitors1 it had at the latter attained a miraculous improvement in design1 which no doubt was owing to a more extended and systematical culture1 and to which1 the numerous ,schools of ,design now established throughout the kingdom gave rise4 ,this improvement was so perceptible by our neighbours1 that even recently a celebrated and well known ,french statesmen and political economist1 has not scrupled to express his fears that our ,english manufacturers had made such progress1 that sooner or later they would displace the foreign producer1 and monopolize the markets of the world6 ,and will it now be believed1 that unquestionable as it is1 that this improvement is entirely due to the more extended cultivation of ,ornamental ,art in this country--that the ,royal ,commissioners of #ahfb1 with all their collective wisdom1 with their enlarged views and former experience1 and with the valuable aid of highly gifted men in all departments of ,science to guide their councils1 should have been short-sighted enough1 peremptorily to refuse admission to any works of illumination1 or decorative ,art1 on the meagre pretence that there was no space available for such works1 which in #ahea1 however1 were deemed of sufficient importance1 and to have exercised such influence on ,art manufactures in general1 not only to admit them freely1 but to award several first-class medals1 to ,artists1 who then even enjoyed a ,european reputation6 7,vide report of the ,exhibition of #ahea74 ,all remonstrance which could have been urged by me1 against such suicidal an ,act1 was cut short by the curt and red tape reply--that the ,royal ,commissioners having once determined on any point there was no appeal from their decision4--,this closed a vexatious correspondence in ,december1 #ahfa1 and it was not till the following ,april1 a short month previous to the opening of the world's fair at ,kensington1 that among the arrivals of some productions from ,japan1 one ,i particularly noticed to consist of an ,historical ,biography1 a specimen of curious ,caligraphy1 and embellished with artistic illuminated borders in gold and colours4 ,it was then that ,i ventured to address an earnest protest against this unseemly partiality to a gentleman high in office1 and well known for his well earned reputation1 gained in connection with the success of the first exhibition1 and to his honour1 be it said1 immediately on receipt of my letter1 he placed himself in communication with the ,national ,board of ,education1 and had influence enough to reverse the decision which the ,royal ,commissioners previously had arrived at4 ,space was then granted 7almost unlimited7 for the reception of ,missals and ,modern ,illuminations4 ,i managed by great persuasion to induce the members of the ,illuminating ,art ,union of ,london1 to send what specimens they hastily could gather together1 and some fifty subjects of more or less merit were hurried to the building1 and placed without order1 without classification1 in the gallery next the great dome1 amongst the ,architectural designs--perhaps some thirty more from private sources1 amongst which were specimens from ,owen ,jones1 ,audsley and others1 were the joint and meagre contributions1 which the ,international ,exhibition of #ahfb received within its walls4 ,unprepared and without any special object1 there was not a single contributor who deserved or could lay claim to any attention from the thousands who daily visited the building4 ,i believe the wax dolls and sewing machines gained more notoriety4 ,unhonoured and tacitly admitted1 we were ignominiously buried in a corner--the whole collection as representing the illuminating talent of this country was a miserable failure--one solitary specimen1 a beautiful little prayer book in the ,austrian ,court1 a gem of high ,art of modern ,illumination was worth seeing1 and worth more1 as a work of ,art1 than all the combined skill displayed in the corner of the ,architectural ,gallery4 ,who was to blame for this egregious failure8 ,is it to be laid at the door of our own ,artists1 or to the mistaken judgment of those who had the nation's interest so much at heart and who deprived us for six months of the opportunity of preparing something specially for the occasion8 ,has illuminating done nothing for the manufactures of this country8 ,ask ,bookbinders1 ,silkweavers1 ,architects1 ,sculptors1 ,decorators1 and every handicraft besides1 in which decoration forms its chief ingredient--ask the ,school of ,design whether the inspiration of its latent genius1 was not derived from the impetus modern illumination has given to decorative ,art in general4 ,is it a fair standard of what ,english skill might have accomplished1 to judge it by the miserable refuse of stale bits of tinsel and text-writing which was exhibited there8 ,no wonder that in all the elaborate reports which daily appeared in the ,times1 not a single line was penned to the ,art ,illuminations of #ahfb--;it is to be hoped that the opportunity thus lost may not be fatal to the further development of an ,art1 which has and still exercises such beneficial influences on our ,art manufactures and civilization4 ,,on ,,outlines4 ,in my first edition1 in #ahej1 ,i suggested the publication of classical outline borders1 which ,i only carried out in #ahef1 when my second edition made its appearance2 the first part of six outlines1 royal quarto1 was then produced to try how far the public would appreciate their usefulness4 ,the first attempt proved a decided failure2 they remained unsold1 because the uninitiated did not know how to apply them1 having no model for their guidance4 ,i then tried them with a small fragment1 illuminated-in by hand1 which1 in all cases1 forms a complete key as to the effect