Platina and Silver.
I have adopted platina, or aluminium, in preference to silver, since the two former retain their colour permanently, whilst the silver generally discolours after two or three weeks' exposure to the air. Those who prefer the more brilliant colour of bright silver, can, however, use it; gently washing it over with a soft new brush dipped into spirits of wine (which, when dry, forms a varnish over it), thus excluding atmospheric air, and thereby effectually preventing discoloration. Care should be taken that in the process the silver be not removed, by the brush being too dry or too roughly used.
Green or Yellow Gold.
The application of the green gold forms also a pleasing variety, amidst illuminations of yellow or matted gold, and gives a richness to the design, entirely unknown in the ancient missals, since its use at that period was not discovered. For this reason, many of my orthodox pupils have objected to use it, "because they could not find it in the ancient manuscripts;" but whilst I would encourage the study and close imitation of the style of the ancient masters, as far as artistic principles are concerned, I cannot object to the introduction of any improvement in effect, which modern art may suggest, merely on the ground that our productions should be slavishly imitative of the old originals. For this reason, I also always discourage the introduction of quaint and grotesque figures, mis-shapen animals and monstrosities, imaginary flowers or fruits, which never had existence, and which merely indicate a want at the time of artistic knowledge of the real beauties which are to be found in the productions of nature, the want of which knowledge, taught them to supply us with the defective creations of their untutored imaginations. Of these, plenty of specimens are found in the earlier productions of the sixth and seventh centuries; they are, however, gradually improved upon in the later productions. I prefer, therefore, the pleasing consistency of representing objects of accurate design, to such as, at the present moment, would incur the ridicule and just censure of the critic. Very little observation need be made in the use of either gold, silver or platina, since it is applied easily from the shell with a paintbrush and clean water to the vellum, and can be ornamented or burnished with the agate at pleasure, or be painted over with blue, white, or red scrollwork.
The Agate
Is used, with a little practice, to great advantage, and is capable of producing beautiful effects on the shell gold. A large field of gold would look rather monotonous; the agate is, therefore, employed for engraving, as it were, little ornaments over it, of various designs, which appear in bright contrast to the dead gold. A steady hand is required to make the scrollwork run smoothly and freely; a little dot, or a cluster of them, a stalk producing little flowers, and an indented rose-leaf or vine-leaf, with its arteries, can also successfully be produced. It were best, however, to practise this on a small scale first, before progressing with the drawing in too great a hurry. I entirely disagree with the use, under any circumstances, of any kind of imitation or liquid gold, firstly, because its permanency is quite uncertain; secondly, it is too coarse and brassy in appearance; and lastly, the agate could not produce the delicate tracings on its surface, as when applied to the real shell gold.
