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  JUST PUBLISHED.

  LAURENT DE LARA'S

  SHAKSPERIAN PROVERBS, FROM HIS PLAYS.

  Quarto Imperial, price 1s. 6d. Plain; 3s. Partly.

       1. ALL THE WORLD'S A STAGE.
       2. RICH GIFTS WAX POOR.
       3. SUSPICION ALWAYS HAUNTS.
       4. FAST BIND, FAST FIND.
       5. SWEET ARE THE USES OF ADVERSITY.
       6. THERE IS NO VICE SO SIMPLE.
       7. VIRTUE ITSELF TURNS VICE.
       8. COME WHAT, COME MAY, TIME.
       9. O IT IS EXCELLENT TO HAVE A GIANT'S STRENGTH.
      10. THERE'S A DIVINITY THAT SHAPES OUR ENDS.
      11. ONE TOUCH OF NATURE MAKES THE WHOLE WORLD KIN.
      12. LIFE'S BUT A WALKING SHADOW.


  3. SHAKSPERE "IN MEMORIAM," with Vignette Portrait.
        2_s._ and 3_s._ 6_d._

  4. THE CHRISTIAN MARTYR. "Be thou faithful," &c. With Photograph,
        2_s._ plain; 3_s._ 6_d._ partly.


  CROSSES.

     1. NO CROSS, NO CROWN, &C. Imperial 4to, 14½ by 10½,
        1_s._ 6_d._ plain; 3_s._ partly.

     2. TAKE UP THY CROSS AND FOLLOW ME. 18 by 7½,
        1_s._ 6_d._ plain; 3_s._ partly.




  ILLUMINATED WORKS

  PUBLISHED BY MESSRS. LONGMAN, GREEN & CO.


  The Parables of Our Lord.

     A Selection of the most striking Parables from the four
     Gospels, richly illuminated on every Page by HENRY NOEL
     HUMPHREYS. In rich binding, in high relief, imitative of carved
     ebony, 21_s._

  The Miracles of Our Lord.

     Being a Selection from the Miracles of our Saviour, richly
     illuminated with appropriate borders of original design
     on every page, and 6 illuminated miniatures by HENRY NOEL
     HUMPHREYS. In a carved binding of appropriate design, 21_s._

  Maxims and Precepts of the Saviour.

     A Selection of the most striking Aphorisms and Moral Precepts
     of the Saviour, richly ornamented with decorative borders of
     appropriate design by HENRY NOEL HUMPHREYS, founded on the
     passage, "Behold the lilies of the field," &c. In an ornamental
     cover of novel character, after the Style of the famous "Opus
     Anglicum" of the 9th and 10th centuries. 21_s._

  Sermon on the Mount.

     Gospel of St. Matthew, illuminated by F. LEPELLE DE
     BOIS-GALLAIS. Printed on plates of Silver with Landscape,
     illustrative Vignettes, and illuminated borders. Square 18mo,
     bound, 21_s._

  The Book of Ruth,

     from the Holy Scriptures. Enriched with  borders. The
     illuminations arranged and executed under the direction of H.
     NOEL HUMPHREYS. In embossed leather cover, square fcap. 8vo.,
     21_s._

  The Good Shunammite.

     From the Scriptures--2 Kings, chap. IV. vv. 8 to 37. Square
     fcap. 8vo. With Six original designs, and an ornamental border
     to each page, printed in Colours and Gold. In carved binding,
     21_s._

  Sentiments and Similes of Shakspeare.

     Illuminated by H. N. HUMPHREYS. New Edition, square 8vo, in
     massive carved binding, 21_s._


  LONDON: LONGMAN, GREEN, LONGMAN, ROBERTS & GREEN.




  THE
  Albert Lithographic Printing Office,
  _Established to promote Female Employment_,

  168, GREAT PORTLAND STREET, OXFORD STREET,
  LONDON, W.


    E. FULLER & CO.,
    ARE PREPARED TO EXECUTE
    Every description of Chromo-Lithography,

    ALSO

    COPPER-PLATE & LETTER-PRESS PRINTING,
    WITH PROMPTNESS AND DESPATCH,

    At Twenty per Cent. lower than any other House.


    1000 CIRCULARS ON GOOD PAPER FOR 21s.


    Lithographic Fac-simile Circulars, and all kinds
    of Commercial Printing

    EXECUTED FOR THE TRADE ON LIBERAL TERMS.


    _The artistic Branch of Lithography wholly carried out by Females._




  ELEMENTARY INSTRUCTION

  IN

  The Art of Illuminating and Missal
  Painting on Vellum,

  A GUIDE TO MODERN ILLUMINATORS.

