Metal in thin sheets is liable only to the objection from which slate is free,—namely, that it is difficult to keep its surface from undulation in changes of temperature. In all other respects, both zinc, copper, lead, and iron, bind well with any oleaginous vehicle, and offer the great convenience that they may be cut out to any desired shape, and attached to any other kind of material by nails, screws, or even by strong cements, such as marine glue. Zinc is, perhaps, the best of all, as it cuts more readily than copper or iron, and keeps its shape better than lead; care should, however, be always taken to hang it from such points as shall allow it to freely contract and expand. If this is not attended to, its surface will never remain flat. It is a material particularly well adapted for cutting out into labels to surmount door and window arches, or to fill the arcading of churches and chapels, and to be illuminated with texts or other inscriptions. Very beautiful effects may be produced by combining illumination with the polished brass-work which is now so admirably manufactured by Messrs. Hardman, Hart, and others. Care should, however, be taken not to overdo any objects of this nature. Let the main lines of construction always remain unpainted, so that there may be no question as to the substance in which the article is made, and restrict the application of coloured ornament or lettering to panels, and, generally speaking, to the least salient forms. Of course, where it can be afforded, enamelling offers the most legitimate mode of illuminating metal-work; and ere long it is to be hoped that the beautiful series of processes by means of which so much durable beauty of colour was conferred on Mediæval metal-work may be restored to their proper position in British Industry, and popularized as they should, and, I believe, might readily be.
To woodwork, illumination may be made a most fitting embellishment; and the application of a very little art will speedily be found to raise the varnished deal cabinet or bookcase far above the majority of our standard "institutions" in the way of heavy and expensive mahogany ones, in interest at least, if not in money value. Almost every article of furniture may thus be made, as it were, to speak and sympathize; for the return every decorated object makes to the decorator is always in direct proportion to the amount of life and thought he has put into his work. It is a common saying, that, "what comes from the heart goes to the heart;" and in nothing does it hold good more than in the production of works of art of all kinds, including Illumination, which, through its special dealing with written characters, has so direct an access to the intellect and affections.
In all appeals the decorative artist can make to the brain through the eye, he has open to him two distinct channels of communication in making out the scheme of his ornamentation,—the one by employing conventional forms,—and the other by introducing representations of natural objects. In the former he usually eschews light, shade, and accidental effects altogether; and in the latter he aims at reproducing the aspect of the object he depicts as nearly as possible as it appears to him. Both modes have found favour in the eyes of the great illuminators of old, and by the best they have been frequently and successfully blended. Under the "conventional" series maybe classed all productions dependent on either an Oriental or Hiberno-Saxon origin; among the "natural," the later, Netherlandish, Italian, and French illuminations may be generally grouped; and, in a mixed style, the majority of the book-decorations of the Mediæval period.
To be enabled to recognize intuitively how to blend or contrast, to adopt or avoid, these different modes of treatment of ornament, is given to but few, and is revealed to those few only, after years of study and of practice. Rules may assist,[[100]] but can never suffice to communicate the power; work of the most arduous kind, and persistent observation, can alone bestow it. Still, with good models upon which to base his variations, and goodwill, the amateur may do much, and will probably best succeed by recurring incessantly to Nature, and combining direct, or nearly direct, imitation of Nature with geometrical lines and masses of colour symmetrically disposed. To aid his footsteps in this direction, I know no more convenient councillor than Mr. Llewellyn Jewitt, whose historical introduction to his brother's "Manual of Illuminated and Missal Painting" contains some just remarks upon the subject.[[101]]
| Technical Manual. | Plate No IV. |
| XIITH Century. | |
From British Museum, Harl. 2804.
Having thus rapidly touched upon the series of materials upon which the Art may be brought to bear, and the leading principles of design suitable under different circumstances, I proceed to suggest the class of "legends," as the mediæval decorators called them, likely to prove most fitting for special situations. No doubt many more apt and piquant may suggest themselves to some practical illuminators than the few I have culled (with the assistance of one or two kind friends), principally from old English writers; but to others, those I now present may not be without, at any rate, a convenient suggestiveness. Something similar to the following I would recommend for the embellishment of ceilings, friezes, string-courses, or flat walls of the different apartments indicated. Of some I have given four lines—one, say, for each side of a room; of others but a line, such as might go over a door. Between the two are many suitable for panels or irregular situations; and in one or two cases passages of many lines have been chosen, fit for illumination on vellum or paper, and for framing to hang up in the apartments specified, or to be inserted in panels or furniture or on screens.
FOR DRAWING-ROOMS.
"For trouble in earth take no melancholy;