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T hi sdi gi t a l v er s i onof T heI l l umi nat or . Cont ai ni ng al l t hepar t sof T he I l l umi nat or sMagaz i ne& c ompl e t i ngt hes ubj e c twa s pr epa r edbyi Book Bi ndi ng i n2020 Ver s i on1. 0 Ha r dc ov er , L ondon, Ba r na r d&S ons , 1862 Wi t h29bea ut i f ul pl a t es( c hr omol i t hogr a phs ) . I nt heor i gi na l r el i efbi ndi ngwi t hgi l tpr i nt . I fy ou nda nyOCRer r or s , pl ea s er ea c husa t s @i book bi ndi ng. c om Mor ebook sa boutbookhi s t or y , booka r t s , a ndbook bi ndi ng onourwebs i t e: ht t ps : / / www. i book bi ndi ng. c om/ pdf book bi ndi ngc ol l ec t i on/ ht t ps : / / www. pa t r eon. c om/ i book bi ndi ng
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PC important plate in tl;e literature of the present bap otmpieb bp ptriobicals malies it ncccssarn that cberir brand; sboulb be ablp represented ® ;is principle applies also to its twin sister, girt, more espetialln to that brand; of becoratibe art cmploneb in tbe ornamentation of glanuscripts; but the girt of Illuminating, tobid; is so elosdir ronnetteb toitb literature, still remains iinrepresentcb— pet no brand; of art is more tapable of being ertenbeb. '®;ougl; our ll'aga;ine is projecteb bp amateur Illuminators, too bo not bisrlaim tl;e help of professional A rtists; but toe tbink Illuminating pre-, eminentlp an amateur § r t : it is selbom that tl;e professional ^ rtist ran hope to be repaib for tl;e labour anb time requireb for tbe minute manipulation of I;igl;lp-finisbeb Illuminations. W e hope, bp tl;e publication of ibis Baga;inc, to aib in bcbeloping tbe (Snglisl; Sd;ool of Illuminating, of tobitl; tbe present rcbibal bas openeb a neto era in tl;e bistorp of > r t ; to tl;is mb toe present to our Subscribers a historical j series of Illuminations, sl;otoing tbe progress of tl;e $ r t from its rise until \ its beeline; anb toe sl;a.ll gibe manp'Of tl;e choicest specimens of cgnglisl; $ r t, in tl;e l;opc tl;at our glaga;ine map be a .complete Manual to tl;e Illuminator. W e map neber read; tl;c beau ibcal tbat toe l;abe set before us, but it is onlp bp aiming at a l;igl; stanbarb that anp begree of errellence ran be attaineb; toe therefore beg for a lenient jubgment from tl;e public upon our btfiriencics, anb I;ope it toill resol.be itsdf into a Committee of Amateurs to bdp u s; anb toe promise tl;at its support sliall be met on our part bp greater erections to increase tbe ctRciencp of our ^taga;ine. ,-<j
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5
&rt of illu m in a tin g . LESSON I.
T H IN K it unneceflary to fay much here to induce you to become my pupils in the Art of Illuminating. T o all lovers of colour (and I cannot imagine any one to be indifferent to its fafcinations) it has peculiar attractions, being an inexhauftible ftorehoufe of beauty and richnefs of colour,— a field for the exercife of tafte more gorgeous than the famed Field of the Cloth of Gold. It has been faid that the emotion experienced by the traveller, on firft entering a foreign coun try, muft be akin to that felt by the new-born babe on its firft entrance into this world ; and the firft ftep taken by the tyro in a new lan guage, fcience, or art, is as a new birth into unex plored worlds of wonders and delights : an ac quaintance with foreign languages opens out treafures of human learning; he meets and converfes with kindred minds, or is ftartled with undreamt-of theories, and refrefhed from new fountains of immortal thought: his firft glimpfe into the caverns of fcience difclofes hidden won ders, which fills his mind with amazement and awe, until he is bewildered amid the vaftnefs of creation. Here fteps in Art, fetting in minia ture for our ftudy and ufe the gems from the jewel-cafket of Nature. I think the reafons for learning drawing and painting are as many, as weighty, and as good, in refpeCt to the cultivation of the mind, as for learning to read; I had almoft faid more fo, for a picftorial reprefentation of anything gives a far more vivid idea to the mind than the moft minute defcription of it can do. We do not fee one half of N ature’s lovelinefs when we only read about it, and if we would fee her choiceft treafures we muft learn to reproduce them.
