IF the observations on Colours, advanced elsewhere, hold good, as to their brilliancy in the mediÆval missals, the improvement which the modern manufacturer has been able to effect is not less apparent; for, although the mediÆval productions are mostly painted in body colours, which are managed so exceedingly and wondrously skilfully, with touches so light and aËrial, that to the beholder the dew-drops might almost seem capable of being gathered from the flowers, or the "mealy" dust brushed from off the wings of the butterfly—that furs and feathers would almost seem to yield to the touch, so nicely is the perception of their appearance preserved, that one may well look with amazement, not only at the marvellous tints themselves, which are preserved to this day in all the brilliancy of their pristine freshness and beauty, but also question as to whether these effects were mostly attributable to the skill of the artist, or to the quality of the body colours themselves. Still, I am inclined to think, from general observation and historic tradition, that the secret of the chemical admixture of these pigments was as much the individual secret of the artist himself, as was his particular mode of executing his handiwork. For it is reliably known, that the great Rubens, and his predecessor Van Eyck, both Flemish artists, most assiduously studied chemistry in Germany before they applied themselves to painting; and that, to a great extent, the brilliancy of their colours was owing to their extensive knowledge of that science. If, therefore, the "science of chemistry" was considered so material a qualification in the mediÆval painter, it is not at all improbable, that the illuminator of the period was actuated by the same motive to acquire this knowledge, by which only his works could be appreciated, as so much was depending on the quality of his colours, to produce those mysterious and almost miraculous effects, which the present age is still at a loss to imitate. I am strengthened in this assumption by the fact of having seen a curious old missal, in the library and museum of the Hague, a few years ago, attributed to Van Eyck (who is known, not only as an illustrious painter, but also as a skilful illuminator), in which is embodied an illumination representing a studio, where the scribe is assiduously engaged on his work, whilst an assistant is seen grinding materials on a stone slab, and arranging them on a pallet, for the use of the artist.

With work on hand, and, perhaps, with commissions for years, is it too much to assume, that he would never incur the additional trouble of preparing his materials, were it not that the secret of his preparations was his motive for so doing? This secret, I contend, is lost to us, and with it the character of these body-colours, which our present ones do not equal. For instance, I ask the student and observer to compare the delicacy and permanency of the white ornamentations in the works of the older masters with what our present Chinese white will effect.

Whether, in the present day, we can again produce such glowing scarlet or brilliant orange, remains a matter of doubt; but enough has been done already to make us hope that much more may be expected, in proportion as the attention of chemical science is directed to the object, and the urgency of the illuminator furnishes suggestions. I have come, however to the conclusion, that with our present appliances, we may make a tolerably good shift; and I recommend, therefore, for general purposes of the art, the "Illuminating Cake Colours" as the best, and as the safest (particularly to place in the hands of the beginner). They are capable of being used with the greatest facility, and can be worked up, with the happiest effect, in shading very minute ornamentations or miniature paintings; and it would require more than ordinary skill, and a vast amount of experience, to handle "Moist Colours" equally well. How the several writers on this art can recommend them, I am totally at a loss to imagine. One colour manufacturer, in his eagerness to go with the stream, has actually produced an illuminating box with Powder Colours. I advise the unlucky purchaser to lay them by, to tint wax-flowers with, since, for the purposes of illumination, they are totally useless. The Cake Colours, from my own experience, are the only means the illuminator has to rely on, in order to give a soft tone to his work; and when mixed with the enamel white, they form opaque tints, which even then can be used with greater facility than when compounded with Moist Colours.

Half a dozen only of the Moist Colours I recommend, in addition to the Cakes, to produce finishing effects in touching up, when all the subject has been completed, or to use wholly for deep-tinted fruits or flowers, such as cherries, currants, carnations, or hearts'-ease, in which the rich, moist, purple carmine will give the happiest and quickest effects. Hooker's green, carmine, burnt carmine, purple, burnt sienna, and emerald green, will be amply sufficient for this purpose. In conclusion, I therefore warn the purchaser not to be allured by the sounding title of an "Illuminating Colour-box," though highly-priced and costly fitted up, but to purchase that only which is likely and capable of answering his purpose.

