,illustration ,emblematic ,illumination2 ,,or1 ,forms1 ,colours1 and ,emblems ,,suitable ,,for ,,illuminating ,,texts ,,of ,,holy ,,scripture ,,in ,,large ,,style1 ,,in ,,oils ,,or ,,water-,,colours4 ,,collected ,,and ,,edited ,,by ,f4 ,m4 ,r4 ,illustration ,london3 ,,day ,,and ,,son1 ,lithographers to the ,queen1 #f ,,gate ,,street1 ,,lincoln',s-,,inn-,,fields4 ,price #es4 #f;d4 ,,preface4 ,the ,editor of the following pages has no desire to offer them in competition with the numerous and useful ,handbooks on ,illumination already published4 ,all those that the writer has met with--some eight or ten--have been almost exclusively directed to the study of ,missal ,painting and ,illuminating on the most minute scale4 ,the exceptions to this rule are a few occasional remarks1 merely hinting at the larger and more popular style4 ,the principal omission1 however1 which this little book is designed to supply1 is the emblematic branch of the subject4 ,amateurs most generally confine themselves to illuminating texts of ,holy ,scripture on a large scale1 to assist in which numerous printed outlines are now published4 ,but1 from complete ignorance of the rules of ecclesiastical colouring1 the amateur not only becomes hopelessly bewildered as to what colour to select for particular words1 but1 in falling back upon his own taste for guidance1 commits errors which destroy the emblematic beauty of his work4 ,the significance of colour is greater than is generally supposed1 and will be found a subject of much interest4 ,such sacred symbols as could easily be introduced into illuminated scrolls have been described1 in the hope that1 by their assistance1 a taste for strictly appropriate ornamentation may be more largely cultivated1 to the exclusion of those unmeaning and tawdry decorations which offend the eye4 ,instead of furnishing copies of antique capitals1 of which so many excellent collections now abound1 it has been thought more useful to supply the reader with some specimens of emblematic letters 7which may suggest other similar designs71 suitable for particular texts1 several of which are also subjoined4 ,the instructions for the mechanical part of the work are given on the authority of experience1 while the significations of colours and emblems have been carefully collected from larger and standard publications4 ,f4 ,m4 ,r4 ,a ,selected ,list of ,requisite ,materials4 s4 d4 #a ,sheet of ,bristol ,board1 or ,vellum-,paper #a #j #a ,long ,wooden 7flat7 ,ruler #j #f #a #f-;inch ,bone ditto #j #f #c ,pencils1 ,f1 ,,hb1 and ,,bb #j #f #a ,cake of ,lamp-,black 7moist7 #a #j ,german ,blue in ,powder #j #f ,carmine ditto #j #f ,vermilion ditto #j #f ,cake of ,emerald ,green 7moist7 #j #f ,bessemer's ,gold ,paint1 or ,winsor and ,newton's ,liquid ,gold #a #j ,gum ,arabic #j #d #b ,red ,sable ,brushes1 #f;d4 and #h;d4 #a #b #a ,best ,camel's-,hair 7for ,gold7 #j #c #c ,saucers 7#b large and #a small7 #j #c ,indian-,rubber #j #a ,spirits of ,turpentine #j #c #a ,large ,sheet of ,millboard,a #j #h #a ,sheet of ,transparent ,tracing-,paper #j #c ,white ,tissue-,paper #j #c ------- #aj #j ------- ,a ,this1 divided longwise1 serves as temporary ,portfolio and ,drawing-board4 99 99 99 99 99 ,emblematic ,scrolls2 ,or1 ,texts in ,outline1 containing ,capitals1 c41 similar to those in our ,coloured ,plates4 ,,the ,,following ,,are ,,now ,,ready3-- ,,one ,,shilling ,,each4 ,no4 #a4 ,fear not1 ,i will help thee4 #b4 ,look unto ,,me1 and be ye saved4 #c4 ,,my ,peace ,i give unto you4 #d4 ,the ,,lord will provide4 ,no4 #e4 ,be clothed with humility4 #i4 ,in ,clo ,quies4 7,in ,heaven is ,rest47 #ac4 ,bring forth1 therefore1 ,fruits meet for ,repentance4 ,no4 #ab4 ,little ,children1 ,love one another4 ,speak ,gently4 ,be ,patient4 #as4 the set4 ,,one ,,shilling ,,and ,,sixpence4 7,,including ,,photograph47 ,no4 #aj4 ,i am come that ye might have life4 ,,one ,,shilling ,,and ,,sixpence ,,each4 7,,including ,,directions ,,for ,,colouring47 ,no4 #f4 ,,he shall give ,,his ,angels charge over ,,thee4 ,no4 #g4 ,unto you is born a ,saviour1 which is ,,christ the ,,lord4 ,no4 #ad4 ,,christ is risen6 ,alleluia4 ,,two ,,shillings4 7,,including ,,photographs47 ,no4 #h4 ,glory to ,,god in the ,highest1 on ,earth ,peace1 ,good-will towards men4 ,no4 #aa4 ,be thou faithful unto ,death1 and ,i will give thee a ,crown of ,life4 ,,note4--,these ,scrolls cannot be sent through the ,post unless #as4 #h;d4 be added for ,postage and ,packing in ,millboard4 ,,forms4 ,drawing4 ,sidenote3 ,eccles4 ix4 #aj4 ,illustration3 ,whatsoever thy hand findeth to do1 do it with thy might4 ,to begin with the purely mechanical part of our work1 let us enumerate the materials required for drawing the outlines3-- ,sidenote3 ,pencils4 #c ,pencils--,f1 ,,hb1 and ,,bb4 #b;d4 each4#a #a ,n4,b4 ,the prices of materials vary so much1 that only a general idea can be given of them1 as some guide to beginners4 ,sidenote3 ,indian-rubber4 ,a piece of ,indian-rubber4 ,sidenote3 ,brushes4 ,red sable brushes2 the sizes sold at #d;d41 #f;d41 and #h;d4 each3 also #b small sizes of the best ,camel's hair1 #b;d4 each1 necessary for ,bessemer's gold paint4 ,sidenote3 ,cardboards4 ,large sized ,london or ,bristol board1 #f;d4 per sheet1 and upwards4 ,this is a glazed 7hot-pressed7 cardboard4 ,mounting-board is rather cheaper1 costing #f;d4 and upwards for a large sheet1 but1 not having so fine a surface1 will not so easily bear rubbing out4 ,it takes colour well4 ,pale-tinted cardboard1 grey1 brown1 c41 is sold in large sheets1 at about #h;d4 per sheet4 ,sidenote3 ,vellum-paper4 ,vellum-paper1 a good imitation of vellum1 is sold at #as4 per sheet4 ,sidenote3 ,tissue and ,tracing-paper4 ,some sheets of white tissue and transparent tracing-paper2 the latter for preserving copies in outline4 ,sidenote3 ,rulers4 #b ,rulers 7flat72 one of wood1 about two feet long1 another of bone1 #f inches2 #f;d4 each 7ivory1 #bs4474 ,a ,t-ruler is very useful2 #as4 and upwards4 ,sidenote3 ,portfolio4 ,a portfolio1 #b feet by #aj inches1 to hold the scrolls1 would be useful in preserving them from injury2 cost1 at the drawing-shops1 #cs4 #f;d4 ,a list of the necessary paints will be given in the directions for colouring1 page #i4 ,sidenote3 ,alphabets 7capitals74 ,the beginner should endeavour to obtain one or two sheets of alphabets 7capitals7 in black and white1 of the full size required1 say about two inches high4 ,sidenote3 ,lower-case 7small letters74 ,an alphabet of lower-case1 or small letters1 is subjoined1 which will be found to harmonise well with almost any capitals1 and is in proportion to those of two or two and a half inches high4 ,sidenote3 ,enlarging or reducing ,capitals4 ,but although the beginner will do well to copy or trace letters of the exact size required1 he cannot too soon commence the practice of enlarging or reducing the copy1 otherwise many very beautiful initial letters will be lost to him4 ,the great art in copying on a different scale is to observe carefully the proportions of the original3 keep every branch of the letter equal in thickness1 if the original be so3 or if copying1 for example1 a capital ,a1 and one side of the arch be twice the width of the other1 let the copy preserve the same proportion4 ,in the letter ,b1 observe if the two bows be of equal size2 the lower is generally the larger of the two4 ,in an equal-sided letter1 like ,m or ,o1 observe what ornamental parts are opposite to each other4 ,sidenote3 ,enlarging or reducing ,small ,letters4 ,in drawing 7or copying7 small letters1 be careful to make the stems of equal width or thickness1 and those which pass above or below the line of equal and proportionate height or length4 ,the tops of t's should always be lower than those of the other long letters1 as in writing1 and the dots of the i's in a line with the tops of the t's4 ,sidenote3 ,books of ,alphabets1 c4 ,there is a small book of medival alphabets1 published by ,masters1 price #bs41 suited to beginners4 ,the ,book of ,ornamental ,alphabets1 ,ancient and ,medival1 collected and engraved by ,f4 ,delamotte 7published by ,e4 ,f4 ,n4 ,spon1 #af ,bucklersbury1 ,london71 is valuable to those who can enlarge while copying2 it contains upwards of forty alphabets1 beginning with those of the #hth century1 also several initial letters1 and a page of monograms1 crosses1 c4--most of the alphabets are one inch in height--price #ds4 ,the best and most recent collection of letters that ,i have met with is ,the ,handbook of ,alphabets1 ,initials1 and ,monograms1 engraved by ,william ,gibbs1 published by ,houlston ,wright1 #fe ,paternoster ,row1 ,london1 price #es4 ,sidenote3 ,value and use of ,capitals4 ,sidenote3 ,dedication4 ,in arranging for the outline of a text1 first select the necessary capitals4 ,the initial 7or first letter7 must be the handsomest of all1 as being the introduction and dedication of the work to ,the ,blessed ,trinity4 ,capitals are generally employed throughout the ,sacred ,names2 the first letter may be the largest1 the following