intended to be produced in the whole remaining border4 ,this met with a decided success2 the public eagerly purchased these partially illuminated outlines2 and very seldom any plain subjects afterwards were asked for4 ,the demand has ever since become so extensive1 that upwards of four hundred different subjects have now been published1 some forming complete works in themselves1 such as the #aaith ,psalm 7twenty-four subjects7 published by ,messrs4 ,longman and ,co42 and its companion1 the ,sermon on the ,mount1 ,the ,beatitudes1 etc41 on the illumination of which a large staff of lady artists are always employed4 ,my most anxious care was then directed as to the choice of subjects1 but above all in the selection of the designs themselves4 ,if1 by an extensive sale1 ,i found myself amply rewarded1 ,i conscientiously felt also the importance1 that the public should receive none but choice and classical models1 from which they could study with advantage4 ,i was less ambitious to furnish them with original ideas of my own1 than to illustrate those various styles and periods of art1 which would have a tendency to general improvement1 and were likely to cause a more healthy taste in the beginner4 ,i therefore carefully selected models from the best specimens in the libraries of ,paris1 ,brussels1 ,heidelberg1 and ,amsterdam1 besides those to be found in our own ,museum1 and the ,bodleian library1 ,oxford1 and which1 with important alterations1 ,i found adaptable for my object4 ,i attempted to illustrate subjects from the seventh to the fifteenth century--from the ,byzantine1 ,anglo-,saxon1 ,flemish1 and ,italian schools1 which should form a complete grammar of ornamental art1 from which the student might learn something better than to daub in a worthless or a meaningless design4 ,i abandoned all pictorial illustrations 7in the sacred subjects at all events7 which could in the slightest degree be considered as sectarian1 or partaking of partiality for any particular religious denomination2 all my aim was directed1 that the ornamental border should be applicable to the subject and highly artistic1 in order to be perfectly and usefully instructive4 ,to pervert the taste1 then1 by producing decidedly ill-conceived ideas1 in the shape of outlines1 which any sign-painter might produce with equally good success1 ,i conscientiously opposed4 ,as a stepping-stone towards achieving better things my method only is defensible1 as an attempt to awaken the taste of the beginner1 which afterwards may tend to develop originality in him2 how inexcusable1 then1 to place rubbish in his hand for the mere purposes of gain4 ,i am sorry my unscrupulous imitators are differing from me2 and ,i am more sorry that a man1 whose genius as an illuminator is of ,european repute1 should have been found really capable to endorse with his authoritative approval1 the worthless productions of a trading publisher as most useful models1 and insert that statement in one of the most valuable publications on the art of illuminating hitherto published4 ,to put the public on its guard1 both as to the malproductions themselves1 as well as to the opinions thus promulgated with so much appearance of honest criticism1 and industriously paraded forth in the trade-lists of the speculative publisher1 has been my principal motive for introducing this subject into the present volume2 as ,i feel too much interest in the pursuit1 not to denounce the worthlessness of these publications1 which can only tend to injure a beautiful art4 ,i introduced my outlines with the deliberate object of directing the taste towards the development of a highly pleasing and instructive accomplishment1 the interest of which is daily gaining ground with the public1 and to lessen the difficulties which surround the illuminator as much as possible2 for this purpose ,i took away from him the responsibility of forming his design1 for which his inexperience was not fitted4 ,i left him enough to do1 in arranging his colours and producing his effects4 ,it was only when the outline was illuminated1 that he could appreciate the beauties of the design2 and it is from that appreciation1 that his own ideas would become sufficiently matured to invent one of his own4 ,the effect of this truism was amply demonstrated in the fact1 that one of my distinguished lady pupils1 who for a year had practised on these examples1 was successful enough two years ago to carry away the first prize for the best original design of the ,beatitudes1 awarded to her by the ,,illuminating ,,art ,,union ,,of ,,london2 on the merits of which ,messrs4 ,,owen ,,jones and ,h4 ,,noel ,,humphries gave their valuable decision4 ,had she studied from modern and meaningless models1 her beautiful ,italian border would never have been the result4 ,,list ,,of ,,colours4 ,the following colours ,i have selected as the most necessary1 and which may constitute a sufficient assortment for the artist3-- ,,yellow ,pale ,chrome1 ,orange ,chrome1 ,gamboge1 and occasionally good ,cadmium4 ,,greens ,hooker's1 and ,emerald4 ,,red ,orange ,vermilion1 and pure ,scarlet4 ,,madders ,rose and ,pink ,madders4 ,,carmines ,carmine1 ,burnt ,carmine1 and ,purple ,carmine4 ,,browns ,burnt ,sienna1 ,vandyke ,brown1 ,dragon's ,blood1 ,yellow ,ochre4 ,,blues ,cobalt1 ,french ,ultra1 ,prussian ,blue4 ,,black ,lamp-black4 ,,white ,enamel ,white only4 ,,moist ,,colours ,,for ,,flowers ,,and ,,fruits4--,hooker's ,green1 ,emerald1 ,purple1 ,carmine1 ,burnt ,carmine1 ,crimson ,lake2 and one or two more may be added1 if occasion requires4 ,,appendix4 ,,plate ,i4 ,,fig4 #a1 ,a thin border1 very frequently used in illuminating by the ,italians2 consisting of small blue and pink spaces1 ornamented with white lacework over the flat ground4 ,,fig4 #b1 ,are specimens of various flowers1 ornamentations1 foliage1 the arabesque scroll1 etc41 which are to be met with in the ancient manuscripts4 ,to give anything like a variety1 would fill a volume2 to classify them would also be an endless task1 since any contrivance to do so would be fruitless3 my object being to give an insight to some of the leading features observable in the illuminations3 these are sufficient for the beginner4 ,to acquire an accurate idea1 ,i must refer the student to the ,british ,museum4 ,i have given here outlines of subjects most frequently met with2 these the student can fill up with colours according to his taste1 varying them at pleasure2 yet1 in preference1 he should endeavour to sketch them himself1 since it is desirable that he should acquire proficiency in these trifles1 for as they generally form small details1 to relieve the solid parts1 and are intended to fill up blanks1 they invariably require to be well executed4 ,,fig4 #c1 ,are compartments to be filled up by various solid colours over which the scrollwork or ornaments are applied1 either in white1 gold1 or colours2 when in red1 it is called damask-work1 the patterns of which can be varied in endless variety4 ,over the gold1 engravings with the agate are highly effective1 sometimes forming simple ornamentations1 or representing embossed chasing4 ,,fig4 #d1 ,represents a portion of a scroll to be filled in by a solid colour1 over which1 after being properly shaded1 fine threads of gold may be drawn1 or thinly dotted in white4 ,in making these or similar scrolls1 care should be taken that they are gracefully drawn1 and made to run freely throughout the design4 ,,fig4 #e1 ,illustrates fragments of curves with leaves or ornaments which must be ruled-in with the ruling-pen1 by the aid of the wooden scroll1 the scroll being placed on the pencil-tracing1 where a portion of its curve corresponds with the intended design4 ,,fig4 #f1 ,are two straight lines ruled parallel and closely together1 so as to show a white thread between4 ,,plate ,,ii1 ,is the initial letter ,o1 copied from a woodcut4 ,though the general design is effective and pleasing1 it is not accurately drawn2 whereas it might have been1 had the designer used the tracing-paper4 ,i have shown the defects in the outline1 to illustrate a principle which should be always avoided1 viz41 disregard for the mechanical appliances1 by means of repetition always at hand for the illuminator by using the red transfer paper4 ,this initial is very useful to copy frequently1 since it will give freedom to the hand in producing graceful curves4 ,the remaining figures on this plate are various initials1 used at the head of texts2 they may be variously illuminated4 ,,plate ,,iii1 ,is an early specimen of ,byzantine art1 about the eighth century1 the principle of the ,irish school being here adopted1 on which the acanthus foliage of the ,roman style is superadded4 ,some gorgeous specimens of this style are in most of the ,european libraries2 but many valuable specimens of that period must have been lost1 since the ,iconoclastic fanatics destroyed so many thousands by the flames1 from the end of the fifth to the seventh centuries4 ,,plate ,,iv1 ,is a specimen of a style of illuminating much in use from the thirteenth century to the beginning of the fourteenth4 ,many and very varied specimens of this style are in almost every collection in ,european libraries4 ,sometimes the bands are alternately solid and transparent2 in others1 the bands assume a lozenge-fashioned1 undulated1 or circular shape2 but another and more frequently adopted mode is to alternate them1 tints1 of solid coloured bands1 keeping up strict regard as to complement of colour4 ,the following order may be regarded as a lesson3--,crimson1 gold1 ultramarine1 and buff may succeed each other4 ,the ornamentations show best on them when relieved1 by placing casting shadows under the flowers1 scrolls1 etc4 ,,plate ,v1 ,is an ,italian border of the fourteenth century4 ,the stems of the scrollwork may be1 with good effect1 painted in gold1 and shaded up in burnt sienna1 to imitate the bark of trees4 ,scrolls and foliage may be painted in this specimen in delicate tinted colours1 such as greys1 light blues1 or pinks1 softly shaded up1 and ornamented with white or gold ornamentations1 according to the circumstance of the tint selected4 ,flowers and leaves1 of course1 in their natural colours4 ,various1 and always delicate tints for greens in leaves1 are essentials in the old ,italian border4 ,the back-ground here is intended to be gold1 though other tints may be substituted1 so long as they are not introduced in the ornamentations4 ,,plate ,,vi1 ,is a border1 to be found in almost every contemporaneous school of the period--the ,french1 the ,flemish1 the ,italian1 as well as ,english and ,irish4 ,the ornamentations are not so softly executed1 nor is the outline as graceful as in the former4 ,the back-ground is always transparent1 containing1 sometimes1 small figured filigree work4 ,a preponderance of one pervading colour is sometimes its characteristic2 but too much similarity in tint should be carefully avoided4 ,,plate ,,vii1 ,is the same style precisely as above1 with the peculiarity of the ornamentation springing from the immediate border surrounding the text4 ,the grotesque animal1 twining itself in a curious manner1 is also typical of the illuminations of the twelfth and thirteenth centuries4 ,,plate ,,viii4 ,,the ,,model ,,outline4 ,i have ventured to give a specimen of a modern style of illumination1 based upon no principle whatever which could furnish the student with any instructive hints1 or enable him to produce original ideas of his own4 ,as a whole1 it represents snatches of