[38] And single forms were often parti-coloured, as III., IV., Blue, with red serifs, or vice versâ (see also pp. [208], [216]).
[39] In “white light” three rays (known as the “Primary Colour-Sensations”) have been distinguished—Red, Green, and Blue; any two of these are complementary to the remaining colour, and appear to be induced optically in its neighbourhood.
(Yellow light is combined of Red and Green rays, and this may partly explain the particular fitness of Blue and Gold Illumination.)
[40] In the case of a burnished gold letter, the gilding may be deferred until the adjacent coloured parts are finished (see p. [170]).
[41] It has even been supposed that we might make the inhabitants of Mars aware of the existence of rational Terrestrials, by exhibiting a vast illumination—in lamp-light—consisting of a somewhat similar form—the first Proposition in Euclid.
[42] Note.—Limning strictly means Illuminating, but has come to imply drawing and painting, especially of portraits and miniatures. Here, all its senses are intended.
[43] The modern illuminator, having no tradition for making such scroll-work, would find that natural or organic forms—as of trees or plants (see p. [221])—would serve the same end and have more “sweet reasonableness” in modern eyes. Excellent scroll-work, moreover, might be formed out of ornamental Capitals—if sufficient excuse could be found for introducing them: a large flourished L, for example, could be made exactly on the same lines as the pendant and scroll in [Plate XV.] Narrow gold rods also may be used in a border to support a floral growth, or as frames if necessary (compare rules, p. [364]).
[44] The steps in the development sketched very briefly in this chapter, refer both to the past history of the art of illumination and to its possible revival (see Author’s preface, p. [16]).
[45] Where it is possible it is desirable to mark the top left-hand corner of the “page” (and also the lower corner) by a branch, flourish, bud, or flower (see Plates [XIX.], [XXII.]). A top left-hand corner appearing vacant or rounded off is apt to weaken the whole effect (see p. [134]).
[46] Framing borders, or borders which surround the text, may be allowed nearly to fill the entire marginal space.