of the same height as the small letters4 ,sidenote3 ,emphasis4 ,they are also prefixed to such words as we wish especially to emphasize1 as in the following examples3-- ,be clothed with ,humility4 ,my times are in ,thy ,hand4 ,watch and ,pray4 ,the emphasis of colour will be given in the proper place 7pp4 #ad1 c474 ,sidenote3 ,distinction of ,style1 ,date1 and ,country4 ,it is advisable1 if possible1 to select the capitals from the same alphabet2 but if all that you require for the text do not suit your taste1 there is no absolute objection to the introduction of others1 subject to certain conditions4 ,on no account mix the letters of different countries2 the ,italian1 for instance1 with the ,saxon2 they would be utterly incongruous4 ,also1 as a writer amusingly observes1 ,avoid letting your work appear as though it had been begun in the tenth century1 and only completed in the sixteenth1 or1 as ,i have once or twice seen1 vice vers4#b #b ,what ,illuminating should be1 and ,how it may be ,practised1 by ,m4 ,digby ,wyatt1 ,b4,a4 c41 ,illustrated by ,w4 ,r4 ,tymms4 ,price #as4 #f;d4 ,sidenote3 ,legibility essential4 ,but although rules of style1 date1 and country1 are important1 they should never1 in my opinion1 be carried out so rigidly as to make our work either fantastic or illegible--two very serious blemishes4 ,indeed1 if we sacrifice to strict chronological order all possibility of reading the letters without an interpreter1 our labour1 as far as others are concerned1 is worse than useless1 tending to bring the whole art into disrepute4 ,sidenote3 ,important ,distinction4 ,capitals with simple curves should not be mixed with those in which the curves become pointed1 the styles being distinct4 ,sidenote3 ,best ,styles4 ,the styles which prevailed from the #aath to the #adth century are considered the best1 the later ones in particular4 ,after that date the art of illuminating gradually decayed4 ,sidenote3 ,first ,sketch on ,tissue-paper4 ,in proceeding to draw the outline of a text1 it is a most useful practice to sketch it out roughly on tissue-paper1 in order to ascertain what space it will occupy4 ,this plan will prevent much disappointment 7and rubbing out1 which should be carefully avoided71 as1 even after long practice1 we are often mistaken in the supposed length of a printed sentence3 nothing can look worse than one-half of the letters spread widely over the scroll1 and the rest crowded together1 to make up for the room wasted at the beginning4 ,sidenote3 ,rules for ,drawing the ,outline4 ,having decided on the size of the initial#c and capital letters1 allow a sufficient space above and below them1 and cut out the strip of cardboard by a ruled line1 measured accurately at each end1 so that the width throughout shall be equal4#d ,the spaces left above and below the capitals may be equal 7if for one line only71 but rather less below than otherwise2 #a to #b inches#e is a fair proportion4 ,in ruling for two lines of letters1 be careful to leave sufficient room between them1 or the y's and g's of the upper line may interfere with the d's and h's of the lower1 as also with the capitals4 #c ,the initial letter is often much larger than the other capitals4 #d ,various forms of scroll will be alluded to in speaking of ,borders1 omitted here for the sake of clearness4 #e ,these and similar measurements are given1 as being in proportion to the small alphabet and capitals subjoined4 ,now1 with the ,,hb1 rule two lines for the small letters1 as lightly as possible1 consistently with clearness1 as these are afterwards to be rubbed out4 ,there is no occasion to draw an upper line for the capitals1 as they should be traced in3 unless the hand be a very practised one1 this method is necessary1 to avoid much disfigurement of the cardboard from corrections4 ,sidenote3 ,to trace ,capitals4 ,to trace the capitals3 cut out a piece of tracing-paper1 an inch or two larger every way than the letter to be copied2 rule a line on which to rest the letter1 as it will be wanted afterwards2 place this over the pattern 7with the ruled line close beneath it71 and trace every line steadily with the ,,hb4 ,this done1 remove the tracing-paper1 turn it over 7right side downwards71 and blacken all the lines with the ,,bb pencil4 ,now place the letter1 right side upwards1 on the space you intend it to occupy on the cardboard1 letting the ruled line correspond exactly with the lower line ruled on the scroll3 this will ensure the capital being quite upright in its proper position4 ,hold the tracing-paper down firmly with the left hand1 never shifting it until the whole letter be completed1 and with the ,f pencil trace 7i4e4 go over7 every line of the copy1 pressing firmly1 but not so hard as to cut through the thin paper4 ,it may then be withdrawn1 and1 if correctly done1 the letter will be found legibly traced on the cardboard4 ,it is right to finish the outline firmly 7but not too dark7 with the ,,hb1 as clearness is of great importance when you are colouring4 ,some initial letters1 such as ,o1 ,t1 c4 admit of the insertion of a small photograph of a sacred subject1 several of which can now be procured1 even at one penny each4 ,among others may be selected the ,ecce ,homo1 ,the ,saviour bearing the ,cross1 ,blessing little ,children1 c4 ,sidenote3 ,small ,letters4 ,so little practice is required to draw the small letters correctly1 that it is scarcely worth while to attempt tracing them2 indeed the difficulty of keeping a large piece of tissue-paper steady interferes greatly with the chances of success4 ,in drawing these letters 7with the ,,hb71 be careful to make all the stems of equal thickness1 and let them be in due proportion1 of height and width1 to the accompanying capitals4 ,sidenote3 ,distances between ,letters and ,words4 ,the letters should be placed as near to each other as is consistent with clearness1 and about half an inch may be left between each word3 let these distances be kept uniform throughout the work4 ,study to draw the letters perfectly straight and upright1 to ensure which is the use of the ivory ruler1 thus3-- ,sidenote3 ,test of ,correct ,outline4 ,having sketched in all the small letters as well as possible1 turn the strip of cardboard with its end towards you1 and ,i fear you will be shocked to see how many of the letters are out of the perpendicular4 ,if1 however1 they have not been too heavily drawn1 they may now be readily corrected by the little ruler1 keeping the scroll still in the same position4 ,the advantage of this method is1 that a line which1 to an unpractised eye1 will appear quite perpendicular1 when turned into a horizontal position instantly betrays its deviations4 ,it may be objected that the use of a ruler encourages idle and careless habits1 but this is only the case when it is employed to draw by1 and not1 as it should be1 only for correction4 ,sidenote3 ,stops and ,ornaments4 ,the ornamental stop--or perhaps a ,greek cross--and any other intended additions1 should be traced now4 ,when the hand and eye are a little practised1 sprays of trefoil and similar decorations will look more natural and easy1 if drawn freshly upon the scroll4 ,triplets of leaves and berries have a graceful and suitable effect1 and these1 in illuminations1 may be drawn conventionally1 rather than naturally4 ,a clever writer#f says1 ,rigidly avoid contrasting natural with conventional foliage4 ,adopt which you like1 for by either beautiful effects may be produced2 but mix them1 and the charm of both is gone4 ,natural foliage may be successfully combined with any other varieties of conventional ornament1 excepting those based upon natural foliage4 #f ,m4 ,digby ,wyatt1 ,b4,a4 ,the ,vine ,passion-flower1 ,ivy1 or any trefoils1 have a beautiful effect1 if gracefully twined about1 or drooping from the initial letter4 ,sidenote3 ,photographs in ,initial ,letters1 c4 ,the introduction of small photographs 7of sacred subjects7 either into the initial letter1 or placed before it1 with a simple border in gold1 edged with blue1 has often a beautiful significance and effect4 ,care should1 however1 be taken in the selection1 that the picture and the sacred words subjoined have a real connexion with each other4 ,for example1 the ,magdalene at the foot of the cross is not suitable in illustration of the text1 ,lord1 remember me when ,thou comest into ,thy kingdom4 ,a square picture may have the lines of the border prolonged so as to cross at the corners and finish about half an inch from the principal line4 ,an arch may be surmounted with a cross4 ,sidenote3 ,borders4 ,borders4 ,sidenote3 ,plain4 ,to those who prefer concentrating all possible beauty of decoration on the sacred words of a text the most approved border will be that resembling a riband of blue1 which is most simple in execution4 ,rule a line rather less than a quarter of an inch from the edge of the cardboard1 and fill it in carefully and steadily with colour4 ,the ruled line is indispensable to the preservation of a neat and uniform