  _With Illustrations in Outline as Copies for the Student._

  BY D. LAURENT DE LARA,
  (_Illuminating Artist to the Queen.)_

  Seventh Edition,

  WITH CONSIDERABLE ENLARGEMENTS AND ADDITIONS.

    "Ingenuas didicisse fideliter artes
    Emollit mores, nec sinit esse feros."

  LONDON:
  LONGMAN, GREEN, LONGMAN, ROBERTS, AND GREEN,
  PATERNOSTER ROW.
  AND ALL BOOKSELLERS.

  _Price Three Shillings._

  _The Author reserves the right of translation to himself._




  LONDON:
  PRINTED BY J. WERTHEIMER AND CO.,
  CIRCUS PLACE, FINSBURY CIRCUS.




DEDICATED BY KIND PERMISSION TO THE LADY HARRIET ASHLY.


  MADAM,

Irrespective of the honor your Ladyship confers on me, by allowing
the privilege of associating your name with this edition, a nobler
motive which actuated your generous sanction, viz., "the high
interest you feel in the revival of an obsolete but noble art," and
of which you are at once its zealous Patroness, and its more than
accomplished votary, are claims on my gratitude, which words scarcely
can express, even in the hackneyed terms the humble sometimes venture
to address to rank!--Appreciating, therefore, deeply the distinction
you thus confer on one of your fellow-labourers in art,

  Allow me,
  MADAM,
  To remain with profound respect,
  Your Ladyship's devoted
  and obliged servant,
  D. LAURENT DE LARA.


3, Torrington Square, October, 1863.




CONTENTS.


                                                        PAGE.

  PREFACE                                                   7

  PREFACE TO THE SIXTH EDITION                              9

  INTRODUCTION                                             11

  On Illumination                                          17

  General Rules                                            25

  On Colours:--Ultramarine Blue--Vermilion--Emerald
    Green--Cobalt Blue--Purple--Orange Chrome--Chrome
    Yellow--Carmine, plain and burnt--Hooker's
    Green--Burnt Sienna--Lamp Black--Middle
    Tints--Enamel White--Platina and Silver--Green
    or Yellow Gold--The Agate                              30

  On the Arrangement of Colours                            47

  On Composition                                           52

  On Preparing the Vellum                                  59

  On Tracing and Transferring                              61

  On Raised Gold Ornamentations                            64

  Conclusion                                               67

  On Outlines                                              78

  List of Colours                                          82

  Plates                                                   83

  Appendix                                                 83




PREFACE TO THE SEVENTH EDITION.


Two years sufficed to exhaust the sixth edition (the first shilling
one) of my "Elementary Instruction on Illuminating," in opposition,
too, of a rival author; who was, however, more fortunate--for he was
enabled to _illuminate_ the world, with seven consecutive editions
in as many months, and left the world for two years after in as much
darkness as ever.--Far from envying him this inordinate success,
I rest secure on my laurels, humble though they be.--Ten years
were needed to bring forth my seventh edition, and here it is--as
unpretending as ever--but fully understood, and understandable--no
new theories erudite in print and bad in practice--no old ones,
filched from musty manuscripts, alike impracticable as complicated,
and displayed with learning and research, to bolster up repute and
attach importance to very questionable utility; wholly unimportant to
those who seek information. I address the _few_ and the few only,
who will take practical hints, from a practical man, clothed in the
plainest English. I do not trade on other men's brains, but endeavour
to live by my own. Those who encourage the empiric in art must buy
experience, and be contented with their shillings worth.(?) I have
added only some additional matter on colours and composition, as
applied to illumination, which I hope the public may find useful--in
other respects the seventh edition is like its predecessors--a
claimant to public favour.

    D. L.




PREFACE TO THE SIXTH EDITION.


The steady revival of the "Art of Illuminating" during the last
few years, and the rapid progress it has made amongst the educated
classes, even since the fifth edition of this work was published
in 1859 (all the copies of which are now sold), has induced me to
re-publish it, under the present less expensive form, in order to
keep pace with the many publications which, under the names of
"Manuals," "Primers," "Treatises," "Guides," and "Instruction Books,"
have lately been forced on the public notice, each pretending to
give the desired information to the followers of this beautiful art,
with more or less display of talent; but all tending towards the
cultivation of a highly interesting pursuit, and proving that the
nineteenth century may in future history be distinguished as having
produced a "style" of its own, and identifying it with the happy
and peaceful reign of "Victoria," under whose mild rule, arts and
civilization are so eminently flourishing. The perusal, however, of
these various publications has confirmed me in the conviction, that,
for the purposes of instruction, the plan originally carried out by
me was best fitted to achieve the object in view, my aim being to
_instruct in_, and not to _lecture on_ the art. I have, therefore,
studiously divested the present publication of technicalities, or of
any attempt to display learned research, in the origin or progress
of the art, which, to the uninitiated, would not be instructive,
and could only prove "caviare to the general." My long professional
experience as a practical artist, has induced me to clothe, in the
plainest language, the information I wished to convey; and, in common
English, endeavour to speak to the understanding of my readers. If,
therefore, the present volume prove continuously useful, as it has
hitherto been, my readers will absolve me from blame or egotism, in
thus adhering to my original plan; my care having been not to fall
into the error of my contemporary imitators. All I have ventured to
add, is such information as my continued practical experience has
enabled me to collect, and I cheerfully communicate it to my readers.