ornamentations1 jumbled together without order or arrangement1 and vanishing at both ends into space4 ,scrollwork1 having neither beginning1 middle1 or termination1 and presenting a series of flourishes1 which may be said to give this class of outline a distinctive character1 under the generic title of ,sign-boarding4 ,it is an attempt at imitating missal1 bearing about the same relation to its prototype as the modern to the pure ,gothic in architecture1 or the ancient ,rome of ,augustus to that of the present day in civilisation4 ,de gustibus non disputandum est4 ,,the ,,end ,illustration3 ,,plate #a ,illustration3 ,,plate #b ,illustration3 ,,plate #c ,illustration3 ,,plate #d ,illustration3 ,,plate #e ,illustration3 ,,plate #f ,illustration3 ,,plate #g ,illustration3 ,,plate #h ,,catalogue ,,and ,,list ,,of ,,colours ,,outlines1 ,,materials ,,and ,,publications1 ,,for ,illuminating and ,missal ,painting4 ,,manufactured ,,and ,,published ,,by ,d4 ,,laurent ,,de ,,lara4 7,illuminating ,artist to the ,queen47 #c1 ,,torrington ,,square1 ,,russell ,,square1 ,,london1 ,w4,c4 ,wholesale ,agents for ,laurent de ,lara's publications1 ,messrs4 ,,moore ,mc,q,u,e,e,n1 ,berners-street1 ,oxford-street4 ,,rowney ,co41 ,rathbone-pl4 ,,reeves ,,sons1 ,cheapside4 ,,penny ,,son1 ,bow ,lane1 and ,cannon ,street4 ,,henry ,,hering1 #acg ,regent ,street4 ,r4 ,,ackermann1 ,regent-st4 ,,clifford1 ,piccadilly4 ,,bowden1 ,oxford-street4 ,,fuller ,co41 ,pall ,mall4 ,,droosten1 ,,allan ,co4 #abf1 ,strand4 ,,rixon ,,arnold1 #bi1 ,poultry4 ,,john ,,field1 ,regent's ,quadt4 ,,galignani1 ,rue de ,rivoli1 ,paris4 ,,buffa ,,sons1 ,amsterdam4 ,,nutnam1 ,bowery1 ,new ,york4 ,e4 ,,fuller ,co1 #afh1 ,portland ,road1 ,n4,w4 ,d4 ,,laurent ,,de ,,lara',s ,,series ,,of ,,outlines ,,for ,illuminating and ,missal ,painting1 ,,designed ,,by ,d4 ,l4 ,,de ,,lara4 ,outlines for ,illuminating1 in parts of #f ,plain #fs4 #j;d4 ,partially ,coloured ,nos4 #abs4 #j;d4 ,or may be had in separate ,numbers1 ,price #as4 ,plain1 #bs4 partly ,coloured4 ,the great demand made for ,outlines by the daily increase of the chaste and beautiful ,art of ,illuminating1 originally induced their publication by ,mr4 ,de ,lara1 and1 although he has numerous imitators he confidently recommends them to the notice of the ,public1 both as aids and instructors in the study of ,missal ,painting2 every care having been taken faithfully to reproduce for the ,student's enlightenment1 adaptations of the style of the best and purest ,masters4 ,,part ,i4 ,no4 #a4 ,credo4 #b4 ,do4 #c4 ,sonnet4 #d4 ,lord's ,prayer4 #e4 ,david4 #f4 ,psalm ,,lxvii4 ,,part ,,ii4 ,no4 #g4 ,psalm ,,lxxxii4 #h4 ,thompson's ,seasons4 ,now the bright ,morning ,star4 #i4 ,thompson's ,seasons4 ,these as they change4 #aj4 ,poesy4 #aa4 ,psalm ,i4 #ab4 ,do4 ,,iv4 ,,part ,,iii4 ,no4 #ac4 ,psalm ,,xciii4 #ad4 ,nunc ,dimittis4 #ae4 ,a4 ,b4 7,initials74 #af4 ,st4 ,john the ,evangelist and ,adoration of the ,magi1 7#b ,subjects47 #ag4 ,psalm ,,cxlvi4 ,,part ,,iv4 ,no4 #ah4 ,psalm ,,xxiii4 #ai4 ,do4 ,,xv4 #bj4 ,do4 ,,cl4 #ba4 ,do4 ,,cxxv4 #bb4 ,c4 ,d4 7,initials74 #bc4 ,psalm ,,cxxix4 ,,part ,v4 ,psalm ,,cxix4 ,no4 #bd4 ,portio mea ,domine4 #be4 ,principes persecuti sunt4 #bf4 ,legem pone4 #bg4 ,appropinquat deprecatio4 #bh4 ,bonitatem fecisti4 #bi4 ,e4 ,f4 7,initials74 ,,part ,,vi4 ,no4 #cj4 ,beati ,immaculati4 #ca4 ,in quo corriget4 #cb4 ,adhesit ,pavimento4 #cc4 ,et veniat super me4 #cd4 ,memor esto servi tui4 #ce4 ,g4 ,h4 7,initials74 ,,part ,,vii4 ,no4 #cf4 ,retribus servo tuo4 #cg4 ,manus tu fecerunt me4 #ch4 ,deficit anima mea4 #ci4 ,in ternum ,domine4 #dj4 ,quomodo dilexi4 #da4 ,lucerna pedibus meis4 ,,part ,,viii4 ,no4 #db4 ,iniquos odio habui4 #dc4 ,feci judicium4 #dd4 ,mirabilia4 #de4 ,justus es ,domine4 #df4 ,clamavi in toto corde meo4 #dg4 ,vide humilitatem4 ,title and ,presentation ,plate may be had to complete this ,series2 or1 elegantly bound in cloth1 antique gilt4 ,dedicated to ,,viscountess ,,combermere1 with ,title and ,presentation ,plate4 ,plain #bes41 partially ,coloured1 #des4 ,published by ,longman1 ,green1 ,longman1 and ,roberts4 ,,part ,,ix4 ,nos4 #dh to #ec4 ,proverbs4 ,six ,numbers4 ,,part ,x4 ,nos4 #ed to #ei4 ,sermon on the ,mount4 ,six ,numbers4 ,,part ,,xi4 ,nos4 #fj to #fg4 ,f,beatitudes4 ,eight ,numbers4 ,,part ,,xii4 ,nos4 #fh to #gc4 ,sermon on the ,mount4 ,six ,numbers4 ,,part ,,xiii4 ,nos4 #gd to #gi4 ,sermon on the ,mount4 ,six ,numbers4 ,,part ,,xiv4 ,nos4 #hj to #he4 ,sermon on the ,mount1 ,to complete ,six ,numbers4 ,,part ,,xv4 ,nos4 #hf4 ,riflemen ,form4--,tennyson4 #hg4 ,g,now ,shoulder the ,gun1 ,boys4 #hh4 ,riflemen1 stand to your ,post4 #hi4 ,the ,spirit of ,poetry4--,longfellow4 #ij4 ,the ,idylls of the ,king4--,tennyson4 #ia4 ,the ,beggar ,maid4--,tennyson4 ,f #hs4 plain1 #afs4 partly coloured4 ,g ,this ,song published and set to ,music1 by ,h4 ,,von ,,hoff1 words by ,,laurent ,,de ,,lara4 ,,scriptural ,,texts ,,and ,,crosses4 ,half ,sheet ,imperial4 ,glory to ,god in the ,highest1 etc4 ,behold ,i bring you good tidings1 etc4 ,two ,christmas ,texts1 plain each #bs4 #f;d41 and #ds4 part ,coloured4 ,,long ,,texts1 #bh ,,by #g ,,inches4--,,plain #as4 #f;d4 ,,coloured #cs4 ,thy will be done4 ,hope thou in ,god4 ,thou ,god seest me4 ,suffer little children4 ,honi soit qui mal y pense4 ,envy is an enemy to honour4 ,do this in remembrance of me4 ,remember the sabbath day4 ,the ,lord reigneth4 ,our ,father which art in heaven4 ,love one another4 ,all good is from above4 ,,small ,,texts1 #ba ,,by #f ,,inches4--,,plain #as4 ,,part ,,coloured #bs4 ,fear ,god4 ,god is love4 ,watch and pray4 ,ecce homo4 ,we praise thee1 ,o ,god4 ,give us this day our daily bread4 ,the ,lord is gracious4 ,consider thy ways4 ,overcome evil with good4 ,read1 mark1 learn1 and