edge4 ,if blue already predominate in the scroll1 red can be substituted in the border2 gold1 without a coloured outline on each side1 always looks indistinct4 ,lines of colour may be drawn within the edge1 using a reed pen 7or large soft quill71 and the long ruler4 ,sidenote3 ,ornamental4 ,a triple trefoil in each corner1 coloured1 with gold edge1 has a good effect1 if the letters are very plain3 these should1 however1 be in addition to a plain coloured edge or border4--,ornamental borders should consist of suitable sprays wound round a thick bar1 which gives an appearance of solidity1 the grace of curved lines being much enhanced by contrast with the perpendicular or horizontal4 ,sidenote3 ,reverse ,side of ,scrolls4 ,if the scroll is meant to represent a riband curled at the ends1 or folded1 the reverse side may be ornamented with gold stars1 or foliage4 ,plainly shaded blue1 with perhaps a narrow gold edge1 will1 however1 be found most suitable2 if prominent colours are gaudily used for the reverse side of the riband1 it will appear to come forward1 leaving the text in the background4 ,specimens of differently shaped scrolls are affixed to each of our chapters4 ,sidenote3 ,firmness essential4 ,in conclusion1 it cannot be too strictly enforced1 that every line1 straight or curved1 should be firmly drawn1 and the edges1 in painting1 be kept perfectly neat and clear4 ,whether from unsteadiness in outline1 or from a shaking hand when painting 7especially in gold71 nine-tenths of the amateur illuminations produced have a quivering ruggedness about them which could well be dispensed with4 ,in ornamental finish1 also1 this unsteadiness is almost universal1 so that the points of small leaves1 or fleurs-de-lys1 instead of being sharply defined1 most frequently degenerate into unsightly loops1 similar to the following example4 ,illustration3 ,as it should be4 ,illustration3 ,as it generally is4 ,,colours4 ,painting4 ,sidenote3 ,materials for ,colouring4 ,the materials required are as follows3-- ,sidenote3 ,blue4 #a4 ,,blue 7intense74 ,german 7or ,french7 blue1 in powder1 at #f;d4 per ounce4 ,it is at first rather troublesome to use1 requiring to be mixed with plenty of gum-water1 to prevent rubbing4 ,smalt1 #es42 or ,french blue1 #cs4#g ,these are prepared as moist colours in covered pans4 #g ,half-cakes of all the colours are sold equally good4 ,the ,german blue1 however1 is the most economical1 and very useful4 ,sidenote3 ,red4 #b4 ,,red4 ,what is called ,carmine powder1 at #as4 per oz41 will be found very useful1 but the genuine colour is much more expensive4 ,vermilion1 ditto1 #f;d4 per oz4 ,both of these are necessary4 ,sidenote3 ,purple4 #c4 ,,purple 7violet74 ,for the colour ready prepared1 violet carmine1 moist cake1 #bs4 ,to compose the colour1 crimson lake1 a little to be mixed with cobalt blue4 ,this is very rarely used4 ,sidenote3 ,white4 #d4 ,,white4 ,chinese white1 in a tin tube1 #as4 ,this is little used except on tinted cardboard4 ,sidenote3 ,green4 #e4 ,,green 7emerald74 ,moist colour1 #as4 ,sidenote3 ,black4 #f4 ,,black 7lamp74 ,ditto4 ,sidenote3 ,grey4 #g4 ,,grey4 ,for bright grey1 smalt mixed with ,chinese white2 for a duller tint add a very little brown madder4 ,this is a colour seldom used in illuminating large scrolls1 and only suitable for grounding4 ,sidenote3 ,neutral ,tint4 ,a cake of neutral tint 7to mix with cobalt7 for shading white flowers1 or a white dove4 ,sidenote3 ,gold4 ,sidenote3 ,bessemer's ,gold ,paint4 ,,gold4 ,for beginners1 ,bessemer's ,gold ,paint4#h ,this includes two bottles1 one of gold powder1 the other of oil2 price #as4 #f;d4 ,the powder always outlasts the oil1 but the latter can be bought separately1 #f;d4 per bottle4 ,very little of the powder and oil must be mixed at a time1 as it dries up very quickly1 requiring the occasional addition of a drop of the oil4 ,if too much oil is added1 the gold will look thin and poor1 leaving greasy edges on the cardboard4 ,it is a good plan to employ two little saucers1 placing the powder in one and oil in the other4 #h ,this gold will discolour in time1 but with care in keeping the brush and saucer quite clean1 it will retain its brightness at least a year4 ,sidenote3 ,spirits of ,turpentine4 ,a small quantity of spirits of turpentine is required1 with which the brush and saucer must be washed perfectly clean1 immediately after use2 wipe them dry with a piece of rag or soft paper4 ,if this rule be neglected1 the gold hardens1 and brush and saucer become useless4 ,sidenote3 ,shell ,gold4 ,shell gold 7with which water only is employed7 is not suitable for large works4 ,sidenote3 ,liquid ,gold4 ,chinese metallic ink1 or liquid gold #as4 per bottle1 is an excellent preparation4 ,when thoroughly mixed by shaking1 pour a little into a small saucer1 stirring it up each time the brush is filled4 ,at first1 great care is requisite to prevent blots4 ,it works most easily when nearly dry1 by the addition of a little water in the brush4 ,sidenote3 ,water-gold ,size4 ,sidenote3 ,gold-leaf4 ,leaf-gold is considered the most durable1 is beautifully bright1 and repays the trouble of its application4 ,a book containing #be leaves costs #as4 #f;d41 or #ajj leaves for #ds4 ,water-gold size seems to be the simplest preparation1 #as4 #f;d4 per box4 ,this size is used like a moist colour1 with water4 ,paint the surface to be gilded1 smoothly and rather thickly1 carefully preserving the edges clear and sharp4 ,let it stand until1 on touching the size lightly with the finger1 it is found to be sticky1 but not moist1 so as to smear4 ,while the size is drying1 take a piece of common writing-paper 7not too highly glazed71 rub it over slightly and briskly with a piece of white wax 7in two or three strokes71 lay it on a leaf of gold which will adhere to the paper4#i ,with a large1 sharp pair of scissors1 cut both paper and gold-leaf into a piece rather larger than the surface to be gilded1 and the size being just sticky1 lay the gold down upon it1 keeping the paper still in its place2 press it very gently and smoothly all over with a ball of cotton-wool1 as if you were pasting it down3 breathe on the paper1 then remove it1 and let the gold remain undisturbed about half an hour1 or longer4 ,then1 with a large1 dry brush1 in light1 sharp touches1 brush away the superfluous gold1 and the work is completed4 #i ,another method is to pass the piece of writing-paper sharply and briskly over your hair1 two or three times1 which1 charging it slightly with electricity1 will make the paper adhesive1 so that the gold-leaf will be taken up by it4 ,there are other methods of applying gold-leaf1 but this is given as the simplest4 ,a gilder's tip 7a flat brush7 is generally used1 but requires skill in handling1 which remark applies also to the gilder's palette and knife4 ,any corners to which the gold has not adhered may be retouched with the size1 and gilded as before4 ,be careful not to touch the gold with the fingers1 or it will be quite spoilt4 ,if the leaf curls up upon the paper1 it can be blown down with a gentle breath4 ,sidenote3 ,raised ,gold4 ,there is an ,illuminating ,raising ,preparation at #as4 #f;d4 per bottle1 which may be found useful1 and may be painted over with ,bessemer's1 or water-gold2 it would1 however1 add to the difficulty of applying gold-leaf1 unless the hand were previously well practised4 ,sidenote3 ,silver4 ,,silver is sold in shells2 a water-colour1 but it quickly tarnishes4 ,sidenote3 ,aluminium4 ,aluminium is sold in shells 7a water-colour71 and is a good substitute for silver2 although not equal in beauty1 it is said not to tarnish4 ,being a recent discovery1 it has not yet had the test of long experience4 ,aluminium is used in touches upon white flowers1 or the emblem of the dove1 previously softly shaded with neutral tint4 ,these shell metals cost about #f;d4 and upwards4 ,sidenote3 ,saucers4 ,saucers1 #b inches in diameter1 should be procured for the red and blue powder colours4 ,a smaller saucer1 #a inch in diameter1 for ,bessemer's gold1 will prevent much waste1 and another for ,chinese white would be useful4 ,price #a;d4 each1 or less4 ,sidenote3 ,compound ,red4 ,in proceeding to illuminate the scroll1 place a little vermilion-powder1 and quite twice as much carmine1 in a saucer1 with a drop or two of thick gum-water2 mix it well with a brush1 adding water as required4#aj ,stir the paint up now and then during use1 as the vermilion has a tendency to sink4 #aj ,one or two drops of ammonia improves the carmine4 ,sidenote3 ,german ,blue4 ,german blue1 as already mentioned1 must be mixed with a good proportion of gum-water1 stirred well into the powder3 it is best to mix a little at a time1 say half a teaspoonful of the powder1 as it hardens1 and becomes more troublesome to use4 ,this blue1 prepared as a moist colour1 would be most valuable for illuminating1 if it did not lose its opacity4 ,sidenote3 ,succession of ,colours4 ,paint all the black in the scroll first1 the red next1 and1 if ,german blue1 blue