B BEGINNERS should not be too ambitious; let them be, therefore, contented to copy first, before attempting original designs,—it will give them experience and method. In the higher walks of art, copying is always resorted to; the painter has models, casts, and drapery to guide him, and Nature is his instructor; and let him be ever so original, he still imitates nature. Now, since there are no ornamentations in nature to guide our illuminating art-student, let him be content to copy, first, from those whose works are acceptable for their originality, their effect, and their classical beauty. The more these are studied and copied from, the nearer the pupil will arrive at perfection, and may gradually become an original artist himself.

In commencing a subject, it is absolutely necessary first to arrange a rough design of the intended subject; to perfect a sketch, and then to make careful and correct tracings of the various parts (if the design is a subject of repetition), or the whole; to retrace them to the vellum, or Bristol board, with the red prepared paper, as faintly as is consistent with being able to see it. This is accomplished by placing the red paper between the tracing and the vellum, or drawing board, and following its outline rather briskly with a fine pointed H H H lead pencil, reversing the tracing when the ornament or border forms the counterpart of the design, which secures a perfect facsimile reversed; and, when completed, repairing any part which may be defective with the pencil, and perfecting the outline where it is uneven, or the scrollwork is broken or ungraceful. The beauty of illuminations is always best secured when the scrollwork runs gracefully smooth, not broken or angular, which gives it an awkward and unartistic appearance. In order to prepare the pupil, I have given, in the illustrations, the arabesque scroll and curval lines to be drawn at the beginning in pencil only; and when form is thoroughly attained, let him re-execute it with a fine sable brush and carmine, which will give proper practice to use the brush effectually. I have adopted the arabesque scroll as the principle of all ornamental design; and I would advise the novice to practise it continually, on the same principle that exercises and scales are recommended in music to train the hand.

Referring back to the design, when the sketch is complete (which should always be as faint and delicate as possible, since it is no easy matter to erase a coarse outline from the vellum or cardboard by the usual mode of india-rubber), the process of colouring may then commence, by placing in the various compartments of the design the colours as previously arranged, somewhat in the following order, viz., first, all the blue throughout the drawing, or any portion of it intended for completion; then the vermilion, the orange, the purple, the green or yellow, and any other colour which may be in the design; next, the gold forming the outlines of the next ornamentations; and last of all, the shading of scrollwork, both gold and coloured, and also the shadings on the gold backgrounds; that being completed, you put white or gold arabesque ornamentations on the ultramarine, carmine damask on the vermilions and orange, and Hooker's green or cobalt ornamentations on the emerald. After the whole has been thus far finished, the raised gold may be introduced, finishing the matted or dead gold with burnished ornamentations, dots, scrolls, arabesques, or any other design. This should be the last process of all, since the atmosphere is somewhat apt to deaden its brilliancy; and, therefore, it should be the concluding operation before the drawing is finally consigned to the frame or album. I must here also state, that if the vellum be somewhat soiled whilst the drawing proceeds (which every care should be taken to avoid, by always using a mat of blotting paper to rest the hand on), it may be rubbed over with a piece of stale bread, which will perfectly cleanse it. This process, however, must always be done before filling in the gold, silver, or platina, as it cannot be used over the gold with safety.

All straight lines, however short, should be drawn in with the ruling-pen, opening it wider or narrowing it, as the line is required to be thick or thin; if very thick, rule in two thin lines equally distant, and then fill up the intermediate space with the brush. A circle, or portion of a circle, is drawn with the bow-pen; and any portion of a curve is drawn in by the aid of the wooden scroll, which is fixed on the drawing in such a position, that its curve corresponds with the outline to be ruled. The nicety of the drawing depends entirely on the execution, and the carefulness with which the details are accomplished.