inwardly digest4 ,,square ,,text4--,,plain #as4 #f;d4 ,,part ,,coloured #cs4 ,o ,lord ,god1 thou art my trust from my youth4 ,thanks be unto ,god for his unspeakable gift4 ,hosannah to the ,son of ,david4 ,the ,lord is my shepherd1 ,i shall not want4 ,the earth is the ,lord's and the fulness thereof4 ,two subjects in blank to insert any text at pleasure4 ,crosses1 #dto4 ,imperial #as4 #f;d4 plain1 #cs4 part ,coloured4 ,truly this man was the ,son of ,god4 ,it is finished4 ,fear not1 believe only4 ,ecce homo4 ,lord1 remember me4 ,he died the just for the unjust4 ,,second ,,series4 ,i am the resurrection and the life4 ,look unto ,god and be ye saved4 ,christ the hope of glory4 ,eli1 ,eli1 lama sabachtani4 ,truly this man was the ,son of ,god4 ,father1 forgive them1 for they know not what they do4 ,,third ,,series4 ,excelsior4 ,looking unto ,jesus4 ,follow thou me4 ,the ,lord is risen indeed4 ,peace be unto you4 ,the ,lord is at hand4 ,fourth ,series1 ,quarto ,royal1 #as4 plain1 #bs4 part ,coloured4 ,,three ,,sacred ,,monograms1 #a1 #b ,,and #c2 ,,and ,,three ,,crosses1 #as4 ,,and #bs4 ,,plain ,,and ,,coloured4 #a4 ,let the peace of ,god rule thy breast4 #b4 ,be not overcome with evil1 but overcome evil with good4 #c4 ,no ,cross no ,crown4 ,illuminated in ,chromo-,lithography1 ,half ,sheet ,royal1 in ,gold and #aj ,colours1 ,price #es4 each4 ,,the ,,lord',s ,,prayer1 ,,and ,,the ,,credo4 ,from an old ,psalter of ,henry ,,viii41 in the collection of ,e4 ,,offor1 ,esq4 7,dedicated by permission to ,,viscountess ,,forbes71 and published by ,henry ,hering1 7,late ,hering ,remington71 #acg1 ,regent ,street4 ,,the ,,same ,,subject in outline1 price #as4 #f;d4 plain1 and #cs4 partly coloured4 ,,also ,,the ,,ten ,,commandments1 #dto ,imperial4 ,an original design1 richly illuminated in ,chromo-,lithography1 price #e s4 7,dedicated to her ,majesty the ,queen47 ,,outlines ,,of ,,the ,,above1 #dto ,imperial4 #bs4 plain1 and #cs4 #f;d4 partly ,illuminated4 ,,and ,,the ,,royal ,,chess ,,board4 ,in ,outline #bb inches square1 with ,four ,illustrations1 viz43--,first ,move1 ,stale ,mate1 ,check ,mate1 and ,mated4 ,price1 #es4 plain1 #hs4 partly coloured1 and on the finest ,italian ,vellum1 #cas4 #f;d4 ,,sheet ,,of ,,fifteen ,,book-,,markers4 #dto ,imperial1 with ,scriptural ,mottoes1 #es4 plain1 and #hs4 partially ,illuminated4 ,,sheet ,,of ,,medi,,val ,,alphabets1 #dto ,imperial1 #as4 plain1 #cs4 #c;d4 partially ,illuminated4 ,,the ,,prize ,,beatitudes1 for #ahfj4 7,outlines7 awarded by the ,i4 ,a4 ,u4 ,l4 ,no4 #a4 ,original design by ,,madame ,,citerio4 #b4 do4 do4 by ,,edward ,,offor1 ,,esq4 #c4 do4 do4 by the ,hon4 ,,louisa ,,tenison4 #d4 ,the ,ten ,commandments for #ahei4 #bs4 each plain1 #cs4 #f;d4 partially ,illuminated4 ,,the ,,adoration ,,of ,,the ,,magi4 #dto ,imperial4 7,a splendid ,missal with #ab figures74 #bs4 #f;d4 plain1 and #ds4 part ,coloured4 ,all the above ,subjects are also published on the finest ,italian ,vellum1 from #hs4 to #ajs4 #f;d4 each4 ,the following ,illuminations1 executed by ,lady ,artists1 are ready for ,sale or hire4 s4 d4 ,thompson's ,seasons--,two ,subjects each #ab #j ,the ,lord's ,prayer #ad #f ,the ,creed #ad #j ,two ,subjects of the #aaith ,psalm each #ad #j ,,by ,,mrs4 ,,davidson4 ,two ,subjects of the #aaith ,psalm each #ab #j ,the ,poppy ,flower1 and ,cherry ,border #ab #j ,,by ,,miss ,,webb4 ,nunc ,dimittis1 ,st4 ,luke #ab #j ,poesy #aj #f ,praise--,psalm #adf #g #j ,,by ,,miss ,,saunders4 ,the ,adoration of the ,magi1 and ,st4 ,john each #ad #j ,david with the ,head of ,goliath #aj #f ,alphabetical ,letters1 by various ,artists1 from #cs4 to #h #j ,,by ,,miss ,,thompson ,,miss ,,peet4 ,and other ,subjects from ,psalm ,,cxix41 c41 c41 are in progress1 and may be always had4 ,,just ,,published ,miniature ,outlines for ,illuminating1 ,plain #i;d42 ,partially coloured1 #as4 #f;d4 each4 ,or in ,handsome ,wrappers containing ,eight ,subjects4 #fs4 and #abs4 ,these ,,miniature ,,outlines are so delicately executed1 and in detail so perfect1 that they afford the ,student an admirable opportunity of acquiring a most delicate touch before venturing on the larger subjects2 and the universal satisfaction they have given1 has induced ,,laurent ,,de ,,lara to re-produce the whole of his numerous publications in this form4 ,at the same time he most earnestly enjoins the ,student not to use other than ,,cake ,,illuminating ,,colours in these1 as indeed in ,,all ,,illuminations where delicacy and effect is desirable4 ,,the ,,beatitudes1 7,eight ,subjects47 ,fac-simile1 half the size of the #dto ,royal4 ,,the ,,same ,,subject1 one sixth the original size1 #f;d4 and #as4 each4 ,,the ,,lord',s ,,prayer4 from an old ,psalter of ,,henry the ,,viii4 ,,the ,,credo4 #dto4 ,imperial drawing boards1 #as4 plain1 #bs4 coloured4 ,,the ,,same ,,subjects1 one sixth1 #i;d4 plain1 #as4 #f;d4 coloured4 ,illuminating ,art ,circulating ,library1 #c1 ,,torrington ,,square1 ,,russell ,,square4 ,subscribers are entitled to two ,illuminations at a time1 to be exchanged for fresh subjects1 as frequently as desired4 ,,terms ,,of ,,subscriptions4 ,,annually #d #ds4 #j;d4 ,,half ,,yearly #b #abs4 #f;d4 ,,quarterly #a #aas4 #f;d4 ,a ,select assortment of ,,vellum ,,illuminations are constantly kept in stock for sale or hire1 of which pencil outlines are published at #f;d41 #i;d41 #as41 #as4 #f;d41 #bs4 each4 ,,the ,,lord',s ,,prayer1 #dto4 ,imperial1 #dto4 ,royal1 ,miniature1 and small ,miniature4 ,two designs4 ,,the ,,apostles' ,,creed1 ditto4 ,,sonnet4--,it is a ,dream4 ,,david ,,with ,,the ,,head ,,of ,,goliath4 ,,the #fg,,th ,,psalm4 ,,small ,,credo4 ,,the #aai,,th ,,psalm4 ,twenty-two ,subjects1 with ,title and ,presentation ,plate4 ,,the ,,sermon ,,on ,,the ,,mount4 ,twenty-two ,subjects1 