last1 as1 with every precaution1 it is apt to rub--in which case1 remove the blemishes with crumbs of bread4 ,if the text should consist of two lines1 finish the upper one first 7all but the gold71 to prevent injury to the lower one by rubbing4 ,fresh water should be provided for each colour1 in order to preserve its brightness4 ,bessemer's gold paint may be applied last of all1 but leaf-gold should be laid on before any colour4 ,the following remarks on the subject of ancient illuminations are valuable1 having been made by ,mr4 ,ruskin at a meeting of the ,society of ,antiquaries1 held on the #fth of ,june1 #ahfa4 ,he observed that the best designs were contrived so as to give the greatest effect to arrangements of pure and beautiful colour4 ,he explained the excellence of the best specimens as arising from simplicity of design and colour--the latter being left wholly unclouded by shade4 ,he did not deny the high excellence of the naturalistic treatments in the illuminations of the #aeth and #afth centuries and later--but he viewed illumination in this condition as fallen into decay1 and by the introduction of shading was effected the final destruction of what had constituted its essential principles and glory in the #acth century4 ,sidenote3 ,frames4 ,scrolls can be very suitably mounted in frames of plain oak--,oxford frames--which cost #cs4 #f;d4 each1 glass included1 the size being about #bb by #f or #g inches4 ,sidenote3 ,directions for ,packing4 ,for transmission by railway1 c4 cardboard scrolls must be protected either by a thin piece of wood of the same size1 or by two pieces of stout millboard1 well wrapped round with paper4 ,even a dozen large scrolls packed together have been ruined for want of these precautions4 ,illuminating in ,oil-,colours on ,zinc for ,churches4 ,sidenote3 ,isa4 lx4 #ac4 ,illustration3 ,to beautify the place of ,my ,sanctuary4 ,sidenote3 ,materials4 ,the following materials are required3-- ,sidenote3 ,zinc4 ,zinc1 in strips1 average price #aj;d4 per square foot4 ,sidenote3 ,oil paints1 c4 ,oil-paints1 in tubes4 ,vermilion1 #f;d4 ,crimson lake1 #d;d4 these may be mixed4 ,french ultramarine1 #as4 ,blue black1 #d;d4 ,emerald green1 #d;d4 ,ivory white1 #d;d4 ,this cream-coloured white has the richest and best effect4 #a ,bottle of pale drying oil1 #f;d4 #a ,bottle of spirits of turpentine1 #f;d4 ,sidenote3 ,brushes4 ,brushes--,red sable1 various sizes1 from #d;d4 to #as4 #b;d4 each4 ,sidenote3 ,palette1 c4 ,a wooden palette1 #as4 #f;d4 ,a palette-knife1 #as4 #f;d4 ,tailor's chalk1 or pipe-clay1 #b;d4 ,a carpenter's #b-;foot rule1 #as4 or #as4 #f;d4 ,sidenote3 ,zinc4 ,in churches where the walls are damp1 or otherwise unsuited for receiving colour1 it is found that zinc is an excellent material for illuminating texts from ,holy ,scripture1 to be fixed to the wall when completed4 ,this method is much less expensive than painting in fresco4 ,sidenote3 ,foundation ,coat of ,paint4 ,zinc can be procured of any ordinary plumber1 at an average price of #aj;d4 per square foot2 it requires no particular preparation for illuminating1 excepting a foundation-colour 7or ground71 which can be laid on by any house-painter far better than by the amateur4 ,this should be done at the workshop1 as the smell of so large a body of paint would be very injurious to those unaccustomed to it4 ,sidenote3 ,tints to match or contrast4 ,the foundation-colour should either match the tint of the wall to which the scroll will be affixed1 or present a decided contrast4 ,care must be taken in matching the colour of a plastered wall1 that the paint should be lighter in tint1 as it has a tendency to darken1 while the plaster is likely to become rather lighter1 especially in new buildings4 ,foundation-colours1 c4 suitable to particular seasons of the ,church will be enumerated at the end of this article4 ,sidenote3 ,size of ,letters4 ,the size1 shape1 and length of a scroll must1 of course1 vary with the position it is intended to occupy4 ,in a text composed entirely of capitals1 the size of the letters should be about half the depth of the zinc3 the latter being #f inches1 including the border1 the capitals would be #c inches high4 ,small letters would bear1 of course1 their usual proportion1 as in other illuminations4 ,sidenote3 ,distinctness4 ,it is quite a mistaken idea that the larger the printing1 the plainer will be the text2 clearness is rather attained by keeping the letters close to each other1 and leaving a sufficient space between each word4 ,it will be found1 as a general rule1 that1 with the exception of the letter ,i1 all capitals are contained in a square--if #c inches high1 #c wide4 ,it is very useful to bear this in mind in calculating the number of words to be printed in a given space1 especially when it is difficult to judge of the effect till complete4 ,texts for large churches1 to be placed round arches1 or at any great height1 are generally printed in capitals4 ,sidenote3 ,outlines to be traced4 ,outlines should not be drawn upon the zinc in the first instance1 but upon a strip of paper 7which may be several sheets pasted together at the edges71 wider than the scroll1 so that it may be folded firmly over it1 and the letters traced1 as already explained 7page #g74 ,any thin common paper answers for this purpose3 tissue would be too thin4 ,tracing is recommended1 because the process of erasing pencil-marks1 although easily effected with spirits of turpentine1 is apt to leave a smear1 and spoils the smooth clearness of the foundation-colour4 ,sidenote3 ,chalk-tracing4 ,on a dark-coloured ground the following method is pursued4 ,draw the text1 as usual1 on common cartridge-paper 7#c or #d inches wider than the zinc1 so that the edges may be turned down firmly over it73 with pointed scissors cut the letters out and put them aside1 as they are not required3 lay the remaining paper-groundwork on the zinc1 and with red or white tailor's pipe-clay trace carefully round the outlines of the spaces which form the letters4 ,when all are traced1 remove the paper1 and with a handkerchief brush away1 very lightly1 the superfluous chalk4 ,sidenote3 ,dry ,foundation-,colours4 ,special care must be taken not to begin the lettering until the foundation-colour be perfectly hardened1 otherwise the pressure of the pencil will make indented lines which cannot be removed1 should correction be necessary4 ,in cold1 damp weather1 the paint dries and hardens very slowly1 so that the foundations should be prepared at least a week before they are required for illuminating4 ,sidenote3 ,to paint the ,letters4 ,in proceeding to paint the letters1 squeeze out a small quantity of the colour on to the wooden palette1 and with the flexible palette-knife mix it with a little of the pale drying oil1 and a very little spirits of turpentine4 ,the latter can be dispensed with1 if the smell of it be found injurious2 otherwise it contributes to brighten the colours1 and makes them dry more quickly4 ,in painting keep the brush full1 laying on the colour in long steady sweeps1 not in short1 hasty touches1 which would leave irregularities of surface4 ,sidenote3 ,corrections4 ,spirits of turpentine1 used alone1 will serve to remove the colour1 if correction be necessary2 but care must be taken not to apply enough to remove the foundation-colour at the same time4 ,if a wrong colour be accidentally applied1 another can be painted over it1 but1 of course1 this should be avoided if possible4 ,sidenote3 ,gold-leaf4 ,gold-leaf is applied in the manner already explained 7page #i71 but with oil gold-size4 ,plain vermilion1 used in the same way as size1 is said to answer the purpose equally well4 ,bessemer's gold paint only answers for a time1 as it soon becomes discoloured on metal4 ,sidenote3 ,number of ,coats of ,paint4 ,letters painted in white will require three coats of colour2 in blue and green1 at least two2 in black1 two coats4#aa ,vermilion is generally brighter if laid on in sufficient quantity at once1 without retouching4 #aa ,each coat must be allowed to dry before another is laid on4 ,the time will vary according to damp or dry weather4 ,the writer has occasionally had the colours mixed for use by a village-painter1 but this would only be done on an emergency4 ,sidenote3 ,best ,colours for ,effect4 ,for effect1 it is best not to employ many colours2 red and black1 with a little blue or green1 invariably look best at a distance4 ,illustration3 ,quatrefoil ,border4 ,sidenote3 ,borders4 ,elaborate borders on zinc scrolls are quite unsuitable2 an edge of quatrefoil 7three-quarters of an inch in depth71 or something equally simple1 having by far the best effect2 this also must not be placed too near the letters1 or it will interfere with the distinctness of the text4 ,the border should be drawn at the edge of the zinc1 unless the ground-colour contrast with the wall1 in which case a narrow margin may be left4 ,sidenote3 ,to clean ,palette and ,brushes4 ,the palette and brushes must be washed quite clean after daily