I must give the present age credit for having left no means untried to supply the demand of suitable materials for the purposes of illuminating, in the hope of approaching, or even equalling, the effects displayed in the missals of the middle ages; and, as these effects vary in the originals, owing to different theories pursued by different artists, so the present systems adopted by various and eminent manufacturers in their present Illuminating Colours, are apt also to produce different results. We have then before us—Powder, Moist, Cake, and recently again a new contrivance of Liquid Colours, produced by a firm of eminent repute, and which, from my own experience, are certainly as bright and brilliant as one would wish to see—each of these possesses merits useful in its own way, provided the skill of the Artist has been able to seize on their adaptability,—but placing each of these four different kinds of colours in four equally clever hands, there will be four distinct results; thus, with our present Moist colours, we shall obtain (if we wish to imitate that) the coarsest results of the earlier productions of mediÆval art, without their brilliancy, looking heavy, and wanting the transparency so charming in the better productions of the later Italian style. The Powder colours again look transparent, and perhaps brilliant, but require great skill and much manipulation, to keep the shading soft, and prevent the hard line, where the colour unhappily was suffered prematurely to dry; depth of tone, too, is out of the question. The Liquid colour possesses brilliancy of tint, a perfectly flat and even appearance like enamel, depth of tone, and is most useful for flat illuminations where no shading is required; transparency, however, according to my present impressions, is wanting. Cake colours, therefore, aided here and there by the adjuncts of moist or liquid colours, as the nature of the work in hand may suggest, are, in my opinion, the best medium through which the higher qualities of finish, and the general impression which those better and unapproachable specimens of our best models leave on our mind, can be attained.

Since brightness and effect are essentials in missal painting, all the fault must not be laid at the door of the colour-box, but frequently to the unskilful manner in which they are used. It is astonishing the difference which is perceptible in the drawings of one artist and another. I have frequently had occasion to ask my pupil where she obtained that orange or this vermilion. "It is from your colour-box," would be the reply, and whilst, in another instance, I might find fault with a colour for being dingy and impure, she might have been heard to answer, that it was my own colour she had used. The fact is thus quite clear, that one artist has better skill to use the colours than another; and it requires a certain knowledge and method to use them properly. From my own experience, therefore, I will give explanations how each colour should be used, for what applies to one may be totally different in another. I shall, therefore, commence with—

The Ultramarine Blue,

Which is a metallic colour of recent invention, and chiefly manufactured in Germany. The best and purest is prepared in France, and varies considerably in price and quality. It forms one of the most essential colours in illuminated painting, giving tone and life to the whole, and forming a strong contrast against any other bright colour; it should, however, not be too predominant, but judiciously introduced. It is manufactured without any component ingredient which tends to affect its brightness, or its brilliant depth. In combination with enamel white it can be tempered to any shade, resembling the pure ultramarine in tint, but of a brighter and less greenish quality. It must be laid on very evenly, very rapidly, and after once being painted in and yet moist, a full brush must immediately be used, to let an additional quantity freely and fully drop in; when dry, it will be perfectly even and equally dispersed. Gold, platina, or enamel white may form graceful ornamentations over it, as also a deep black, which forms a rich contrast against the ultramarine; particularly if a bright spot of orange or carnation, such as a dot, is introduced. The drawing of any ornamentation over it should be done very finely, and with the finest brush, so as to look delicate, artistic, and studiously neat. The best mode of shading it is not with black, but with deep carmine and a little gum arabic in solution; it forms an intense purple, and is much more effective than black.

Vermilion.