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Only the artift notes and feels her ever-varying, ever-lovely moods, and fees her delicate features ; which do not obtrude themfelves upon the carelefs gazer, but require careful feeking. An old writer upon Art (Novalis) fays, u T he painter really paints with his eye; his art is the art of feeling with regularity and beauty.” T o the intimate knowledge of nature acquired by the diligent ftudent, is added the power of feeling the exquifite tendernefs of high art, and appre ciating the work of a true artift. As a ftill further inducement to begin to praCtife the Art of Illumination (if any be want ing), I refer you to the examples given in this and fubfequent numbers of the Magazine, allur ing you that, with a little patience and applica tion, you may execute and originate equal con ceptions. It has been faid that genius is perfeverance, and nothing m ore; but, however that may be, though we find a talent for original defign more ftrongly developed in fome minds than in others, yet all pofiefs an imitative faculty, which may be developed with comparatively little labour. I fay comparatively, becaufe with out fome real work we can do nothing well, and the fimple adt of perfeverance to fome minds is labour; but to thofe who can untiringly apply themfelves to its purfuit, illuminating is an eafy and agreeable ftudy. T he illuminator ftiould be a proficient in draw ing to render faithfully the intricate fancies of Ancient Art. T he Ancients required the ftudent to go through a long preparatory courfe of out line drawing 'before he was allowed to work in the few fober colours ufed by them. Some teachers of Illuminating profefs to teach the Art without requiring any knowledge of c
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The Illuminators Magazine.
drawing: you might as well learn to read with out knowing your alphabet. W ith the help of tracing and transfer papers you may be able to copy illuminations accurately, but after years fpent upon fuch work you will only be a copyift, and will never advance beyond the threfhold of Art : the delight of the artift in giving form to the floating ideas of his mind will never be yours, and my objedt in fo ftrongly urging the ftudy of the ancient MSS., which is to enable you to defign after the beft examples, will be loft. It is with this end in view, alfo, that the hiftory of Art fhould be ftudied; precepts and rules are good and neceffary to the beginner, but when this firft ftage is paft, and the Student merges into the Artift and Defigner, the true principles of compofition and expreflion, and the refinements of Art, are only to be learnt from the works of the great matters. You will proceed now to practice, for as one example is worth a folio of defcription, fo half an hour’s practice will do more towards making you a good illuminator than all I can fay upon the principles of Art. I fhall begin this courfe of leflons with examples of outline, advifing my pupils to confine themfelves to this branch of ftudy for the prefent, whether they can already draw or not, for the fine work of illumination is very different from the general ftyle of drawing. For a firft practice you cannot do better than copy fome good Gothic letters, fuch as are here given. Do not think that any letter will do, fimply becaufe it is an ornamental letter, for you will vitiate your tafte by copying bad examples. I f you cannot get copies from an old MS. con tent yourfelf with thefe examples, copying them over and over again until you have them quite perfect. In various parts of the Magazine you will find other letters more elaborate in defign, which you can copy, but I beg you will not proceed to them, or even to the fecond example
in this leffon, until you are quite fatisfied that the firft is corredlly drawn. Before you begin the letter draw a line parallel with the top of your paper ; then meafure the firft letter and draw another line parallel with the firft, the exacft diftance from it of the length of the letter : now draw a fliort perpendicular line acrofs the other lines, meafure the breadth of the letter and draw another fhort line, the right diftance from the firft perpendicular line ; you will now have a fquare the exadt fize of the letter, which muft touch all the four lines. It will be eafy to fill in this fquare with the letter Num ber I of this leffon, which you may now do, meafuring exactly every line and fpace. T his you will find very tedious, but it is a point that I muft infift upon, for a correct eye is abfolutely effential ; when you have once attained it, truft to it as much as you like : in other letters difpenfe with the lines as you feel able to do without them. Draw this firft Ample letter truly and carefully, and you will find half the difficulty of the next overcome ; but if you hurry on from letter to letter careleflly, you will have a confufed affemblage of letters tumbling about in all directions, and be unable to execute the fimpleft forms : whereas to be able to draw a ftraight line or Ample curve freely and truly, is a point gained that will tell upon your future progrefs. Nothing in illumination is done well that is done hurriedly ; I do not mean that you may not work quickly,— quicknefs is (kill requiring only practice to attain and perfect it,— but hurried work is thoughtlefs work, and wafte of time. W hen you feel you can no longer give your unwearied attention to your work, lay it afide for a time ; no work is better than bad work, for that you will have to unlearn, and it will take you longer to do than you imagine. T he only materials required in this early ftage of your work are, a common hard drawing pen cil, a T fquare, and fome drawing-paper.
'The Illuminators' Magazine.
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Correspondence. Correfpondents are requejled to fe n d their Addrefs to the Editor, that the M agazine containing their contribution may be forw arded to them.