with ditto4 ,,the ,,adoration ,,of ,,the ,,magi4 ,,st4 ,,john ,,writing ,,the ,,gospel4 ,,poesy4 ,sonnet4 ,,the ,,proverbs1 ,alphabetically arranged4 ,large text #bd subjects4 ,,thompson',s ,,seasons4 7,two ,subjects74 ,,the ,,commandments4 7,dedicated to her ,majesty74 ,,the ,,commandments4 7,byzantine ,school74 ,,the ,,beatitudes4 7,eight ,subjects1 complete74 ,,the ,,prize ,,beatitudes4 7,three ,subjects71 awarded by the ,i4 ,a4 ,u4 ,l4 for #ahfj4 ,,medi,,val ,,alphabets1 #dto4 ,imperial4 #be ,,different ,,book-,,markers1 #aj for the reception of ,photograph vignettes4 ,small and large size4 ,,the ,,royal ,,chessboard4 ,folio ,imperial1 #bb inches square4 #ah ,,different ,,crosses4 #ah ,,subjects ,,from ,,shakspeare4 7,quite new74 ,d4 ,,laurent ,,de ,,lara',s ,,colours ,,and ,,materials ,,for ,,illuminating ,,missal ,,painting4 ,the necessity for improvements to be made in the ,ordinary ,water ,colours1 too often palmed off on the unwary by ,artists' ,colourmen1 has induced ,mr4 ,,de ,,lara to give the ,subject his most earnest and careful attention1 and as a result1 they have acquired a reputation for the richness and brilliancy of their ,tints1 surpassing even those manufactured in ,paris2 and their peculiar fitness when applied to ,illuminating on ,vellum1 or for ,miniatures1 proves them1 in these respects1 to be unrivalled4 ,,the ,,twenty ,,five ,,shilling ,,box ,,contains ,twelve ,colours1 ,gold and ,aluminium ,shells1 ,enamel ,white1 ,agate ,burnisher ,pencils1 ,sable ,brush1 ,parallel ,rules1 ,ruling ,pen1 ,compasses4 ,,the ,,guinea ,a ,,half ,,box ,,contains ,eighteen ,colours1 ,gold and ,aluminium ,shells1 ,enamel ,white1 and fuller fittings than above4 ,,the ,,two ,,guinea ,,box ,,contains ,fourteen ,double and ,four ,half ,cakes1 ,gold and ,aluminium ,shells1 and complete ,fittings4 ,,the ,,two ,,guinea ,a ,,half ,,box ,,contains ,eighteen ,whole ,cakes1 and additional materials4 ,,the ,,three ,,guinea ,,box ,same ,colours and superior and additional ,fittings4 ,in calling the attention of the ,public to this ,box1 ,d4 ,,laurent ,,de ,,lara feels it incumbent on him to remark1 that whatever costliness and expense may be bestowed on material1 nothing further is required for the successful practising of this ,art4 ,illuminating ,box of ,moist ,colors for ,fruits and ,flowers1 #abs4 #f;d4 each4 ,box of ,opaque ,tints1 #abs4 each4 ,,always ,,on ,,hand ,an ,assortment of ,prepared ,italian ,vellum1 ready ,mounted1 #cs4 #f;d41 #fs41 and #hs4 each4 ,whole ,skins from #gs4 #f;d4 to #c #cs4 each4 ,,gold1 ,,platina1 ,,and ,,aluminium ,,shells1 #ajs4 #f;d4 ,,per ,,dozen4 ,best ,water ,gold-,size in ,pots #bs4 each1 for raised ,gilding4 ,real ,french ,tracing ,paper1 #as4 #f;d4 the ,sheet4 ,,mathematical ,,instruments #bas4 ,,or #cas4 #f;d4 ,,the ,,case4 ,instruction in the ,art of ,illuminating by personal ,lessons or by correspondence--the ,course1 #c #cs4--with employment afterwards1 if desired by special contract4 ,,another ,,edition ,,of ,,the #aaith ,,psalm1 ,,will ,,be ,,republished ,,for ,,the ,,forthcoming ,,season1 ,,dedicated ,,to ,,viscountess ,,combermere1 ,,with ,,presentation ,,and ,,title ,,plate4 ,partly ,illuminated and handsomely bound #b #e #j ,plain ,ditto #a #e #j ,,london3 ,,longman1 ,,green1 ,,longman1 ,,roberts ,,and ,,green1 ,,paternoster ,,row1 ,,and ,,all ,,booksellers4 ,,just ,,published ,,miscellaneous ,,pieces1 ,plain #as4 #f;d42 part ,coloured #cs4 #ab ,nos4 ,,of ,,the ,,royal ,,psalter1 ,,dedicated ,,to ,,the 7,,countess ,,dowager ,,of ,,lichfield47 ,adapted from the famous missal the ,hours of ,anna of ,brittany4 7,floral and ,fruit ,borders47 ,a ,,swarm ,,of ,,bees ,,worth ,,hiving1 ,,or ,,bees ,,without ,,stings4 ,,give ,,all ,,thine ,,ear1 ,,but ,,few ,,thy ,,voice1 7from an old book in the ,stow ,library7 dedicated to the late ,marquis of ,breadalbane4 ,,two ,,subjects ,,from ,,isaiah ,,liii4 #as4 #f;d4 and #cs4 each4 ,published on the #ajth of ,march1 #ahfc1 on the occasion of the ,marriage of ,h4,r4,h4 the ,princess ,alexandra and the ,prince of ,wales4 ,price #as4 #f;d4 and #cs4 part ,coloured4 ,,the ,,royal ,,monogram ,,and ,,coronet1 ,,and ,,the ,,ode ,,hail ,,alexandra1 ,,star ,,of ,,denmark1 ,,etc41 7,poetry and ,designs by ,d4 ,laurent de ,lara47 ,the originals of these beautiful and characteristic designs1 were presented to ,her ,royal ,highness the ,princess of ,wales on the occasion of her marriage4 ,completely ,illuminated price #b #bs4 each4 ,,just ,,published4 ,,the ,,beauties ,,of ,,shakspere1 ,,being ,,choice ,,extracts ,,of ,,the ,,great ,,dramatist1 ,,pictorially ,,illustrated1 ,,containing ,,text ,,in ,,the ,,centre4 ,first ,series1 #fs4 plain2 #abs4 partly illuminated4 ,six ,subjects from the ,tempest4 #a4 ,,caliban4 ,i'll shew thee the best ,springs4 #b4 ,,ferdinand4 ,my ,spirit as in a ,dream1 etc4 #c4 ,,prospero4 ,hast thou1 which art but air4 #d4 ,,vanity ,,of ,,human ,,nature4 ,the ,cloud capp'd ,towers4 #e4 ,,ariel',s ,,song4 ,where the ,bee sucks1 etc4 #f4 ,,do4 ,,do4 ,full fathom five thy ,father lies4 ,second ,series1 #fs4 plain2 #abs4 coloured4 ,six ,subjects from the ,merchant of ,venice4 #g4 ,,shylock4 ,if it will feed nothing4 #h4 ,,bassanio4 ,in ,belmont is a lady4 #i4 ,,launcelot ,,gobbo4 ,well1 if any man in ,italy1 etc4 #aj4 ,,the ,,prince ,,of ,,morocco4 ,what have we here1 a ,carrion's death4 #aa4 ,,antonio4 ,i am armed and well prepared4 #ab4 ,,portia4 ,the quality of mercy is not strained4 ,six ,subjects from ,hamlet4 #ac4 ,,polonius4 ,give every man thine ear4 #ad4 ,,ophelia4 ,o1 what noble mind is here overthrown4 #ae4 ,,hamlet',s ,,soliloquy4 ,to be or not to be4 #af4 ,,interview4 ,ecstasy4 #ag4 ,,hamlet4 ,alas6 poor ,yorrick4 #ah4 ,,grave-,,diggers4 ,who builds stronger than a mason4 ,this