use1 with spirits of turpentine4 ,if the paint is allowed to harden 7as it will in a few hours71 it cannot be removed4 ,sidenote3 ,health4 ,for the preservation of health1 this description of illuminating should1 in summer1 be carried on with widely-opened windows1 and in winter beside a large fire1 which purifies the air of the room1 and prevents the smell of the turpentine1 c4 from being injurious to delicate persons4 ,colours for ,special ,seasons4 ,sidenote3 ,advent4 ,for the season of ,advent1 violet ground1 with red and white letters4 ,sidenote3 ,lent4 ,for ,lent1 a warm or pinkish-grey ground1 letters all white1 with black edges4 ,sidenote3 ,festivals4 ,long scrolls for festivals have the best effect with white ground4 ,short scrolls look very handsome with gold letters upon red or blue ground4 ,sidenote3 ,ground ,tints4 ,the tint of the ground-colours must1 in a great measure1 depend upon the light in which they will be seen4 ,in some cases crimson is preferable to scarlet1 and the blue or violet1 if placed in a dark part of the church1 would require to be much paler than usual4 ,symbolism of ,colours4 ,sidenote3 ,isa4 liv4 ,,ii4 ,illustration3 ,behold1 ,i will lay thy stones with fair colours4 ,i have ventured to prefix these sacred words to this part of my subject1 in order to point out how manifestly the emblematic significance of colour has its foundation and authority in the ,holy ,scriptures4 ,the fact is first brought to our notice in the inspired account of the making of the ,tabernacle1 under the ,divine commands1 and subsequently in the building of the ,temple4 ,the colours1 numbers1 and many other particulars of the ,mosaic dispensation1 were symbolical types--a shadow of good things to come1 long since fulfilled ,sidenote3 ,heb4 x4 #a42 but the symbolical application of colours and other types of heavenly things is not therefore ended1 inasmuch as they are largely so employed throughout the ,new ,testament4 ,these combined facts furnish an argument to my own mind most convincing1 that we may1 with all reverence1 continue to regard colours symbolically1 as types of heavenly attributes and virtues4 ,mrs4 ,jameson#ab says1 ,in very early art we find colours used in a symbolical or mystic sense1 and until the ancient principles and traditions were wholly worn out of memory1 or set aside by the later painters1 certain colours were appropriate to certain subjects and personages1 and could not arbitrarily be applied or misapplied4 ,in the old specimens of stained glass1 we find these significations scrupulously attended to4 #ab ,in ,the ,poetry of ,sacred and ,legendary ,art4 ,the precise tints of the colours mentioned in the ,holy ,scriptures must ever be a subject of doubt1 but enough can be gathered from ancient writings to bring them within certain degrees of probability4 ,in an interesting article in ,dr4 ,kitto's ,cyclopdia of ,biblical ,literature1 we read3--,josephus evidently takes the ,hebrew word1 translated blue1 to mean 'sky-colour1' for1 in explaining the colours of the vail of the ,temple1 and referring to the blue 7,exod4 xxvi4 #ca71 he says that it represented the air or sky4 ,we must not1 however1 be led away by our own modern term sky-blue1 which represents a pale colour1 but recollect that 7to quote again from ,dr4 ,kitto7 in proportion as the sky is clear and serene1 it assumes a dark appearance1 which is still more observable in an eastern climate4 ,the blue of ecclesiastical colouring is always dark and intense4 ,purple is the term of most doubtful signification1 being frequently applied to crimson1 scarlet1 and blue4 ,the famous ,tyrian purple was manufactured from the juice of shell-fish1--principally the ,murex trunculus of ,linnus and ,lamarck1--and was compared by ,pliny to the rich1 fresh1 and bright colour of deep-red purple roses4 ,the same writer observes1 that violet1 purple1 and scarlet1 were nowhere dyed so well as at ,tyre1 whose shores abounded with the best kinds of purples4 ,it seems1 to my judgment1 reasonable to suppose that the purple employed in the curtains of the ,tabernacle1 c4 was violet1 as that colour would best unite with scarlet and blue1 which are separately enumerated4 ,it is interesting also to read that ,pliny describes red as distinguished from purple1 and calls it a gay1 lively bright1 approaching the colour of fire4 ,but this is a long digression2 to resume3--,in the ,divine commands relative to the making of the ,tabernacle in the wilderness1 this verse occurs 7,exod4 xxviii4 #e71 ,and they shall take gold1 and blue1 and scarlet1 and purple1 and fine linen--that is1 white4 ,the symbolical meaning which may be gathered from these words is very striking and beautiful4 ,there are three colours mentioned 7white is not a colour72 of these1 two are primary--that is1 original1 not formed by any combination--red and blue4 ,purple 7or violet7 is made by a combination1 proceeding from these two2 and so in these foundation-colours of the ,tabernacle1 ,i would reverently see a symbolical representation of the ,three ,most ,holy ,persons of the ,godhead4 ,to complete the symbol1 we have also white1 signifying perfect righteousness1 the emblem and colour of light2 and gold1 typifying glory4 ,thus1 in the first and highest sense1 are colours symbolical4 ,sidenote3 ,emphasis by ,colour4 ,to apply the subject to the art of illumination4 ,it has been already remarked that the emphasis of a text is expressed in two ways--by prefixing capital letters to the principal words1 and also by distinction of colour4 ,on the due attention to a few simple rules respecting the value of certain colours1 and their just application1 much of the beauty of an illuminated work depends4 ,sidenote3 ,gold4 ,,gold is of the highest value4 ,it should be employed only for the letters forming the names of ,the ,holy ,trinity1 or ,their attributes4 ,for the sake of distinctness1 however1 the gold must be either edged with blue or red1 or the whole word may be placed on a tablet of colour4 ,sprays of fleurs-de-lys1 c4 in red1 twining between1 but not over the letters1 will also assist in making them distinct and marked4 ,in words referring to ,heaven or ,angels1 gold stars or dots sprinkled over the letters are appropriate4 ,capitals should be edged entirely1 or grounded1 with gold4 ,the small letters are sometimes edged only on one side1 which gives them a raised appearance3 it should be the side nearest the right hand4 ,trefoils1 and similar leaves1 are generally painted in gold4 ,sidenote3 ,blue4 ,,blue 7intense1 sapphire7 is of first value in colours1 when used alone1 but red is of equal value if used in apposition4#ac ,it is pre-eminently a colour of remembrance4 ,the children of ,israel were commanded to wear on their garments fringes1 and on the fringes a riband of blue1 that when they looked upon it they might remember all the commandments of the ,,lord1 and do them1#ad and be holy unto their ,god4 ,this colour being worn by express command1 signified that the wearer was ,god's own1--typifying1 therefore1 adoption1 sonship2 further1 being the colour of the sky1 it reminded ,israel of his home in ,heaven3 so likewise in the curtains of the ,tabernacle1 the blue signified that hope of ,heaven which belongs to the true tabernacles of the living ,god1 that is1 to holy hearts wherein ,god dwelleth4#ae #ac ,for example1 ,as thy days1 so shall thy strength be1 the word days might be red1 while strength might be in blue2 the colours would then be equal in value2 but in such a text as ,my times are in ,thy ,hand1 times being in red and ,hand in blue1 the latter colour would be of the higher value4 #ad ,see ,numbers1 xv4 #ch-da4 #ae ,sermon on ,church ,colouring1 by the ,rev4 ,r4 ,j4 ,spranger1 ,m4 ,a4 ,published by ,masters and ,co41 price #f;d4 ,,blue may be employed to represent ,heaven and holy ,angels2 heavenly hope2 heavenly rest2 holiness2 consecration2 truth2 remembrance2 adoption2 peace2 fidelity2 constancy4 ,sidenote3 ,red4 ,,red 7scarlet1 crimson1 or ruby1 the colour of fire7 was anciently employed to typify the ,holy ,spirit1 or the ,creative ,power4 ,it is thus the symbol of ,,divine ,,love3 including help1 protection1 zeal1 and similar holy attributes4 ,as the colour of blood1 it typifies ,,redemption and forgiveness4 ,mrs4 ,jameson informs us1 that anciently our ,,saviour and the ,blessed ,virgin were represented in the red tunic and blue mantle1 as signifying heavenly love and heavenly truth4 ,the same colours were given to ,st4 ,john the ,evangelist1 with this difference1 that he wore the blue tunic and the red mantle4 ,sidenote3 ,purple or ,violet4 ,,purple was anciently employed in religious worship both by ,jews and ,gentiles4 ,so early as in the ,book of ,judges 7viii4 #bf71 we read of it as forming the attire of kings2 and many texts of ,holy ,scripture might be adduced shewing it to be almost exclusively devoted to royalty4 ,we read1 in the ,cyclopdia already quoted1 that ,pliny records a similar use of it among the ,romans2 and ,homer