The vermilion, which at all times is difficult to obtain very bright, requires to be laid on evenly and not too thin; it should not be allowed to dry before the intended space be completed, otherwise you obtain a sharp edge. The brush should be moderately full, but if too full, it will cause the colour to run towards one point, and form a dark spot. Once is sufficient to go over with the brush, if carmine ornamentations are intended to embellish it; but when a bright red only is intended, it would be better to paint over twice, always taking care to let the first wash dry first, before applying the colour a second time. Carmine should always be used to shade or ornament it, and if in some instances a deeper contrast is desirable, add a little burnt carmine to it, where the greatest amount of intensity is required. Never use black to effect the object.

Emerald Green

Requires nearly the same treatment as vermilion, with a little more care in washing in a second time, since that colour is easily displaced by the second time going over it, which would give it an uneven appearance. The beauty of illuminated drawing is greatly increased by the solid and even appearance of the colours. If used faintly, it may be shaded and ornamented with cobalt; if used intensely, Hooker's green may be more effective; mixed with a little cobalt, it forms a bluish green, frequently introduced in drapery in the old missals. It is a useful and effective adjunct in scrollwork, but should not be used for the painting of natural leaves; they look then as if cut from bright green paper, instead of representing nature's variegated ornaments.

Cobalt Blue

Is used precisely as the emerald green. A thin and even wash is most essential in the first place, to be gradually tinted up with the same tint. A good deal of patience and manipulation is necessary to smooth this most difficult colour into obedience. Young beginners will find it most irksome to handle, but it forms an agreeable variety amidst the other blues. It looks well for skies in tiny landscapes, and may be used for water, if copying the older missals, in which it will be seen that water is always blue. White ornamentations are used over it, to hide any defects.

Purple

Is not a permanent colour, but being in combination with another, it changes to a bluish tint; it is easily applied, and very useful and rich in contrast with orange, silver, or light colours in general. This colour has been much esteemed, as preferable to the made-purple of carmine and cobalt. It can be used for backgrounds if intensely laid on, two or three times over: it has almost the appearance of velvet, and may be used with advantage in every shade, and modified with a little burnt carmine to suit the taste of the artist.

Orange Chrome

Is not so bright as the red lead, but is permanent, and will not turn black. I have preserved all its brightness that was possible to obtain, and have, therefore, entirely abandoned the more seductive red lead: it is used precisely as the vermilion.

Chrome Lemon.

Requires no particular treatment; it is both permanent and bright. We place it in the box to be occasionally used for illuminations, where an opaque colour is desirable. The gamboge can be used instead, when a transparent colour is preferable, and it will, in combination with prussian blue, form beautiful greens for foliage.

Carmine, plain, burnt, and purple.

Is one of the most useful colours in illuminations; its richness, either diluted or not, gives life and brilliancy to the surrounding colours. In combination with enamel white, it makes a rich pink; with cobalt, it forms a soft lilac; and with burnt carmine, it produces a rich brown, and invariably adds to the general effect. Carmine is so generally useful, so easily applied, that the artist will soon discover its inestimable value.

Hooker's Green

Is equally useful, brilliant, and easily applied. It adds intensity to the shading of all the greens. In combination with white, a beautiful middle tint is obtained, and may be used for ornamentations, scrollwork, etc.

Burnt Sienna

Is used with the greatest advantage in shading gold or silver (particularly the former), intensified with lamp-black. It is used in figure-drawing for the hair, eyebrows, etc. In combination with burnt carmine and lamp-black, it forms a rich brown for backgrounds, and touches up foliage to much advantage.

Lamp-black

For its intensity, is preferable to Indian ink, and is very effective for backgrounds. To add to its intensity, you may mix a little gum arabic with it, when required as a shadow on the same colour.

Middle Tints

Or opaque colours, which form so conspicuous a feature in the old missals, such as pink, salmon, gray, lilac, pale green, primrose, or pale blue, are severally produced, by the addition of enamel white with the following colours: carmine, vermilion,[B] black, cobalt and carmine, Hooker's green, yellow and ultramarine, in such proportion as the tint requires to be high or faint; but care must be taken in laying these on evenly to preserve an equal surface, which is easily displaced by going over it a second time.