  3, Torrington Square, October, 1860.




INTRODUCTION.


The beautiful "Art of Illuminating," which sprang up with the early
dawn of Christianity, and attained its highest perfection in the
fourteenth and fifteenth centuries, owes its total extinction to
that powerful instrument of modern civilisation, the Printing Press.
Whether it be the phlegmatic Dutch Coster, or the German Necromancer,
Guttenberg, who was the first inventor of "moveable type," I know
not; but it is quite certain that the "printing process" struck a
fatal and decisive blow to "illuminated painting," the relics of
which at present are carefully hoarded up in our Museums and Public
Libraries, and are at once the living and imperishable oracles of
the bygone ages of romance and chivalry, and form the glorious
monuments of the known and unknown artists who created them! It is
equally true, as well as curious, that to another mode of printing
(chromo-lithography) the present century is indebted for the partial
revival of this beautiful art, since the many publications from the
lithographic press have engendered a corresponding taste with the
public for its cultivation, which is daily increasing. That taste
is now so manifest, and so general amongst the higher and middle
classes, that it can no longer be considered as a mere "fashionable"
pursuit, subject to the capricious ebb and flow of the tide of
fashion, and again to be doomed to pass into oblivion. I believe a
healthier motive is apparent in its cultivators; and the desire of
re-instating it to the rank it once held amongst its sister arts
is not unmixed with the holier emotions which a genuine religious
feeling, arising from the daily contemplation of the divine truths
of Holy Writ (as exhibited in the study of our finest missals), is
capable of producing. In this respect, it presents itself to the
devout mind of the novice as a labour of love, for the glorious
poetry of the Bible offers such a singularly fertile source, to which
the imagination and pencil may look for artistic inspiration.

The seductiveness of the art, too, on which the meanest capacity can
employ itself, is another incentive, which will cause many to venture
on so pleasing an occupation. The interesting question then arises:
What probable results are likely to follow from this general revival
of an obsolete art? My answer is, "That modern civilisation will
adapt it to our modern wants, and will gradually lay the foundation
of forming a _new school_, identical with the nineteenth century."
To attain this end, _conscientious_ artists only can pave the road;
_they_ have it in their power to direct and guide the masses, and the
public is sure to go with them.

The ILLUMINATING ART UNION OF LONDON, in its annual expositions,
invites artists to exhibit their productions, by which others less
gifted may be incited to follow their example. True Genius, however
exalted, does not feel itself above instructing others, as long as
through the medium of its productions the very best interests of the
art are likely to be promoted. Gradually, these productions will
develop new ideas, new resources, and features of originality, in
addition to the improvements which modern civilisation and modern
appliances necessarily suggest. Already three prizes have been
awarded for original designs of the "Beatitudes"; and, as a first
essay of a young Society, they are eminently creditable. The highest
in the land, and, perhaps, the humblest also, are its members and
supporters; and however the effort to increase its strength and its
popularity might have been thwarted, by the lukewarmness of those
professedly the most interested in the art, we owe it a debt of
profound gratitude, for the real good it has already achieved, and
cheerfully join our wishes for its welfare and success in what it
still hopes to accomplish.

A tendency to undermine the best interests of the art is, however,
insidiously at work to misguide the public taste. The hired pen
of the unprincipled and unskilful scribbler has been used by mere
traders, to advertise _their own materials_, and bring into notice
_worthless designs for illuminating_; the former without the
slightest regard to their adaptability for the purposes of "missal
painting," and the latter without the least pretence to artistic
merit. Unscrupulous authors have been found to dictate "rules"
for instruction, when, practically, they require _instruction_
themselves, judging from the ignorance they display in their own
pages. These very books, miscalled "Guides" and Outlines, facetiously
named "Useful Models," have received, in their turn, fulsome praise
in the pages of those, whose talents (to their shame be it written)
as illuminators are unquestionable, and whose commendations, though
valuable (?) in a _trading sense_, are sadly detrimental to the
interests of those who seek for information and instruction.

