HAVING given a detailed explanation of the mechanical means to be employed, sufficient for the student to practise the "beautiful art of missal painting," permit me to add a few words in conclusion, which I hope will not be thought superfluous. Deeming it essential to be as explicit as possible in the treatment to be adopted, I have not left a single subject unnoticed, which requires the attention of the learner. The illustrations I have been enabled to give are merely explanatory, but sufficient to help the pupil, with some of the leading features observable in the illuminations of the middle ages. For the purposes of research, no other than the very originals ought to be consulted, which lie within the reach of every one to examine, at the British Museum. In that splendid collection quite sufficient store will be found to furnish the student with ample means of research, without the necessity of travelling on the continent, though, no doubt, a great many gems of art are to be found in the Vatican, or the Royal Library at Paris. But in a collection so extensive as that in our own national Museum, or the libraries of Oxford and Cambridge, we can find sufficient to satisfy the most fastidious and ardent lover of art. It is essential for the student to study originals; and I have made it a practice to accompany my pupils at least half-a-dozen times to the manuscript rooms, during their course of instruction, for the purpose of calling the attention to what to him or her is essential to know, and to afford an opportunity of making such extracts as afterwards may usefully avail. They then can note down the progress of art from age to age, and the gradual development of decorative improvement, progressive with the advancement of civilization; yet, strange to say, though our own age claims to have reached that, in an eminent degree, the decorative art, as indeed arts in general, have not progressed in the same proportion; how to account for this, is, not that art has arrived at its climax of excellence; but that most of its followers of the present age have contented themselves by strictly admiring and copying the mediÆval artist, instead of exerting their own powers to excel him.

Our age is too utilitarian. The artist now merely toils to live; while, formerly, his ambition took a higher flight; for then he laboured for fame and for posterity. The artist, however, who does not solely paint for gain, and who, from circumstances, is happily freed from the trammels of poverty, should strive to excel his predecessors. There is much room for improvement; modern inventions have sprung up; mechanical contrivances have advanced; new and interesting objects of natural productions have been brought within his reach, from the furthest limits of the habitable globe, to enrich the resources of his inventive powers, unknown to the antiquated monastic scribes, to whom we owe so much. Our advantages over them are obvious. Why, then, should we not excel them? Let it not be considered that this art is a mere mechanical amusement; a mere ingenious contrivance; a daub of colours and gold—showy, flimsy, and unmeaning. Though much of that exists in our modern decorations, it is highly desirable that it should not partake of that character; a little taste, a little poetry, gracefulness, order, and some display of general knowledge, of artistic combinations and principles, cannot fail to make our productions more valued and valuable. Give a tinge of some originality,—display an attempt of your own inventive powers, based upon acknowledged principles of beauty and effect, and your productions will soon reach an eminence of which art is ever capable! Though the age of romance and chivalry has gone by, and we live now, strictly speaking, in that of sober reality, our artistic productions may at least show that such things have been, and may happily awaken a dream of what life once was. The study of combination and contrast of colours, affords him ample means to exercise his taste; and the eye becomes instinctively capable of discerning that which is graceful and beautiful, and that which is not. But his task is more severe than that of the painter, inasmuch as the constant demand for new ideas and effects, is a continual drain upon his inventive powers; the more these are exercised, the more original his productions, and the more likelihood there is of his excelling the mediÆval artists.

It is only within the last fifteen years, that the art of illuminating has been newly revived: it has slumbered for nearly two centuries in total oblivion. I do not remember ever having seen an old missal in my younger days; so little was it considered of importance to the artist; yet what a store of information may be obtained from them! What illustrations do they furnish of the progress of the human mind and of civilization! What light do they throw on the manners, customs, and morals of bygone ages! What links do they form in the gap of historical events, which otherwise would have been left in darkness for ever! There is scarcely a page, but on which you may trace some interesting event connected with the history of the period, its arts, its husbandry, its revels, its glories, or its shame!

The application of lithography for purposes of coloured printing or chromo-lithography in the last fifteen years, has done much to awaken the attention of the artist and the lovers of art to the treasures mouldering in our libraries and museums; by its aid we have been enabled to obtain copies and specimens of illuminated printing, almost perfect facsimiles of the originals. It has stimulated the artist to pursue a new track for his operations; it has infused a corresponding taste in the public mind for ornamental improvement, which has manifested itself in every branch of manufacture. The interior decorations of the House of Lords afford a striking proof. A century ago, when pigtails and cocked hats were the fashion, such a gorgeous display of ornamental grandeur would not, and could not, have been suggested.