Enamel White

Forms a distinguished feature in illuminating; its utility for various objects is apparent; a small dot, the size of a pin's point, tells on the blue, red, pink, or lilac with most delicate effect. It adds, also, a brightness to the gold and on colours, when judiciously applied. The artist can extensively avail himself of it, and may modify its intensity as circumstances require. It forms a hard enamel over the gold size, which then may be painted over with gold or silver from the shell; and when perfectly dry, may be burnished richly over with the agate, and forms a bright gold or silver raised ornament. It aids him, also, to repair any damage or imperfection which may accidentally occur; and its general utility will soon be discoverable, when the student begins to advance in the art.

With respect to other colours, not enumerated here, they may be used as occasion requires; and those acquainted with water-colour painting, can apply them to the painting of flowers, landscapes, miniatures, etc., in the same manner as on drawing-board. The delicacy of vellum, however, is much better fitted for the purposes of painting than either ivory or paper; I need not add, that the most pleasing and the highest finished drawing may be successfully executed on it.

Platina and Silver.

I have adopted platina, or aluminium, in preference to silver, since the two former retain their colour permanently, whilst the silver generally discolours after two or three weeks' exposure to the air. Those who prefer the more brilliant colour of bright silver, can, however, use it; gently washing it over with a soft new brush dipped into spirits of wine (which, when dry, forms a varnish over it), thus excluding atmospheric air, and thereby effectually preventing discoloration. Care should be taken that in the process the silver be not removed, by the brush being too dry or too roughly used.

Green or Yellow Gold.

The application of the green gold forms also a pleasing variety, amidst illuminations of yellow or matted gold, and gives a richness to the design, entirely unknown in the ancient missals, since its use at that period was not discovered. For this reason, many of my orthodox pupils have objected to use it, "because they could not find it in the ancient manuscripts;" but whilst I would encourage the study and close imitation of the style of the ancient masters, as far as artistic principles are concerned, I cannot object to the introduction of any improvement in effect, which modern art may suggest, merely on the ground that our productions should be slavishly imitative of the old originals. For this reason, I also always discourage the introduction of quaint and grotesque figures, mis-shapen animals and monstrosities, imaginary flowers or fruits, which never had existence, and which merely indicate a want at the time of artistic knowledge of the real beauties which are to be found in the productions of nature, the want of which knowledge, taught them to supply us with the defective creations of their untutored imaginations. Of these, plenty of specimens are found in the earlier productions of the sixth and seventh centuries; they are, however, gradually improved upon in the later productions. I prefer, therefore, the pleasing consistency of representing objects of accurate design, to such as, at the present moment, would incur the ridicule and just censure of the critic. Very little observation need be made in the use of either gold, silver or platina, since it is applied easily from the shell with a paintbrush and clean water to the vellum, and can be ornamented or burnished with the agate at pleasure, or be painted over with blue, white, or red scrollwork.

The Agate

Is used, with a little practice, to great advantage, and is capable of producing beautiful effects on the shell gold. A large field of gold would look rather monotonous; the agate is, therefore, employed for engraving, as it were, little ornaments over it, of various designs, which appear in bright contrast to the dead gold. A steady hand is required to make the scrollwork run smoothly and freely; a little dot, or a cluster of them, a stalk producing little flowers, and an indented rose-leaf or vine-leaf, with its arteries, can also successfully be produced. It were best, however, to practise this on a small scale first, before progressing with the drawing in too great a hurry. I entirely disagree with the use, under any circumstances, of any kind of imitation or liquid gold, firstly, because its permanency is quite uncertain; secondly, it is too coarse and brassy in appearance; and lastly, the agate could not produce the delicate tracings on its surface, as when applied to the real shell gold.