London, June 6.— T he Society of Antiquaries, W . rite , V.P. in the Chair, opened an Exhi bition of choice illuminated MSS. from the fol lowing private collections : Mr. T ite contributed a number of MSS. of the Irifh School, and of the 12th, 13th, 14th, and 15th centuries; Mr. R. S. Holford, M .P ., a Book of Gofpels illuftrating the influence of the Irifh School on the Continent; His Grace the Archbifhop of Canterbury, an Apocalypfe of the 13th century. Manufcripts of the 14th century were contributed by Mr. Rufkin, M r. T ite, M r. Fuller RufTell, Mr. Holford, Mr. Beresford Hope, Mr. Boone, and Mr. Stephen Ram. His Grace the Duke of Newcaftle fent a MS. of the 15th century, fuppofed to be by the fame hand as the celebrated Bedford Miflal. Italian MSS. of the 14th and 15th centuries, from the collections of Mr. Beresford Hope, Mr. Layard, M r. W hitehead, Mr. Robinfon, Mr. F. RufTell, Lady Eaftlake, Mr. Ram, and Mr. Tite. Mr. Charles Townley exhibited his magnificent Miflal, illuminated by Julio Clovio, and Her Majefty the Queen was gracioufly pleafed to fend an Initial Letter by the fame hand. O f modern illuminations His Grace the Duke of Newcaftle exhibited a patent of nobility, and Mr. Beresford Hope the diploma of the Order of Herminahilda granted to Lord Beresford, and a Life of Lord Beresford illuminated by Lady Mildred Hope. Mr. R. R. Holmes, F.S.A., traced the hiftory of Illumination, as fhown by the MSS. exhibited, which he divided into periods of three centuries each: beginning with the Irifh School of the 7th century, he traced its influence on the Con
tinent until the 9th century. T h e next period was characfterifed by the architectural arrange ment of foliage, and followed in the 13th century by the more faithful ftudy of nature. M r. Holmes defignated the 13th century as that of the bud, the 14th of the leaf, the 15th of the flower; after this period, the realiftic fchool of Van Eyck and his followers exercifed great in fluence upon illumination in all countries. Mr. Holmes confidered the Italian School quite dis tinct from the French, German, or Englilh, and free from any trace of Byzantine influence. Mr. Tite fhowed how erroneoufly illuminated MSS. of a religious character are called Miflals, fuch MSS. frequently comprifing, befides the Canon of the Mafs, Hours, Breviaries, Pfalters, and other Offices; he entered into fome further details refpecting the MSS. exhibited. Mr. Rufkin gave a fhort refume of the de velopment of Illumination in form and colour to its decline as a diftinct art, which he attributed to the introduction of fhading. T he Exhibition was clofed by a meeting on the 13th, the Marquis of Briftol, V .P ., in the Chair. Several MSS. had been added during the week from the libraries of Lady Londonderry and Mr. T ite, whofe contributions illuftrated the final period of the hiftory of Illumination, when the art became merged in that of painting. A fac-fimile of the Liber Regalis in Weftminfter was exhibited by Mr. Tite. After a few tech nical remarks upon the MSS. from Mr. Scharf, the meeting was clofed. W e truft that the great fuccefs of this beginning will induce the Society to repeat the exhibition next year, and that all = = = = = = = = = = = = = = = = = = = = = = = = = = = =& >
= @ The Illuminators' Magazine. file was at once reaflured by the whifper of the Archbifliop, who, as his protege retired a few paces in order not to intrude upon their con ference, murmured in her ear: “ You fee, reverend mother, that he is (till but a bov, or I fhould have fcrupled to make the rcqueft with which you have fo kindly complied.” “ I cannot regret my compliance with any wifh exprefled by Monfignor,” was the meek rejoinder ; as, with a geflure intended to convey a proof of her fincerity, the lady marfhalled her guefts to an inner apartment. T here, cluttered in groups, fat or flood the young and blooming girls configned to the care of the dignified Abbefs, whofe tall form was no fooner perceived on the threfhold than the whole fair bevy ranged themfelves filently in two ranks ;
but on recognifing the prelate, as noifeleflly fank upon their knees to receive his blefling. This ceremony over, during which the eyes of Andrea had retted fpell-bound upon the beau tiful devotees, the Abbefs, turning with a fmile to the young artitt, faid courteoufly, u Thefe young ladies, fignor, are aware of the great privilege about to be accorded to fome among them — a glorious privilege indeed, and one which, I truft, will tend to redouble their piety.— Yes, my daughters, I feel fatisfied that the mere recol lection that your earthly likenefles are engaged in never-ending adoration, will have a blefled fpiritual effeCl upon your lives. Salute Monfig nor, and go to your prayers, in order that your thoughts may be fuch as will be fuited to the folemnity of your approaching avocation.’