It is, however, to be hoped that a discriminating public, whose
taste in _Missal Painting and Illuminating_ has become considerably
enlightened and developed of late years, by the daily contemplation
of, and familiarity with, the works of our greatest masters,
(owing to the great liberality displayed by the trustees of the
British Museum, in throwing open, without reserve, for daily
inspection, the glowing vellums contained in its various collections,
together with the publication of such immortal works as the "Hours of
Anna Brittanny" published in Paris, etc., etc.) will be enabled to
discern the _useful_ from the worthless, and separate the _gold_ from
the _dross_.




ON ILLUMINATION.


The necessity for an "Elementary Instruction Book," to acquire the
art of illuminating on vellum, for the use of those who are desirous
of practising this beautiful and graceful accomplishment, has long
since become imperative; particularly since, to my own knowledge,
several handbooks have made their appearance, professedly with the
object of affording instruction to the many amateur artists, who
eagerly seek for such information in the first one that is presented
to them by the bookseller; and it often happens, that such books, by
their high sounding titles, deceive both the vendor and purchaser.
The subsequent disappointment to the latter may be easily imagined,
when, instead of the "instruction" anxiously looked for, he finds
an elaborate treatise "_cut short_" on the plea "_of the necessary
limits of the little work_," etc; and then only obtains snatches
of information of extraordinary existing specimens to be found in
the various libraries of Europe, to which he can have _no_ access;
interlarded with "technical phrases," of which he can have _no_
idea, and elaborate fragments of ornamentation, illustrative of
the author's text, but without affording him the slightest clue
what to do with them, or how, in his experience, he can apply them
to a useful purpose. The disappointed amateur artist, therefore,
turns away and feels himself sadly at a loss for some aid in his
endeavour to pursue a most beautiful, and, at the same time, easy
accomplishment, simply from the fact of unexplained difficulties
having been thrown in his path; for though specimens of illuminations
have from time to time been published, from which the student may
have derived some slight advantage,--if only a superficial insight
into style and taste,--yet they are universally of too elaborate a
character to be of much utility to the beginner; and in the attempt
to copy such specimens as Noel Humphreys has published in his
"Illuminated Books of the Middle Ages," the pupil frequently must
become embarrassed by the intricacy of the design; and not knowing
any method _where_ to commence or _how_ to proceed, would, in
attempting such specimens, make such signal failures, that in despair
he would throw his work aside, and for ever abandon an art, which,
simple and highly interesting in itself, would by him be considered
at once as futile and impracticable.

The beauty of illuminated drawing consists chiefly in the _nicety_
of execution, elaborate ornamental detail, and the mathematical
precision with which ornaments are frequently repeated throughout the
same design. The arrangement of colours requires also much judgment
and taste, whilst the knowledge how to lay them on evenly and
smoothly, requires the practical instruction of the teacher, without
whom it is almost impossible to overcome these difficulties, or
acquire proficiency, particularly in _raised gilding_, and the nicety
which is required in using the agate, with which the ornamentations
are engraved on matted gold or silver.

As an art, which originated at the remotest period of Christianity,
and which originally was practised by very limited artistic
intelligence, its first development was exceedingly simple, crude,
and grotesque. When the rolled papyrus manuscripts were superseded by
squares of parchment, in the form of our present books, the Scribes
or Monks of the early Christian period were the first who were
engaged in the writing of prayer-books or missals for the wealthier
classes of people, who at that time were alone enabled to indulge
in the luxury of a book; it is then we find the first germs of
artistic composition displayed, in the initial letters which began
to be conspicuously large and ornamental, fanciful, and sometimes
intricately and ingeniously contrived, in contradistinction to the
older rolled manuscripts discovered in Herculaneum and Pompeii, in
which no traces of ornamentation could be found. From this simple
source of artistic development, we may contrast the productions
of Giulio Clovio of a much later period, and his many and unknown
contemporaries, who have astonished the world by productions,
unequalled by anything that modern art could achieve. As I shall have
occasion to speak of the progress of illuminating, and ornamental
art, in a separate work about to be published, I merely hint here,
at the commencement, that, for modern purposes of illumination, it
would be highly pedantic to copy the earlier productions of missal
painting, merely because they are antique, if in other respects they
do not possess some artistic quality of graceful development both in
outline and colouring, to which the modern artist may, with very good
taste, give preference.