The religious associations which suggest themselves in the study of the old missals, is an element which has proved itself sufficiently powerful to our present generation, as to induce a spirit for its revival. The English as a nation (to its credit be it said) is a truly religious one. As a sacred art, then, it is alike reconcilable with their devotional habits on the one hand, and their indefatigable industry on the other, not to grudge some spare time, to its alluring attractiveness. English ladies, of the highest rank, even, have each of their hours apportioned out to some useful object. This art now takes a distinguished place amongst them, and claims a great share of their solicitude, as it affords them calm and sacred thoughts to dwell upon, and ways that may be described, in the language of the Proverbs, as "ways of pleasantness and paths of peace," and that, which is anything but frivolous or worldly—divested from the pictorial and symbolical emblems of the Romish Church—the art has enough left of holy associations, to make it harmonise with the feelings of the Protestant profession of faith without being offensive. Those possessed of sterner religious scruples can fly to the secular illustration of the poets. Our literature, so rich and so eminently descriptive, opens a wide field for the followers of this art to indulge in, thus creating another field for the artist's genius equally imaginative and interesting. Tennyson's, Longfellow's, or Moore's pages are abundantly fertile in images of beauty, to single them out as fittest for the modern illuminator. All that is required (for the interest of the art) is the formation of a good school. The Illuminating Art Union of London has made a laudable attempt to establish this; its annual exhibition opens the door and invites the public to co-operate, not so much by pecuniary support as by the aid of their contributions. Those who have the ability, and have already gained their laurels, should set the example; it will add much to their popularity, and not diminish one jot of that fame their talents have already achieved. True art should not be selfish. Monopoly in art, as in corn, affects the food for the mind, as in the latter, it affects that of the body. That society, happily, is not exclusive. Though supported by the highest in the land, it co-operates with the humblest in one common labour and one common object. Rank is forgotten, so long as their association with their fellow-labourers tends to humanize the masses, which, through the means of a sacred art, is so easily effected. That its labours may be successful, that its hopes may be realized, the strenuous efforts of its promoters, and their persevering exertions, are ample guarantees that the interest of those sanguine in its success is amply secured.

The International Exhibition of 1862 (notwithstanding the factious outcry against the unfortunate building, and its hapless Architect), was conspicuously successful, on account of the marked advance Industrial Art had made, not only in the produce of foreign Exhibitors, but mostly so in that of our English artizans, as compared with that of 1851 in Hyde Park. As far as English Industry and skill was concerned—it left its unmistakable traces behind, that since our first exhibition, when England entered the lists with foreign competitors, it had at the latter attained a miraculous improvement in design, which no doubt was owing to a more extended and systematical culture, and to which, the numerous "Schools of Design" now established throughout the kingdom gave rise. This improvement was so perceptible by our neighbours, that even recently a celebrated and well known French statesmen and political economist, has not scrupled to express his fears "that our English manufacturers had made such progress, that sooner or later they would displace the foreign producer, and monopolize the markets of the world!" And will it now be believed, that unquestionable as it is, that this improvement is entirely due to the more extended cultivation of Ornamental Art in this country—that the Royal Commissioners of 1862, with all their collective wisdom, with their enlarged views and former experience, and with the valuable aid of highly gifted men in all departments of Science to guide their councils, should have been short-sighted enough, peremptorily to refuse admission to any works of illumination, or decorative Art, on the meagre pretence that there was no space available for such works, which in 1851, however, were deemed of sufficient importance, and to have exercised such influence on Art manufactures in general, not only to admit them freely, but to award several first-class medals, to Artists, who then even enjoyed a European reputation! (Vide report of the Exhibition of 1851). All remonstrance which could have been urged by me, against such suicidal an Act, was cut short by the curt and red tape reply—"that the Royal Commissioners having once determined on any point there was no appeal from their decision."—This closed a vexatious correspondence in December, 1861, and it was not till the following April, a short month previous to the opening of the world's fair at Kensington, that among the arrivals of some productions from Japan, one I particularly noticed to consist of an "Historical Biography," a specimen of curious Caligraphy, and embellished with artistic illuminated borders in gold and colours. It was then that I ventured to address an earnest protest against this unseemly partiality to a gentleman high in office, and well known for his well earned reputation, gained in connection with the success of the first exhibition, and to his honour, be it said, immediately on receipt of my letter, he placed himself in communication with the "National Board of Education," and had influence enough to reverse the decision which the Royal Commissioners previously had arrived at. Space was then granted (almost unlimited) for the reception of Missals and Modern Illuminations. I managed by great persuasion to induce the members of the "Illuminating Art Union of London," to send what specimens they hastily could gather together, and some fifty subjects of more or less merit were hurried to the building, and placed without order, without classification, in the gallery next the great dome, amongst the Architectural designs—perhaps some thirty more from private sources, amongst which were specimens from Owen Jones, Audsley and others, were the joint and meagre contributions, which the International Exhibition of 1862 received within its walls. Unprepared and without any special object, there was not a single contributor who deserved or could lay claim to any attention from the thousands who daily visited the building. I believe the wax dolls and sewing machines gained more notoriety. Unhonoured and tacitly admitted, we were ignominiously buried in a corner—the whole collection as representing the illuminating talent of this country was a miserable failure—one solitary specimen, a beautiful little prayer book in the Austrian Court, a gem of high Art of modern Illumination was worth seeing, and worth more, as a work of Art, than all the combined skill displayed in the corner of the Architectural Gallery. Who was to blame for this egregious failure? Is it to be laid at the door of our own Artists, or to the mistaken judgment of those who had the nation's interest so much at heart and who deprived us for six months of the opportunity of preparing something specially for the occasion? Has illuminating done nothing for the manufactures of this country? Ask Bookbinders, Silkweavers, Architects, Sculptors, Decorators, and every handicraft besides, in which decoration forms its chief ingredient—ask the "School of Design" whether the inspiration of its latent genius, was not derived from the impetus modern illumination has given to decorative Art in general. Is it a fair standard of what English skill might have accomplished, to judge it by the miserable refuse of stale bits of tinsel and text-writing which was exhibited there? No wonder that in all the elaborate reports which daily appeared in the "Times," not a single line was penned to the Art Illuminations of 1862—it is to be hoped that the opportunity thus lost may not be fatal to the further development of an Art, which has and still exercises such beneficial influences on our Art manufactures and civilization.