Calendar for ;Wardh H E Calendar for this month is taken from the Mittal of Ferdinand and Ifabella, Add. 18, 851 B. M .,— a gem of art, which officers of the MS. Department juftly guard with jealous care under lock and key. T he volume is refplendent with illumination, of which, per haps, the Calendar is the leaft remarkable; but yet it is intrinfically interefting as well as from being a component of the Mittal. W e have here the ufual occupations of the month, pruning and grafting trees, in the border furrounding the entrees of the Calendar, which are given in the chara&er of the original, but adapted to the requirements of the prefent day. T he moft animated word-painting would fail to convey a full idea of the beauty of defign and vivid colouring of the illuminations which adorn this volume : fpecimens of them will be given hereafter in this Magazine. T he Mittal is about nine inches in length by fix and a half in breadth, and contains 523 leaves of fine parchment. It is written in a fmall clear Gothic charaCler, in two columns, with occafional words and fentences in red.
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As in moft elaborately illuminated M SS., efpecially of later date, when their production was the intruded to various hands, the divifion of labour can be dittinClly traced in this volume, which combines the higheft ftyle of art with fpecimens of a much lefs finifhed ftyle. T h e illuminations confift of a profufion of miniatures enclofed within borders of elegant defign. T h e text is further decorated with initial letters, the larger letters having fome fcroll or flower within th e m ; other pages are ornamented with narrow ftripes of borders. T he firft illumination is an allegorical fubjeCt, a group of female figures holding fcrolls infcribed with their names, Sybilla, Europa, & c.; this faces the Death of King David^ the great progenitor and type of the Saviour, whofe life and aCls are portrayed in the following miniatures ; the king wears a gold crown, and is furrounded by his phyficians and attendants ; an angel is feen above hovering over a battle-field. T h e Nativity (fol. 29) commences a feries of miniatures which evince the fuperiority of the artitt employed upon this part of the Mittal. T he background of the
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'The Illuminators' Magazine.
wife. I die, but you will live to be a great and a happy man.” As the words paffed his lips Ifaura appeared on the threfhold of the apartment, and a fmile of ineffable tendernefs and joy gleamed over his countenance, when, half railing himfelf from the bed, he placed her hand in that of the young Florentine, and faid tenderly; “ You will make her happy, will you not, when I am gone ? Take her, Andrea, and with her my laft farewell. I leave you, indeed, that which is deareft to me
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on earth — my Ifaura— my beloved daughter!” As he fpoke, his grafp relaxed, and he fell back upon the bed a corpfe. “ My father! can it be? my father! ” exclaimed theagonifed girl as fhe threw herfelf upon his body; but her words were arretted on her lips ; for, as (lie was about to fob forth her forrow and her furprife at this difcovery, (he heard a heavy fall behind her, and beheld the wretched Andrea ftretched fenfclefs at her feet. [To be continued.}
of ’J llumtnatio n.
V I.— O n the D ecorative F oliage of the T welfth C entury . N this epoch a more continuous character clofed by the convolutions of the. ornament, of decorative foliage developed itfelf, which, the only two colours employed for this purpofe in its moft marked and complete phafes, is only being a pale blue and a light delicate green. found in examples of Illumination executed Thefe coloured grounds give an effedt of ivory between the laft half of the 12th and the firft whitenefs to the letter and its ornaments, which quarter of the 13th century. is very foft and pleafing, though the red pen It may be obferved that the grand borderings cilling is extremely bold, and occafionally almoft of the 10th and n t h centuries almoft entirely rough in its boldnefs. difappear in the 12th, whilft the prominence of As very illuftrative of the art of illumination large and highly-decorated capitals, which had in the 12th century, I have felected a mag declined in the preceding epoch, became one of nificent initial from a noble folio volume in the the great characteriftics of the new ttyle. Very Britifli Mufeum, containing the four Gofpels, a marked fpecimens of the more continuous ttyle portion of the Old Teftam ent, &c. It is, how of foliaged ornament occur in a noble feries of ever, only the initial letters of the Gofpels which large capitals executed about the year 1140 or are remarkable. Thefe, which are truly gigantic 1150, in an immenfe folio MS., received, with compofitions, exhibit the art of illumination of other fine MSS. of the Harleian colled ion, from the 12th century at the moft florid period of the convent of St. Mary and St. Nicholas at its development, and before any features which Arinftein. T he letters of this feries are compofed ftridtly belong to lucceeding ages had begun to and drawn with extraordinary facility and free appear. At the commencement of the Gofpel dom, in a bold red outline, Rightly (haded and of St. John, the two firft letters are grouped relieved with fecondary lines of red ; the letter together in a kind of monogram, after the itfelf, with its appended ornamentation, having manner of fome of the firft Anglo-Hibernian no other colour or (Fading whatever. But great works of the 6th and 7th centuries, and thofe of effect is imparted to thefe compofitions by the the Carlovingian fchool of the 8th and 9th ; but infertion of coloured grounds in the fpaces en- the details of the ornament, and even the treat-
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