beautiful publication of which already three successive editions have been issued1 will be followed by ,,as ,,you ,,like ,,it and other popular ,plays1 at short intervals4 ,r4 ,,ackermann1 ,,manufacturer ,,of ,,illuminating ,,colours1 ,which are strongly recommended for their brilliancy of ,tint1 may be had separately or in ,boxes price #bas4 and #dbs4 ,gold1 ,silver ,aluminium1 and ,platina1 ,in ,shells1 ,saucers1 and ,cakes4 ,a large assortment of the best ,prepared ,drawing ,vellum4 ,vellum ,paper1 and the best ,drawing ,boards4 ,,tracing ,,and ,,transfer ,,papers4 ,a ,,great ,,variety ,,of ,laurent de ,lara's ,outlines for ,coloring ,scrolls and ,texts1 ,,with ,the best ,works of ,instruction4 ,,books ,,of ,,alphabets ,,and ,,all ,,illuminated ,,works4 ,,gold ,,size1 ,,and ,,all ,,articles ,,connected ,,with ,,the ,art of ,illuminating and the ,fine ,arts4 #aia1 ,,regent ,,street1 ,w4 ,catalogues by post1 free on application4 ,,james ,,newman1 ,,manufacturer ,,of ,illuminating ,colours in ,oil or ,water4 ,boxes of ,colours fitted up with ,burnishers1 ,brushes1 ,shells1 c41 very complete4 ,,pure ,,gold ,,and ,,aluminium ,,powder ,,in ,,shells1 ,,half ,,shells1 ,,or ,,cakes1 ,,like ,,water ,,colours4 ,prepared ,vellum and every ,article used in ,illuminating4 ,,ornamental ,,alphabets ,,and ,,works ,,on ,,illuminating ,,body ,,colour ,,white4 ,sizing preparation to prepare the ,surface of many ,materials and give hardness to the ,colours4 ,see ,,newman',s ,harmonious ,colouring1 c41 ,price #as4 ,,newman',s ,,superfine ,,water ,,colours4 ,newman's ,improved ,moist ,colours ,chinese ,white4 ,,manufacturer ,,of ,every ,description of ,artist's ,materials of the ,best ,quality4 #bd1 ,,soho ,,square1 ,,london1 ,w4 ,,reeves ,,sons' ,colours ,materials for ,illuminating ,missal ,painting4 ,water ,colours ,prepared for ,illuminating1 in ,cakes or ,moist in ,pans1 ,half ,cakes or ,half ,pans4 ,,whole ,,cakes1 #as41 ,,half ,,cakes1 #f;d4 each4 ,antwerp ,blue ,azure ,blue ,bistre ,blue ,black ,bronze ,green ,brown ,ochre ,brown ,pink ,burnt ,ochre ,burnt ,sienna ,burnt ,umber ,chinese ,vermilion ,chinese ,white ,chrome ,yellow1 ,pale ,chrome ,yellow1 ,middle ,do4 ,deep ,cologne ,earth ,dragon's ,blood ,emerald ,green ,flake ,white ,gamboge ,green ,bice ,green ,verditer ,hooker's ,green1 ,no4 #a ,shade ,do4 ,no4 #b do4 ,indian ,red ,indigo ,italian ,pink ,ivory ,black ,king's ,yellow ,lamp ,black ,light ,red ,naples ,yellow ,neutral ,tint ,olive ,orange ,payne's ,grey ,permanent ,red ,prussian ,blue ,prussian ,green ,purple ,raw ,sienna ,raw ,umber ,red ,chalk ,roman ,ochre ,sap ,green ,saturnine ,red ,terra ,verte ,vandyke ,brown ,venetian ,red ,vermilion ,yellow ,lake ,yellow ,ochre ,,whole ,,cakes1 #as4 #f;d41 ,,half ,,cakes1 #i;d4 each4 ,brown ,madder ,colin ,blue ,crimson ,lake ,indian ,yellow ,intense ,blue ,mars ,yellow ,permanent ,white ,purple ,lake ,scarlet ,lake ,scarlet ,vermilion ,sepia ,warm ,sepia ,green ,vermilion ,,whole ,,cakes1 #bs41 ,,half ,,cakes1 #as4 each4 ,cobalt ,blue ,cobalt ,ash1 ,nos4 #a #b ,green ,oxide of ,chromium ,lemon ,yellow ,orange ,vermilion ,pure ,orange ,violet ,carmine ,,whole ,,cakes1 #cs41 ,,half ,,cakes1 #as4 #f;d4 each4 ,burnt ,carmine ,cadmium ,yellow1 ,pale ,do4 ,middle ,cadmium ,yellow1 ,deep ,carmine ,french ,ultramarine ,gallstone ,intense ,madder ,orange ,scart4 ,madder ,permanent ,blue ,pink ,madder ,rose ,madder ,royal ,scarlet ,yellow ,madder ,,whole ,,cakes1 #es41 ,,half ,,cakes1 #bs4 #f;d4 each4 ,extract of ,vermilion ,madder ,carmine ,mars ,orange ,purple ,madder ,royal ,blue ,smalt ,ultramarine ,ash ,ultramarine 7,genuine7 ,whole ,cake1 #a #as41 ,half ,cake1 #ajs4 #f;d41 ,quarter ,cake1 #es4 #f;d4 each4 ,powder ,colours for ,illuminating1 ,in ,bottles1 ,ready prepared for use with the admixture of ,water only4 ,prices same as ,whole ,cakes4 ,illustration3 #a ,,guinea ,,box4 ,boxes of ,colours for ,illuminating and ,missal ,painting4 ,half-,guinea ,box4 ,french ,polished ,mahogany ,slide-top ,box1 containing ,six ,half ,cakes of ,colours--,crimson ,lake1 ,scarlet ,vermilion1 ,french ,ultramarine1 ,emerald ,green1 ,pale ,chrome1 and ,burnt ,sienna1 ,tube of ,enamel ,white1 ,gold and ,aluminium ,shells1 ,four ,siberian ,brushes1 ,burnisher1 and ,indian ,ink4 ,one ,guinea ,box4 ,mahogany ,french ,polished ,lock ,box1 containing 7in a ,japanned ,tin ,box7 ,crimson ,lake1 ,scarlet ,vermilion1 ,cobalt1 ,french ,ultramarine1 ,cadmium ,yellow1 ,lamp ,black1 ,emerald ,green1 ,burnt ,sienna1 ,bottle of ,enamel ,white1 ,prepared ,gum ,water1 ,china ,slab1 ,water ,glass1 ,liquid ,ox ,gall1 ,saucer of ,gold1 ,saucer of ,aluminium1 ,agate ,burnisher1 ,cumberland ,lead ,pencil1 ,sable ,brushes1 and ,gummed ,gold ,paper4 ,one ,guinea and a ,half ,box4 ,mahogany ,french ,polished ,lock ,box1 containing 7in a ,japanned ,tin ,box7 ,crimson ,lake1 ,scarlet ,vermilion1 ,cobalt1 ,french ,ultramarine1 ,cadmium ,yellow1 ,lamp ,black1 ,emerald ,green1 ,burnt ,sienna1 ,rose ,madder1 ,gamboge1 ,vandyke ,brown1 and ,pale ,chrome ,yellow1 ,bottle of ,enamel ,white1 ,prepared ,gum ,water1 ,liquid ,ox ,gall1 ,gold ,ink1 ,saucer of ,gold1 ,saucer of ,aluminium1 ,china ,slab1 ,water ,glass1 ,pot of ,water ,gold ,size1 ,agate ,burnisher1 ,cumberland ,lead ,pencil1 ,six ,sable ,brushes1 and ,gummed ,gold ,paper4 ,materials for ,illuminating and ,missal ,painting4 ,two ,guinea ,box4 ,mahogany ,french ,polished ,lock ,box1 containing 7in a ,japanned ,tin ,box7 ,crimson ,lake1 ,scarlet ,vermilion1 ,cobalt1 ,french ,ultramarine1 ,cadmium ,yellow1 ,lamp ,black1 ,emerald ,green1 ,burnt ,sienna1 ,rose ,madder1 ,gamboge1 ,vandyke ,brown1 ,pale ,chrome1 ,carmine1 ,green ,oxide of ,chromium1 ,permanent ,red1 ,brown ,madder1 ,lemon ,yellow1 and ,violet ,carmine1 ,bottle of ,enamel ,white1 ,prepared ,gum ,water1 ,liquid ,ox ,gall1 ,gold ,ink1 ,saucer of ,gold1 ,saucer of ,aluminium1 ,six-,division ,china ,slab1 ,water ,glass1 ,pot of ,water ,gold ,size1 ,agate ,burnisher1 ,cumberland ,lead ,pencil1 ,eight ,sable ,brushes1 and ,gummed ,gold ,paper4 ,three ,guinea ,box4 ,rosewood ,caddy ,lid ,french ,polished ,box with ,plated ,fittings1 containing ,colours1 c41 as above1 and a most complete ,set of ,materials4 s4 d4 ,prepared ,enamel ,white1 in bottles each #a #j ,indian ,ink #a #j ,liquid ,brown #a #j ,carmine #a #f ,ox ,gall #a #j ,gold ,size1 in pots #a #j ,raising ,preparation1 #a #j ,prepared ,strong ,clarified ,gum ,water #f;d4 #a #j ,gold1 ,silver1 ,aluminium1 c4 ,gold ,leaf1 per ,book of #be ,leaves #a #i ,silver #ej #a #i ,gold ,paper1 ,adhesive on back per ,sheet #c #f ,ditto ditto ,sheet #a #i ,ditto ditto ,sheet #a #j ,ditto1 in packets per packet1 #f;d4 #a #j ,gold in ,cakes each #e #j ,aluminium ditto #a #j ,gold in ,saucer each #f;d4 #j #i ,aluminium ditto #j #d ,materials for ,illuminating and ,missal ,painting4 d4 ,gold1 in ,shell each #h ,smaller ditto #f ,green ,gold #h ,platina #h ,aluminium #d ,silver #d ,gold and ,silver ,ink4 s4 d4 ,liquid in ,bottles each #a #j ,bessemer's ,gold ,paint4 ,gold ,paint and ,preparation1 large size each #d #j ,ditto1 small size #a #f ,preparation only1 large size #j #f ,bronzes4 ,finest ,deep and ,pale ,gold1 ,silver1 ,copper and ,green ,bronzes per packet #b #j ,common ,gold ,bronze per bottle1 #f;d4 #a #j ,prepared ,vellum4 ,,price ,,according ,,to ,,size4 ,small ,agate ,burnishers4 ,albata ,ferrules and ,black ,handles1 various patterns each #b #j ,a ,,large ,,assortment ,,of ,,outlines1 ,,copies1 ,,and ,,books ,,on ,,illuminating ,,always ,,in ,,stock4 ,de ,lara's ,series of ,outlines and ,publications1 for which see his ,list4 ,illuminating ,art ,union of ,london 7,,instituted #aheg47 ,for promoting and encouraging the ,,medi,,val ,,style ,,of ,,illuminating ,,on ,,vellum1 adaptable for ,modern purposes1 either sacred or secular1 to hold ,annual ,exhibitions and distribute prizes for original designs1 and to afford employment to the educated gentlewomen of limited means4 ,annual ,subscription #a #as4 ,for which an ,original ,vellum ,illumination executed by the less affluent ,members1 will be presented annually to the ,subscribers4 ,life ,members #ab #abs4 ,patronesses4 ,,laura1 ,,countess ,,of ,,antrim4 ,,the ,,countess ,,of ,,dalkeith4 ,,the ,,countess ,,of ,,lichfield4 ,,the ,,countess ,,dowager ,,of ,,lichfield4 ,,viscountess ,,dungarvon4 ,,viscountess ,,forbes4 ,,viscountess ,,jocelyn4 ,,countess ,,of ,,mount ,,edgecombe4 ,,baroness ,,de ,,rothschild4 ,,lady ,,harriet ,,ashley4 ,,lady ,,naas4 ,,lady ,g4 ,,rebow4 ,,lady ,,de ,,rothschild4 ,,lady ,,anna ,,loftus4 ,,lady ,c4 ,,loftus4 ,,lady ,,sarah ,,spencer4 ,,lady ,,helen ,m',,donnell4 ,,lady ,,frances ,,harcourt4 ,,lady ,,louisa ,,boyle4 ,,lady ,,louisa ,,lascelles4 ,,lady ,,louisa ,,tenison4 ,,honourable ,,mrs4 ,,yelverton4 ,,honourable ,,mrs4 ,,cunynghame4 ,,honourable ,,lora ,,lane ,,fox4 ,,honourable ,,miss ,,montague4 ,,mrs4 ,,ridgeway4 ,,mrs4 ,e4 ,,wynne 7,pernambuco74 ,,mrs4 ,,bellew4 ,,mrs4 ,,chauncy4 ,,mrs4 ,,henry ,,bolton4 ,,mrs4 ,,faber4 ,,miss ,,de ,,rothschild4 ,,miss ,,anna ,d',,arley4 ,,miss ,,vaughan4 ,,miss ,s4 ,,mostyn ,,owen4 ,,miss ,,frances ,,graham ,m',,dowall ,,miss ,,fox ,,strangways4 c41 c4 ,honorary ,secretary4 ,,mrs4 ,,faber4 ,honorary ,treasurer4 ,,charles ,,board1 ,,esq4 ,manager4 ,d4 ,,laurent ,,de ,,lara1 ,,esq4 ,prospectuses and ,reports may be had of ,d4 ,,laurent ,,de ,,lara1 ,manager1 #c1 ,torrington ,square1 ,russell ,square1 ,w4,c4 ,,list ,,of ,,colour ,,boxes ,,and ,,materials1 ,,prepared ,,by ,,george ,,rowney ,,company1 ,,for ,illuminating ,missal ,painting4 #aes4 ,mahogany ,box1 ,,containing ,cobalt1 ,prussian ,blue1 ,emerald ,green1 ,chrome #b1 ,crimson ,lake1 ,vermilion1 ,gold and ,silver ,shells1 ,agate ,burnisher1 and ,three ,sable ,brushes4 #bas4 ,mahogany ,lock ,box1 ,,containing ,cobalt1 ,fr4 ,ultra1 ,emerald ,green1 ,sap ,green1 ,chrome #b1 ,chrome #d1 ,crimson ,lake1 ,madder ,lake1 ,lamp ,black1 ,vandyke1 ,vermilion1 and ,white1 ,gold1 ,green ,gold1 and ,aluminium ,shells1 ,agate ,burnisher1 ,sable ,brushes1 c41 c4 #cas4 #f;d4 ,caddy ,lid ,box1 ,,containing ,cobalt1 ,fr4 ,ultra1 ,emerald ,green1 ,sap ,green1 ,chrome #a1 ,chrome #c1 ,dragon's ,blood1 ,vermilion1 ,yellow ,oker1 ,lamp ,black1 ,violet1 ,carmine1 ,rose ,madder1 ,carmine1 ,bt4 ,carmine1 ,bottle of ,chinese ,white1 ,gold1 ,green ,gold and ,aluminium ,shells1 ,gold ,leaf1 ,agate ,burnisher1 ,dividers1 ,sable ,brushes1 ,pot of ,water ,gold-,size1 c4 #b ,guinea ,caddy ,lid ,box with ,drawer1 ,,containing ,cobalt1 ,fr4 ,ultra1 ,emerald ,green1 ,sap ,green1 ,chrome #a1 ,chrome #c1 ,gamboge1 ,yellow ,oker1 ,bt4 ,sienna1 ,vandyke1 ,sepia1 ,lamp ,black1 ,crimson ,lake1 ,scarlet ,vermilion1 ,rose ,madder1 ,purple ,madder1 ,madder ,brown1 ,carmine1 ,bottle of ,chinese ,white1 ,pot of ,water ,gold-,size1 ,two ,shells1 each as above1 ,gold ,leaf1 ,extra ,brushes1 c4 #c ,guinea ,rosewood1 ,caddy ,lid1 ,,containing besides the above ,eighteen colours1 ,prussian ,blue1 ,violet ,carmine1 ,cadmium ,yellow1 ,mars ,orange1 ,bt4 ,carmine1 ,deep ,rose2 and every article necessary for all descriptions of ,illuminating4 ,boxes may be obtained1 fitted to any arrangement required4 ,a large assortment of ,laurent de ,lara's outlines1 plain1 or partly coloured either on fine ,card or ,vellum4 ,,george ,,rowney ,,co41 ,,manufacturing ,,artist',s ,,colourmen1 #ea #eb1 ,,rathbone ,,place1 ,,london4 ,transcriber's notes ,clear printer's errors were corrected1 but original spelling was not modified or harmonized4 ,phrases or words in italics are underscored4