THE immense variety of styles adopted formerly in illuminations, makes it somewhat difficult to classify them in this little volume; and I will, therefore, confine myself to those which are the most popular and the most admired. We have the transparent border, with a profusion of scrollwork, foliage, fruits, flowers, and insects, relieved by tre-foiled ornamentations in raised gold, and the blank spaces filled up with black filigree work, and which I perform simply with the lead pencil.[C] The colours to be arranged in such borders may be as varied as possible, in proportion as the design consists of small and numerous ornamentations. The contrast and variety cannot here be too profuse, so long as they are made with discretion. A predominance of too much blue, or red, or green, becomes tiresome to the eye; and, therefore, the greater number of varied tints introduced the better. Avoid, above all, ugly colours. No olive greens or bad blues, but rich and decided tints; a deep orange, a bright red, a clear purple—against a soft pink, a delicate primrose, or a blushing carnation; a sky blue against a deep bronze, or chocolate brown; the gold between, and the silver, will divide the monotony of effects; sameness will be avoided, and yet unity preserved. The same rule does not apply to the solid border, where the ornamentation is formal and large, and conspicuously relieved by a background of solid gold or colour. A profusion of colours then would resemble the harlequin's coat of many shreds and patches. Simplicity, to my mind, is its greatest merit and recommendation. I have seen the best effects produced by the simplest means, and by two or three colours only. Much depends on taste, everything on effect and sound judgment; and if, in such class of design, the object must be attained by the quantity of colours, it proves the poverty of the artist's resources.
The partially solid border, which is a combination of the first mentioned, consisting of square, or undulated solid bands, with transparent background, should, in character and combination of colours, be also alike; modified, however, by the consideration of these solid spaces, on which the ornamentation should be simpler, and in good harmony against the colour of the background. These backgrounds are in various tints—the most common in use is gold; we have also crimson, ultramarine, purple, and not unfrequently black. On all these, the taste of the illuminator is called in to produce a good contrast in the arrangement of colours, and the less confused by quantity the better.
There is another style which I have adopted, and which scrupulous antiquarians would not designate as being strictly legitimate, in which the arrangements and a profusion of contrasting colours, is allowable and even desirable. I published the class of design I allude to in the "Victoria Annual of 1844," the originals of which are in Her Majesty's possession—the chief attraction consists in the design of the initial letter, and the first word of the poem or subject, which is prominent at the head of the drawing, enclosing the remaining text in a small narrow framework, surrounded more or less by elaborate scrolls, arabesques, medallions, etc., always avoiding known and accepted mediæval ornamentations from the old missals as much as possible, in order not to mix the different styles in one drawing. This style has found much favour with modern artists, on account of its graceful effect, the absence of conventional stiffness, and the rapidity with which a composition may be arranged. Legitimists do not like it from mere affectation; they would prefer crude, ugly, misshapen ornamentation, flat and unfinished, as long as it resembled a conventional style. For the same reason they object to green gold, or agate ornamentations; yet what can be more attractive than the yellow and bright green gold in combination, enriched by the artistic engravings of the agate? What more gorgeous to the eye than a display of graceful curves fantastically interwoven, enclosing highly-finished medallions, and thrown up by all the effects imagination and art can conjure up? Some of these specimens may be seen at my own gallery, and amongst them a rich specimen of a chess table which figured at the Great Exhibition in 1851, and which occupied me two years in painting. There are numerous other styles; and even modern art illuminations may be multiplied in an almost infinite variety; but the experience in such as are above alluded to, will give sufficient instruction, and regulate a classical and perfect taste, under whatever circumstances afterwards the pupil may be called upon to exercise his skill.
Within the last few weeks, I have designed and published a Series of Outlines, called the "Beauties of Shakespeare," illustrative of the poetical genius of the great bard, in which the attempt has been made to embody the poetical creations of the Poet in vignette illustrations of the text, interwoven with suitable ornamentations, light and aërial as the fleeting thoughts of the Poet himself, unencumbered by formal square borders, and avoiding all conventional ornamentations, which, strictly speaking, belong to sacred art only. Six subjects from the "Tempest" form the first series, in which the songs of Ariel are surrounded by descriptive and pictorial illustrations of the text, and the choice sentiments of the chief personages in the play, such as "Prospero," "Ferdinand," and "Caliban," are duly illustrated throughout the ornamentations with pleasing and appropriate effect. Six more subjects from the "Merchant of Venice," which forms the second series, are treated similarly, and to this, the more dramatic description of the text, afforded a widely different opportunity in producing totally distinct effects, by which sameness was entirely avoided. Sufficient of ornament is, however, preserved to throw in harmony and healthy contrast of colour and gold, to keep it legitimately within the range of "illuminated illustrations." Whether the modern taste will encourage this attempt at innovation,—whether it will attract the sympathies of a new school of artists, or not,—or be condemned by the more severe and uncompromising antiquarian, experience and the success or failure of this publication will prove; if successful, the boundless wealth to be found in the pages of the illustrious dramatist, will afford ample material to follow up this publication by similar attempts in his other, and perhaps more popular plays.
ON COMPOSITION.