speaks of purple as if it were almost peculiar to kings4 ,suetonius relates that ,julius ,csar prohibited its use by ,roman subjects1 except on certain days1 and that ,nero forbade it altogether1 on pain of death4 ,purple 7violet1 or amethyst7 signifies1 therefore1 first1 royalty4 ,it was also the ancient symbol of love and truth1 or passion and suffering2 hence it was the colour often worn by the martyrs3 in the ,spanish schools1 the colour of our ,,saviour',s mantle is generally a rich deep violet4 ,in some instances1 our ,,saviour1 after ,his resurrection1 is habited in a violet instead of a blue mantle4 ,this would1 doubtless1 refer to its royal1 victorious signification4 ,the ,blessed ,virgin is represented in violet1 after the crucifixion--of course in token of deepest mourning4 ,mary ,magdalene1 who1 as patron saint1 wears the red robe1 as penitent wears violet and blue1 the colours of sorrow and constancy4 ,we may now easily understand why purple has been accepted as the ,church's mourning colour4 ,although so beautiful when represented in the clearness of stained glass1 purple is but little used in large illuminations1 excepting sometimes as a ground-colour2 chiefly1 perhaps1 because so difficult to produce in a sufficiently bright1 pure tint1 as compared to the red and blue4 ,sidenote3 ,white4 ,,white is essentially the emblem of light and saintly purity4 ,of the first1 because the finest light is white2 of the second1 ,i need hardly quote the reason1--,sidenote3 ,rev4 xix4 #h4 ,and to her was granted that she should be arrayed in fine linen1 clean and white3 for the fine linen is the righteousness of the saints4 ,sidenote3 ,isa4 i4 #ah4 ,sidenote3 ,ps4 li4 #g4 ,typical1 also1 of forgiveness3 ,though your sins be as scarlet1 they shall be as white as snow4 ,wash me1 and ,i shall be whiter than snow4 ,the symbol also of wisdom1 innocence1 faith1 joy1 integrity1 humility3 of glory1 perfection1 and regeneration2 for white contains all colours4 ,solomon says1 ,sidenote3 ,eccles4 ix4 #h4 ,let your garments be always white4 ,thus ,i have enumerated the colours more especially devoted to the ,church4 ,sidenote3 ,emerald ,green4 ,,emerald ,,green has been latterly introduced2 and though1 from its inferior richness when contrasted with other colours1 it should be sparingly employed in illuminations1 it may occasionally assist in producing a very pleasing effect1 especially in floriations and ornamental stops4 ,beautiful emblematic meanings are attached to this colour1--namely1 hope in immortality1 eternity1 victory4 ,this last1 because green is the colour of laurel and palm4 ,sidenote3 ,grey4 ,,grey1 the colour of ashes1 anciently signified mourning1 humility1 and innocence accused4 ,this colour is sometimes employed in ground-work1 not for letters4 ,sidenote3 ,black4 ,,black is1 of course1 employed only as being useful and distinct1 without symbolism4 ,it is adapted to all words of minor importance1 and to intermediate stops2 also1 of course1 for the stalks and veins of leaves1 and stems of branches1 c4 ,it may not be considered irrelevant to the subject1 if ,i subjoin an explanation of the colours employed in the services of the ,church1 taken from ,purchas's ,directorium ,anglicanum3-- ,,white4--,from the evening of ,christmas ,eve to the ,octave of ,epiphany1 inclusive1 except ,feasts of ,st4 ,stephen and the ,holy ,innocents4 ,from the evening of ,easter ,eve to the ,vigil of ,pentecost2 on ,trinity ,sunday1 ,purification1 ,conversion of ,st4 ,paul1 the ,annunciation1 ,st4 ,john ,baptist1 ,st4 ,michael1 ,st4 ,luke1 and ,all ,saints4 ,,red4--,vigil of ,pentecost to the next ,saturday2 ,holy ,innocents 7if on a ,sunday71 and all other ,feasts4 ,,violet4--,ash ,wednesday to ,easter ,eve2 ,advent to ,christmas ,eve2 ,ember ,weeks in ,september2 ,rogation ,days2 ,holy ,innocents1 unless on ,sunday2 on ,septuagesima1 ,sexagesima1 and ,quinquagesima ,sundays4 ,,black4--,on ,good ,friday1 and funerals1 and on public fasts4 ,,green4--,on all other days4 ,,cloth-,,of-,,gold is said to supply all other colours4 ,it seems possible that this is with reference to ,psalm xlv4 #i1 #ac4 ,,emblems4 ,sidenote3 ,st4 ,john1 xv4 #e4 ,illustration3 ,i am the ,vine1 ye are the branches4 ,it is hardly necessary to observe that the only ornamentation suitable to a text from ,holy ,scripture is that which conveys to the mind some religious thought2 and such thoughts are naturally suggested by forms that figuratively represent some holy attribute or virtue4 ,sidenote3 ,crosses4 ,the first and most obvious of ,christian emblems is the ,cross1 that blessed form which must and should always remind us of the inestimable price of our redemption4 ,as such a remembrance it has been received from the earliest ages of ,christianity2#af and most dear may it always prove to those who love their ,,saviour's ,name6 #af ,it was not till the sixth century that the cross became a crucifix1 no longer an emblem1 but an image4--,sacred and ,legendary ,art4 ,the almost infinitely varying forms of this sacred symbol are divided into two classes1 the ,latin and the ,greek2 which distinction originated in the separation of the ,eastern and ,western ,churches4 ,the ,latin forms most nearly resemble the true cross1 i4e4 having the lower limb elongated--this1 of course1 is received as the emblem of the ,atonement3 the ,greek1 having each of the four limbs equal in length1 is considered symbolical of the ,christian religion1 extending its blessed influence through all the four quarters of the world4 ,on this distinction of the two forms1 it has been well observed that the ,latins1 who were more material in sentiment than the ,greeks1 preferred the actual form2 the ,greeks1 more spiritual than the ,latins1 idealised the reality4 ,the ,western ,church has generally retained the ,latin form1 while the ,greek is more peculiar to the ,eastern branch4 ,in all the earlier examples we read that this distinction seems to have been very scrupulously observed4#ag #ag ,see ,penny ,post1 vol4 vii4 #aheg4 ,of ,latin crosses1 the principal are these3-- ,illustration ,the plain form 7called in heraldry the ,passion ,cross7 resembling1 as is generally believed1 that on which our ,blessed ,lord died for us4 ,sometimes1 when intended especially to symbolise sorrow and suffering1 the three upper arms are sharp-pointed4 ,the simple cross1 raised on three steps1 is called the ,cross ,calvary1 the steps being said to typify the three ,christian graces1 ,faith1 ,hope1 and ,charity4 ,illustration ,the ,tau ,cross1 resembling in shape the ,greek letter 7tau72 it is also called the ,egyptian ,cross1 and1 in heraldry1 the ,cross ,potent1 which is the old ,english word for crutch4 ,the ,cross ,crosslet1 of this form1 on our title-page1 is taken from the seal of the ,latin ,convent of ,st4 ,salvador1 at ,jerusalem1 but the riband and motto are adopted for the present occasion4 ,st4 ,philip is sometimes represented with this cross1--on which1 indeed1 he is believed to have suffered martyrdom1--and ,st4 ,anthony so generally1 that it is often called after his name4 ,some old writers on symbolism saw in the ,tau ,cross the ideal precursor of the real cross--anticipatory1 typical--the cross of the ,old ,testament4 ,it is represented also in religious art as that on which the brazen serpent was hung4 ,illustration ,st4 ,andrew's ,cross is an emblem of humility as well as of suffering1 the ,apostle being said to have declared himself unworthy1 even in death1 to approach the image of his ,,master's sufferings1 and therefore to have entreated that the instrument of his martyrdom might be of a different form4 ,the heraldic term for this cross is saltire4 ,illustration ,the ,patriarchal ,cross1 formerly borne by ,patriarchs and ,archbishops2 retained now in the ,church of ,rome1 and worn on the robes of ,cardinals4 ,this cross is very common in ,spain4 ,the ,greek crosses are so infinite in variety1 that ,i can only attempt to portray a very small number of them1 selecting some of the most admired4 ,illustration ,the most familiar to ,english eyes is the ,cross of ,st4 ,george1 first impaled by ,charles ,i42 to this was afterwards added 7on the national flag7 the white ,st4 ,andrew's1 on the union with ,scotland2 and later still 7#ahja7 on the union with ,ireland1 ,st4 ,patrick's red saltire4 ,and thus the crosses of the patron saints peculiar to each kingdom became united in our national flag4 ,illustration ,one of the best known among ,greek crosses is the ,maltese1 borne by the ,knights of ,malta4 ,it is often confounded with the following-- ,illustration ,cross ,patte3 if the outer lines are curved inwardly1 it is called a ,patte concave2 if outwardly 7a pretty form71 ,patte convex4 ,this cross is found prefixed to old writings instead of the words ,in ,christi ,nomine4 ,illustration ,cross ,fleury4 ,illustration ,cross ,boutonne 7like buds71 or ,treffle 7trefoil74 ,illustration ,crosslet ,patte4 ,the term crosslet means a little cross1 and also a cross crosslet1 