Part II.

1º Paper.—

Several obvious reasons combined in mediæval days to make vellum the almost exclusive vehicle for illuminated writing. It was the substance on which most manuscript books were written: it was durable, and it took both ink and colour well. It is still largely in use for the purposes of illumination, and may be had properly prepared at almost any stationer’s, as well as at all artists’ colour shops. Any drawing paper with a smooth surface may also be used; but the best substance of all is the ordinary Bristol board, not too thick, for there should be some little elasticity—three sheets thick is about the most useful.

2º Colours.—

So much in illumination depends on (1º) the brilliancy and (2º) the durability of the colours employed, that too much care can hardly be displayed in their selection. Instances are numerous in which work on which hours and hours of care and pains were bestowed, a few years ago, is now so faded as to be almost unintelligible; the reds have flown, the whites turned brown, and a few hazy, blue marks are all that are left. It is clear that they of old surpassed us in the preparation of their colours. Some of the paintings in the ancient temples of Egypt, which have been proved to be only water colour, are as brilliant and fresh to-day as they were when laid on three thousand years ago. The exquisite miniatures and elaborate ornamentation of numbers of Oriental manuscripts, five, six, seven, and more centuries old, retain all their original beauty and gorgeousness; and the mediæval office books, and other MSS. of England, France, and Italy, especially those of the 14th century, are at this day as much marvels of brilliant colouring as the stained glass windows of the same periods. To the beginner, of course, the character of the colours employed is not so important, as to more forward artists. Still it is wise to exercise judgment in selection, even from the first, especially as in nine cases out of ten a cake of colour will last for years. The best course is to make the purchases at one of the best artists’ colour shops, to eschew all ‘made up’ colours, and to rely on the eye for producing at home the several gradations of hue, by mixing the primal colours on the slab. Comparatively few are really required; and as illuminating is a very different art from ordinary water-colour drawing, and requires a peculiar texture of matter, the colours most fitted for it are not always the same as those in ordinary use. The following will be found the most serviceable:—

REDS. YELLOWS & BROWNS. SILVERS.
Scarlet vermillionIndian yellowThe most durable mode
Crimson vermillionGambogeof producing this most
Crimson lakeSepiadelicate and sensitive
CarmineThe latter, mixed withof all colours, is to
The two last forlake, makes a gooduse platina, or
the deeper hues,shadow colour, andaluminum, and burnish
and for shading.shows well on reds,afterwards.
or on gold.[See ‘Tricks.’]
BLUES.BLACKS.WHITES.
UltramarineIndian inkChinese white is the
Permanent blueThis will be found themost brilliant and
The latter for themost generally useful.stands best.
deeper hues, andIvory black and lamp
for shading.black are both good
blacks; but genuine
Indian ink is as good,
or better, and has the
advantage of working
well in the pen, which
the others will not do.
NEUTRAL TINTS,
PURPLES, &c.		GREENS.GOLDS.
Permanent blue,Emerald green—The ordinary shell
mixed with lake,Use permanent bluegold; but it will
will be foundfor the shading.be found most
best suited for economical to
illumination. purchase it in the
The neutral tint larger quantities,
sold in the shops as sold in Porcelain
is too heavy, pans and saucers.
so is that There is also a gold
ordinarily made medium, the use of
up of indigo and which as well as of
light red. the agate burnisher,
will be explained
under the head of
[‘Tricks.’]