The object of this little work is not so much to enter into any
detailed history of the progress of ornamental art, which may
well become a separate and intricate study, as to smooth down
the difficult path of the beginner, to unravel for him apparent
mysteries in the art, to give him examples of practical designs to
imitate from, suitable to his skill; to point out to him clearly
and unmistakeably such rules as, from my experience, I have found
absolutely necessary to adopt, and which if studiously followed up
will, in a great measure, assist his first efforts and enhance his
ultimate success and proficiency.

That which is most remarkable in those mediæval vellum-illuminations
which have been preserved in the various collections of Europe,
is the brilliancy of their colours, tints unsurpassed by anything
that our modern contrivances can equal, or our colour-box approach.
Specimens which have stood the test of a thousand years' duration,
are as fresh and as brilliant as if they came newly from the artist's
hands. Such _orange_, and such _greens_, and _purples_, as if
directly snatched and stolen from the rainbow itself, or distilled
from the prismatic rays of a benignant sun. The borders are actually
studded with gems of colour which sparkle on the insects as if they
were photographed from nature, colours as well as form. Drapery,
damask, armoury, furs, and feathers, are all portrayed in such rich
and gorgeous tints, that we may well doubt whether the secret of
these colours has not died with those who used them centuries ago.
Our water-colours were as brickdust at the side of them. In order
somewhat to remedy the deficiency of our colours (as I found them)
in comparison with what was desirable, the attempt has been made to
manufacture them on a new principle, in order to preserve all the
brightness of the chief tints predominant in illuminations; and I
am happy to say, that, after years of experience, I have entirely
succeeded in producing a set of colours suitable for the purposes
of illumination; and I now beg to recommend to my pupils and readers
those only called "Illuminating Colours." Chemically speaking,
they are manufactured on a totally distinct principle from other
water-colours, and are made to answer all the purposes of illuminated
drawing, affording perfect facility on the one hand in laying them
on evenly and smoothly, and, on the other, saving a great deal of
time and labour, and enhancing much the general effect of the design,
in the _brilliancy_ of the tints; this refers more particularly to
their use when applied to vellum, which from its greasy surface
is apt to reject the _usual water-colours_, whilst those of the
illuminating-box are found perfectly to answer the purpose. I beg
also to recommend the "water gold-size," which in its application to
the drawing, can be raised considerably above its surface, assuming
all the appearance of being embossed, and can be _immediately_ gilded
over, which greatly expedites the process over that of any other gold
varnish.[A]

  [A] _Vide_ list of materials at the end of the book.

That persons having a knowledge of drawing can and will make better
illuminators than those who have not, there can be no doubt; and
the more accomplished the artist, the better illuminator he will
make is also obvious. Yet the art of illumination may be practised
by persons who may be but indifferent artists in general design,
and with a great deal of success; whilst others, conversant with
the highest principles of art, have frequently been found to be
but very indifferent illuminators. The reason of this is apparent;
illuminating being for the most part a strictly mechanical art
(though subject to artistic principles), any one possessed of natural
gifts of taste, patience and perseverance, will, by studiously
following out some slight mechanical contrivances, easily attain
the first principles primarily necessary to copy any given outline
however intricate; not even excluding the human figure.

The ornamental arabesque scroll, from its primitive simplicity
to the most elaborately finished foliage, interlaced initials,
etc., are given in due succession for the pupil to copy; by which
means his hand becomes gradually trained to curval delineations,
and his eyes get by degrees educated, till at last all angular
tendency in his ornamentations is entirely eradicated. Once trained
to that perfection, colouring and shading become comparatively
easy, and a little instruction, with practice, will enable the
hitherto uneducated artist to overcome almost every obstacle. The
free-hand artist, on the other hand, relying on his capacity alone,
and disregarding the mechanical contrivances at his command, not
unfrequently stumbles over the easiest parts, pettishly condemns
all such appliances, the neglect of which destroys the uniformity
and mathematical precision of his work, and finally he leaves off,
disgusted with his ill success.

I would, therefore, recommend first of all to the pupil to provide
himself with a box of Illuminating Colours, which can be obtained
of the author, or at any of the authors agents, which also includes
compasses, parallel rule, ruling-pen, agate, gold, etc., and other
little but indispensable tools; without which the student would be
at a loss to proceed. Having procured these, I would then place this
book in his hand, and, by following up the rules laid down here he
will find himself, at least, enabled to make such progress, that,
with the aid of one or two courses of instruction from a proper and
experienced artist, he will completely overcome those difficulties
which it would be vain to struggle against by himself. The manuscript
room in the British Museum, to which, on a proper recommendation,
access can be had, will finally give him an opportunity of studying
the art more fully, and make him conversant with the immense store
of mediæval treasures hoarded up there in endless variety and
profusion.




GENERAL RULES.


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, 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.




ON COLOURS.


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