That there are abundant ways in the present day in which the modern illuminator may make use of his craft has been amply exemplified in the preceding pages. The work of the craftsman, of course, stands first and foremost, but it must be remembered that the machine has come to stay, and the artist must endeavour to realise something of the great possibilities that there are in this direction. Although the product of the machine can never equal that of handcraft, there is no reason why, if there is intelligent co-operation between the artist and the manufacturer, the greater part of the work produced should not be infinitely superior in character than is so often the case.
There are numerous ways in which the machine is employed in which it would be quite impossible adequately to deal with the matter from a craftsman’s standpoint. To mention just one branch alone: Christmas cards and calendars. It would be quite impossible to do all these by hand, and yet it is certainly desirable that they should be done in the best possible taste and in as efficient a manner as possible. It is here that the opportunity for the properly trained artist arises, and, if he gives of his best workmanship, the finished production should be all the better through his influence.
This is surely a sufficient excuse for dealing with the various developments of illumination commercially.
Book decoration, both in connection with MS. book and the printed book, is, however, the thing most in keeping with the true spirit of illumination. Illumination seems to be bound up with book production, and, if the modern collector could only see that a fine illuminated manuscript was a work of art as desirable as a picture for a permanent possession, there ought to be a fair demand for the work of the modern illuminator.
The illuminated MS. book is, without doubt, the ideal work for the illuminator, and it seems a pity that there should not be a greater demand than there is at the present time. Certainly an illuminated manuscript book, specially written, would be much better for a presentation than the average illuminated testimonial, and it would probably meet with far more appreciation.
No one would be so foolish as to wish to do away with the printed book, as this has now become a necessity, but surely the manuscript book should not be altogether a thing of the past!
Some people are of the opinion that it is a waste of time producing illuminated manuscripts in the present day. Still, is time ever wasted in producing beautiful workmanship? Surely not. The time spent in the production of any real work of art is never wasted.
Poetry, when mixed up with commercial matter and obviously printed by commercial methods, loses considerably because the surroundings are uncongenial. However, the illuminated manuscript enhances it by presenting it in an artistic form.
Probably nothing offers a better opportunity for the illuminator, as a subject for an illuminated volume, than poetry. The illuminated rendering seems to give it an extra quality. The antiquity of the illuminated book, and the fact that it was a means of presenting the romances of the Middle Ages, makes it the natural vehicle for the poetic message.
Its value for liturgical purposes is also of importance, and certainly it has been more generally used for this purpose than any other in the past. Probably the reason why it is so suited to this is owing to the conservative nature of liturgy demanding antique associations.