i4e4 a cross with a short bar transversing each of the arms3 these are even sometimes again crossed4 ,illustration ,cross ,pommelle 7from pomme1 an apple74 ,some examples of both the ,latin and the ,greek cross are elaborately and beautifully ornamented4 ,it is a remark quoted on good authority1 in the ,magazine already referred to1 that during the ,middle ,ages1 in the ,western ,church a plain cross was considered as a cross of shame1 and an ornamental one as a cross of glory4 ,the simple ,latin cross and ,st4 ,andrew's are most suitable for introduction into capital letters4 ,the ,greek is more generally placed at the conclusion of a text1 sometimes also as an intermediate stop1 or rather as a renewed dedication4#ah ,two crosses are1 in general1 quite sufficient for the same text2 one as a part of the dedication1 the other as a conclusion4 #ah ,it is irreverent to regard or to employ this sacred symbol as a stop4 ,the ancient illuminators generally placed it at the commencement1 and not at the close of their subject4 ,sidenote3 ,the ,dove4 ,the ,dove is the well-known symbol of the ,holy ,spirit4 ,when thus employed1 the head should be encircled with a ,divine glory4 ,with the olive-branch1 it is the emblem of peace4 ,the dove has also been employed to represent simplicity and purity of heart1 and in ancient times was thought an emblem of the soul4 ,the ,dove resting on the cross is a modern but beautiful combination of emblems1 probably originating in the following lines3-- 99 99 99 99 99 ,shouldst thou not need some mighty charm ,to win thee to thy ,saviour's side1 ,though ,he hath deigned with thee to bide8 ,the ,spirit must stir the darkling deep1 ,the dove must settle on the cross1 ,else we should all sin on or sleep ,with ,christ in sight1 turning our gain to loss4 ,christian ,year 7#dth ,sunday after ,easter47 ,sidenote3 ,triangle1 ,trefoils1 c4 ,the ,,triangle 7equilateral71 trefoil1 three circles1 or triple triangle1 are the emblems of the ,holy ,trinity4 ,of the trefoil1 which is in fact the shamrock1 it is said that ,st4 ,patrick1 when endeavouring to explain the doctrine of the ,holy ,trinity in ,unity to the heathen in ,ireland1 suddenly cast his eye on the green leaves at his feet1 and plucking one of them1 conveyed an idea of his meaning in this simple form4 ,sidenote3 ,circle4 ,the ,,plain ,,circle1 without beginning and without end1 was the early symbol of eternity2 united with the cross1 it typifies eternal life3 enclosing a triangle1 ,,three ,,in ,,one4 ,sidenote3 ,serpents4 ,the serpent1 with its tail in its mouth1 has been justly considered an emblem of eternal punishment4 ,the serpent1 or dragon1 being always the emblem of all wickedness1 is to me quite unaccountably a favourite subject for illumination4 ,it has1 however1 an obvious meaning1 represented as flying from the sacred words4 ,sidenote3 ,the ,lamb4 ,the ,,lamb is the obvious 7and very ancient7 type of our ,blessed ,,saviour4 ,it is represented with a nimbus1 or glory1 containing four rays1 one of which is concealed by the head4 ,if each ray contains a cross1 it is called a cruciferous nimbus4 ,the rays are the especial mark of a ,divine glory1 the circlets1 or glories1 surrounding heads of saints and martyrs never including them4 ,the ,lamb bearing a banner1 the token of victory1 is an emblem of the resurrection4 ,sidenote3 ,pelican4 ,the ,,pelican wounding her own breast to feed her young ones was an ancient symbol of the ,great ,sacrifice4 ,one or both of these last-named emblems are frequently met with in ancient crosses or crucifixes1 the lamb at the foot1 and the pelican at the top of the cross4 ,the ,,good ,,shepherd1 carrying a sheep1 is also an ancient emblem4 ,sidenote3 ,swords4 ,the ,,sword is an emblem varying in signification according to the sharpness of its point4 ,that with an acute point is the sword of justice2 with the point obtuse1 the sword of religion2 with no point1 the sword of mercy4 ,the flaming sword typifies ,divine vengeance4 ,sidenote3 ,fish4 ,the ,,fish is one of the very earliest symbols of our ,divine ,lord4 ,the five letters of the ,greek word for a fish 77 make the initials 7in ,greek7 of the following sentence--,,jesus ,,christ1 ,,god',s ,,son1 the ,,saviour 7 74 ,in this sense1 ,mrs4 ,jameson informs us1 we find the fish as a general symbol of the ,christian faith upon the sarcophagi of early ,christians2 on the tombs of the martyrs in the catacombs2 on rings1 coins1 lamps1 c42 and as an ornament in early ,christian architecture4 ,it was also thought an appropriate emblem of the ,christian in the waters of baptism1 and in allusion to the promise1 ,ye shall become fishers of men4 ,sidenote3 ,flaming ,heart4 ,the ,,flaming ,,heart expresses fervent piety and love4 ,sidenote3 ,anchor4 ,the ,,anchor is an ancient ,christian emblem of firmness1 hope1 and patience4 ,it is found in the catacombs and ancient ,christian gems4 ,sidenote3 ,lamp4 ,the ,,lamp1 lantern1 or taper1 is the old emblem of piety1 celestial light1 or wisdom4 ,for ,zion's sake will ,i not hold my peace1 and for ,jerusalem's sake ,i will not rest1 until the righteousness thereof go forth as brightness1 and the salvation thereof as a lamp that burneth4 7,isa4 lxii4 #a47 ,let your light so shine before men4 7,st4 ,matt4 v4 #af47 ,sidenote3 ,lilies4 ,the ,,lily is the emblem of the incarnation1 and of purity1 always placed in the hand of the angel ,gabriel1 and often in the hand of the infant ,,saviour and the ,blessed ,virgin2 sometimes in that of ,st4 ,joseph4 ,lilies of the ,valley seem to be peculiarly fitted to represent purity and meekness combined4 ,violets are a modern emblem of modesty4 ,sidenote3 ,fleur-de-lys4 ,the ,,fleur-,,de-,,lys is considered the conventional form of the lily1 and was in the ,middle ,ages adopted as the emblem of the ,blessed ,virgin4 ,some see in the ,mother of our ,lord a type of the ,church on earth--see ,st4 ,matt4 xii4 #di1 #ej--which gives her emblem a much enlarged significance4 ,sidenote3 ,passion-flower4 ,the ,,passion-,,flower presents in itself a crowd of emblems1 suggestive of the most solemn thoughts1 on which we can hardly dwell with sufficient reverence4 ,the ,passiflora crulea 7common blue ,passion-flower7 is thus described3--,it was discovered in the ,brazils1 and its wonders were soon proclaimed to ,christendom as representing the ,passion of our ,lord1 whence its present appellation4 ,its leaves are said exactly to resemble the spear that pierced our ,saviour's side1 while the five points remind us of the five wounds which ,he endured2 the tendrils1 the cords that bound1 or the whips that scourged1 ,him2 the ten petals1 the ,apostles1 ,judas having betrayed1 and ,peter denied1 ,him2 the pillar in the centre was the cross or tree2 the stamens1 the hammers2 the styles1 the nails2 the inner circle about the central pillar1 the crown of thorns2 the radiance1 the glory2 the white tint1 the emblem of purity2 and the blue1 the type of heaven4 ,on one of the species1 the ,passiflora alata1 red spots are seen on the cross or tree4 ,the flower keeps open three days1 and then disappears1 denoting the resurrection4 ,as a whole1 the passion-flower is an emblem of faith4 ,sidenote3 ,pomegranate4 ,the ,,pomegranate1 bursting open1 and the seeds visible1 was considered 7in early art7 as an emblem of the future--of hope in immortality4 ,sidenote3 ,phnix4 ,the ,,ph,,nix is an ancient symbol of immortality4 ,sidenote3 ,palm4 ,the ,,palm is the well-known symbol of victory after suffering1 and of heavenly bliss4 ,mrs4 ,jameson remarks that it was the ancient classical symbol of victory and triumph1 and was early assumed by the ,christians as the universal symbol of martyrdom4 ,sidenote3 ,olive ,branch4 ,the ,,olive ,,branch and the palm were very early emblems of immortality4 ,sidenote3 ,crown4 ,the ,,crown is a ,scriptural emblem of the ,church4 ,thou shalt also be a crown of glory in the hand of the ,lord1 and a royal diadem in the hand of thy ,god4 7,isa4 lxii4 #c4 ,see also ,zech4 ix4 #af47 ,this symbol1 placed above the initial letter of a ,holy ,name1 gives it a beautiful and marked significance4#ai ,it may be appropriately blended with the cross2 also with the palm and the lily4 #ai ,a crown having the points surmounted by stars1 is called in heraldry the crown celestial4 ,the emblems of the four ,evangelists are these3--,st4 ,matthew1 a winged man 7not an angel72 ,st4 ,mark1 a winged lion2 ,st4 ,luke1 a winged ox1 or calf2 ,st4 ,john1 an eagle4 ,these symbols are taken from the vision of ,ezekiel1 and from that of ,st4 ,john in the ,revelation4#bj #bj ,an interesting ,lecture on ,symbolism1 by ,,charles ,,brown1 ,esq4 is published by ,masters and ,co4 ,price #bs4 ,sacred ,monograms4 ,sidenote3 ,acts1 iv4 #ab4 ,illustration3 ,there is none other ,name under ,heaven given among men1 whereby we must be saved4 ,it is surprising how much the real meaning of the letters ,,ihs1 or ,,ihc1 has been lost sight of1 emblazoned as it is on the pulpit-coverings1 altar-cloths1 and