These primitive patterns never become antiquated; they are still the root forms of “design,” and the pleasant even covering of a given space by simple elements—which is their métier—accounts for much of the unconscious pleasure which we take in good bricklaying or sewing or writing, and in a thousand things, where “many littles make a mickle.”
For their decorative possibilities in Illumination we can experiment in the most delightful way—framing our writing with bands of countercharged triangles in burnished gold, and blue and white, or with golden zigzags on a blue ground, or chequering backgrounds with scarlet and blue, and trying a hundred and one other ways (p. [197]). Such patterns have been made the most of in Heraldry, [p218] an art which in itself would form a foundation for a splendid and complete scheme of Illumination.
SCALE & SCOPE OF DECORATION
Penmanship.—Many of the most beautiful MSS. were made in pen-work throughout.[50] And it is well that the penman should stick to his pen as much as is possible. Not only does it train his hand to make pen ornaments, the forms of which are in keeping with the writing, but it helps to keep the decoration proportionate in every way. It is an excellent plan for the beginner to use the writing-pen for plain black capitals or flourishes, and to make all other decoration with similar or slightly finer pens than the one used for the writing.
Again, the direct use of the pen will prevent much mischievous “sketching.” Sketching is right in its proper place, and, where you know exactly what you wish to do, it is useful to sketch in lightly the main parts of a complex “design” so that each part may receive a fair portion of the available space. But do not spoil your MS. by experimental pencilling in trying to find out what you want to do. Experiments are best made roughly with a pen or brush on a piece of paper laid on the available space in the MS., or by colouring a piece of paper and cutting it out to the pattern desired and laying it on. Such means are also used to settle small doubts which may arise in the actual [p219] illuminating—as to whether—and where—some form or some colour should be placed on the page.
Filigree, Floral, & other Decoration.—The acquired skill of the penman leads very naturally to a pen flourishing and decoration of his work, and this again to many different types of filigree decoration more or less resembling floral growths (see figs. [125], [126]; pp. [197]–[202]; Plates [XI.], [XVII.]).
Now all right decoration in a sense arranges itself, and we may compare the right action of the “designer’s” mind to that necessary vibration or “directive” motion which permeates the universe and, being communicated to the elements, enables the various particles to fall into their right places: as when iron filings are shaken near a magnet they arrange themselves in the natural curves of the magnetic field, or as a cello bow, drawn over the edge of a sand-sprinkled plate, gathers the sand into beautiful “musical patterns.”
And to most natural growths, whether of plants or ornament, this principle of self-arrangement seems common, that they spread out evenly and occupy to the greatest extent possible their allotted space. Branches and leaves most naturally grow away from the stem and from each other, and oppose elbows and points in every direction. In this way the growth fits its place, looking secure and at rest—while in disconnected parallels, or branches following their stem, there is often insecurity and unrest.[51] (See also Addenda, p. [25].)
For example: a circular space is filled more [p220] decoratively by a cross (a, fig. [131]) than by a contained circle; a square is better filled by a “lozenge” or a circle (b and c) than by a smaller square set square and parallel (compare the diapering of the chequers in fig. [191] a). A circular or square space might be filled on this principle with a filigree arrangement such as is suggested by (d, fig. [131]). Note.—In the case of two curves in the ornament touching (either internally or externally) they may be linked at this point by a (gold) band or circle or lozenge (e, fig. [131], see also [Plate XVII.]).