windows of our ,churches4 ,the interpretation has been guessed at1 or supposed to signify the initial letters of the following sentences3--,jesus ,hominum ,salvator--,jesus1 ,saviour of men4 ,inspiration 7of the7 ,holy ,spirit2 or1 ,jesus ,humanitatis ,consolator--,jesus1 ,comforter of mankind4 ,none of these interpretations are correct4 ,on the tombs of the early ,christians1 in the ,roman catacombs1 these letters 77 were sometimes found 7though not so frequently as the next monogram74 ,they are1 in the ,greek character1 the first three letters of the sacred name of ,jesus--4 ,the third letter1 sigma1 had in early ,greek two forms1 ,c and 2 hence the apparent variety in what is really one and the same ,monogram4 ,the second ,monogram1 now rarely seen1 but formerly much employed in memorial inscriptions1 is called the ,cross of ,constantine4 ,it consists of the two ,greek characters1 and 4 stands for1 or is equivalent to1 our ,,ch2 1 the ,greek rho1 is translated by our letter ,r3 thus we have the equivalent of the first three letters of the sacred name of ,,christ--in ,greek1 4 ,it is related1 on the authority of ,eusebius1 that the ,emperor ,constantine1 while engaged in prayer1 suddenly saw this sign in the sky1 and that it was also visible to his whole army2 over the sign was an inscription signifying ,conquer by this1 or1 ,in this sign thou shalt conquer 7,in hoc signo vinces74 ,on the same night the ,emperor had a dream--a vision of the ,,saviour appearing to him with the same sign1 commanding him thenceforth to bear it on his banner1 whereby he should always be victorious4 ,in obedience to this revelation1 the ,emperor immediately caused such a banner to be constructed1 and afterwards wore the sacred sign upon his helmet4 ,this banner was called a labarum1 of which we find the following brief account in ,fosbrooke's ,encyclopdia of ,antiquities3-- ,the name1 but not the thing1 commences with ,constantine4 ,it is a standard1 with a cross-piece1 from which hung a piece of stuff4 ,the ,romans borrowed it from the ,germans1 ,dacians1 c42 and upon coins of ,augustus1 and the emperors preceding ,constantine1 it refers to some conquered nation4 ,it had an eagle painted or embroidered1 till ,constantine1 who added the cross1 monogram of ,jesus ,christ1 and and 7,alpha and ,omega3 see ,rev4 i4 #h74 ,sometimes1 above the flag1 was a crown1 in the midst of which was the monogram mentioned4 ,from the cross-piece hung a square stuff1 upon which ,constantine placed the figures of himself and his children in gold4 ,illustration ,the above is an original example of the two ,monograms combined1 well suited for illumination4 ,the following is a beautiful illustration1 in a simple form1 of the doctrine of the ,holy ,trinity in ,unity3-- ,illustration ,read thus3#ba ,pater non est ,filius4 ,filius non est ,sanctus ,spiritus4 ,sanctus ,spiritus non est ,pater4 ,pater est ,deus4 ,filius est ,deus4 ,sanctus ,spiritus est ,deus4 #ba ,the ,father is not the ,son4 ,the ,son is not the ,holy ,spirit4 ,the ,holy ,spirit is not the ,father4 ,the ,father is ,,god4 ,the ,son is ,,god4 ,the ,holy ,spirit is ,,god4 ,emblematic ,illumination4 ,the accompanying emblematic initial letters are suitable in illuminating the following 7and similar7 texts of ,holy ,scripture3-- ,a ,with the cross and lily1 ,he shall give ,his ,angels charge over thee4--,ps4 xci4 #aa4 ,a ,with the cross1 heart1 and anchor1 ,an ,anchor of the soul1 both sure and steadfast4--,heb4 vi4 #ai4 ,b ,with ,st4 ,andrew's cross1 ,be ye also patient4--,jam4 v4 #h4 ,c ,with the cross1 ,take up thy ,cross daily4--,see ,st4 ,luke1 ix4 #bc4 ,d ,with the wheat and vine1 ,do this in remembrance of ,,me4--,st4 ,luke1 xxii4 #ai4 ,e ,with the cross and trefoil1 ,enter ye in at the strait gate4--,st4 ,matt4 vii4 #ac4 ,f ,with the shield of faith1 ,fear not1 ,i will help thee4--,isa4 xli4 #ac4 ,faith worketh by ,love4--,see ,gal4 v4 #f4 ,g ,with trefoils1 ,my help cometh of ,,god4--,ps4 vii4 #aa4 ,h ,with lilies of the valley1 ,be clothed with humility4--#a ,pet4 v4 #e4 ,i ,with monogram1 trefoils1 and crown1 ,i am the ,resurrection and the ,life4--,st4 ,john1 xi4 #be4 ,i am with you alway1 even unto the end of the world4--,st4 ,matt1 xxviii4 #bj4 ,i ,with lily1 cross1 and trefoils1 ,my peace ,i give unto you4--,st4 ,john1 xiv4 #bg4 ,k ,with the cross and trefoils1 ,thine eyes shall see the ,king in ,his beauty3 they shall behold the ,land that is very far off4--,isa4 xxxiii4 #ag4 ,l ,with lilies of the valley 7foundation colour red71 ,lay hold on ,eternal ,life4--#a ,tim4 vi4 #ab4 ,l ,with lilies of the valley 7foundation colour blue71 ,learn of ,,me1 for ,i am ,meek and ,lowly in heart4--,st4 ,matt4 xi4 #bi4 ,m ,with the cross and crown1 ,my ,peace ,i give unto you4--,st4 ,john1 xiv4 #bg4 ,n ,the ,night is far spent1 the ,day is at hand4--,rom4 xiii4 #ab4 ,o ,with the cross1 ,occupy till ,i come4--,st4 ,luke1 xix4 #ac4 ,p ,with dove and lilies1 ,peace ,i leave with you4--,st4 ,john1 xiv4 #bg4 ,r ,with the cross1 ,repent ye3 for the ,kingdom of ,heaven is at hand4--,st4 ,matt4 iii4 #b4 ,s ,with the holy dove1 cross1 and lilies of the valley1 ,suffer the little children to come unto ,,me4--,st4 ,mark1 x4 #ad4 ,s ,with ,st4 ,andrew's cross and crown1 ,so run that ye may obtain4--#a ,cor4 ix4 #bd4 ,t ,with the triangles and cross1 ,thou ,,god seest me4--,gen4 xvi4 #ac4 ,v ,with lilies1 ,add to your ,faith1 ,virtue4--#b ,pet4 i4 #e4 ,w#bb ,with trefoils1 ,what ,i do thou knowest not now2 but thou shalt know hereafter4--,st4 ,john1 xiii4 #g4 #bb ,the second half of this letter forms ,u4 ,y#bc ,with the cross1 ,feed ,,my ,sheep4--,st4 ,john1 xxi4 #af4 #bc ,this letter is given in reduced size1 being most useful together with the ,m2 it will be found to correspond in height with the alphabet of small letters1 which are proportioned to any of the foregoing emblematic capitals1 excepting the ,g and ,t4 ,the pronouns ,,my and ,,me1 when referring to the ,deity1 should always be in capitals1 the second of which may be of smaller dimensions4 ,conclusion4 ,in conclusion1 ,i would suggest an answer to a question sometimes asked--,what is the use of these scrolls8 ,the first most obvious reply might be--to place on our walls4 ,the questioner persists--,but why8 ,let your answer be in the sense of these words3 ,i hope thus to impress more strongly on my mind a particular promise or commandment contained in the ,holy ,scriptures4 ,i also hope that the same effect may sometimes be produced on the hearts of others1 who may often1 certainly1 have read those words before1 yet possibly without much thought2 having them thus brought suddenly and in a marked manner before their eyes1 deeper reflection may be the profitable result4 ,a commandment1 an injunction from ,,god's ,word1 thus placed before me1 may often1 ,i trust1 serve as a check in moments of temptation4 ,a promise ,i know to be of inestimable comfort1 as the sick and the dying have testified4 ,no doubt the law of ,,god must be pre-eminently written in the heart1#bd must abide there as its choicest treasure1--a well of water springing up into eternal life1 nourishing the soul at all times2 and we have the precious gift of ,him ,who bringeth all things to our remembrance4#be ,yet so long as ,i have eyes through which ,i may receive holy impressions1 ,i cannot--dare not--despise the humblest means towards so good an end4 ,to look upon a text of ,scripture1 engraved with fair colours and emblematic adornments1 gives me the same feeling of elevating happiness1 through the organ of sight1 that a melodiously chaunted hymn or anthem conveys through the organ of hearing4 ,the hearing ear1 and the seeing eye1 the ,lord hath made even both of them4#bf #bd ,cor4 iii4 #c4 #be ,st4 ,john4 xiv4 #bf4 #bf ,prov4 xx4 #ab4 ,and to the young ,i would earnestly say1--cherish always a feeling of reverence on this subject of illuminating sacred texts4 ,let it be considered not as a trivial1 passing amusement1 but1 while in practice1 as a grave and steady occupation--one to which you are in duty bound1 if you undertake it at all1 to give your very best attention4 ,no work of yours--nor of any human hand--can be worthy of the subject2 in all humility and sincerity keep this truth before you4 ,strive to enter as fully as possible into the meaning of the inspired words you are delineating2 endeavour earnestly and with child-like simplicity to learn the lesson they would teach4 ,lastly1 let your work be as perfect as you can possibly make it1 and if the result be pleasing1 render thanks to ,him who hath bestowed on you the precious talent1 and from ,whom all good gifts do come4 ,and so1 ,whatsoever ye do1 ,,do ,,all ,,to ,,the ,,glory ,,of ,,god4 ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,transcriber's notes ,text in italics has been underscored4 ,clear printer's errors were corrected1 but original spelling was not modified or harmonized4 ,open quote on page #ae 7paragraph starting with ,purple 7violet1 or amethyst7444 has been closed4