Read Ebook: Emblematic Illumination; or Forms Colours and Emblems Suitable for Illuminating Texts of Holy Scripture in Large Style in Oils or Water-colours. by Redgrave F M Frances Margaret Editor

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Editor: Frances Margaret Redgrave

Emblematic Illumination; OR, Forms, Colours, and Emblems

COLLECTED AND EDITED BY F. M. R.

PREFACE

Such sacred symbols as could easily be introduced into illuminated scrolls have been described, in the hope that, by their assistance, a taste for strictly appropriate ornamentation may be more largely cultivated, to the exclusion of those unmeaning and tawdry decorations which offend the eye.

Instead of furnishing copies of antique capitals, of which so many excellent collections now abound, it has been thought more useful to supply the reader with some specimens of emblematic letters , suitable for particular texts, several of which are also subjoined.

The instructions for the mechanical part of the work are given on the authority of experience, while the significations of colours and emblems have been carefully collected from larger and standard publications.

F. M. R.

THE FOLLOWING ARE NOW READY:--

ONE SHILLING EACH.

TWO SHILLINGS.

FORMS.

To begin with the purely mechanical part of our work, let us enumerate the materials required for drawing the outlines:--

N.B. The prices of materials vary so much, that only a general idea can be given of them, as some guide to beginners.

The beginner should endeavour to obtain one or two sheets of alphabets in black and white, of the full size required, say about two inches high.

An alphabet of "lower-case," or small letters, is subjoined, which will be found to harmonise well with almost any capitals, and is in proportion to those of two or two and a half inches high.

In arranging for the outline of a text, first select the necessary capitals. The initial must be the handsomest of all, as being the introduction and dedication of the work to The Blessed Trinity. Capitals are generally employed throughout the Sacred Names; the first letter may be the largest, the following of the same height as the small letters.

They are also prefixed to such words as we wish especially to emphasize, as in the following examples:--

But although rules of style, date, and country, are important, they should never, in my opinion, be carried out so rigidly as to make our work either fantastic or illegible--two very serious blemishes. Indeed, if we sacrifice to strict chronological order all possibility of reading the letters without an interpreter, our labour, as far as others are concerned, is worse than useless, tending to bring the whole art into disrepute.

Capitals with simple curves should not be mixed with those in which the curves become pointed, the styles being distinct.

The styles which prevailed from the 11th to the 14th century are considered the best, the later ones in particular. After that date the art of illuminating gradually decayed.

In proceeding to draw the outline of a text, it is a most useful practice to sketch it out roughly on tissue-paper, in order to ascertain what space it will occupy. This plan will prevent much disappointment , as, even after long practice, we are often mistaken in the supposed length of a printed sentence: nothing can look worse than one-half of the letters spread widely over the scroll, and the rest crowded together, to make up for the room wasted at the beginning.

Various forms of scroll will be alluded to in speaking of "Borders," omitted here for the sake of clearness.

These and similar measurements are given, as being in proportion to the small alphabet and capitals subjoined.

Some initial letters, such as O, T, &c. admit of the insertion of a small photograph of a sacred subject, several of which can now be procured, even at one penny each. Among others may be selected the "Ecce Homo," "The Saviour bearing the Cross," "Blessing little Children," &c.

So little practice is required to draw the small letters correctly, that it is scarcely worth while to attempt tracing them; indeed the difficulty of keeping a large piece of tissue-paper steady interferes greatly with the chances of success. In drawing these letters , be careful to make all the stems of equal thickness, and let them be in due proportion, of height and width, to the accompanying capitals. The letters should be placed as near to each other as is consistent with clearness, and about half an inch may be left between each word: let these distances be kept uniform throughout the work. Study to draw the letters perfectly straight and upright, to ensure which is the use of the ivory ruler, thus:--

The ornamental stop--or perhaps a Greek cross--and any other intended additions, should be traced now. When the hand and eye are a little practised, sprays of trefoil and similar decorations will look more natural and easy, if drawn freshly upon the scroll. Triplets of leaves and berries have a graceful and suitable effect, and these, in illuminations, may be drawn conventionally, rather than naturally. A clever writer says, "Rigidly avoid contrasting natural with conventional foliage. Adopt which you like, for by either beautiful effects may be produced; but mix them, and the charm of both is gone. Natural foliage may be successfully combined with any other varieties of conventional ornament, excepting those based upon natural foliage."

M. Digby Wyatt, B.A.

The Vine Passion-flower, Ivy, or any trefoils, have a beautiful effect, if gracefully twined about, or drooping from the initial letter.

The introduction of small photographs either into the initial letter, or placed before it, with a simple border in gold, edged with blue, has often a beautiful significance and effect. Care should, however, be taken in the selection, that the picture and the sacred words subjoined have a real connexion with each other. For example, the Magdalene at the foot of the cross is not suitable in illustration of the text, "Lord, remember me when Thou comest into Thy kingdom." A square picture may have the lines of the border prolonged so as to cross at the corners and finish about half an inch from the principal line. An arch may be surmounted with a cross.

To those who prefer concentrating all possible beauty of decoration on the sacred words of a text the most approved border will be that resembling "a riband of blue," which is most simple in execution. Rule a line rather less than a quarter of an inch from the edge of the cardboard, and fill it in carefully and steadily with colour. The ruled line is indispensable to the preservation of a neat and uniform edge. If blue already predominate in the scroll, red can be substituted in the border; gold, without a coloured outline on each side, always looks indistinct. Lines of colour may be drawn within the edge, using a reed pen , and the long ruler.

If the scroll is meant to represent a riband curled at the ends, or folded, the reverse side may be ornamented with gold stars, or foliage. Plainly shaded blue, with perhaps a narrow gold edge, will, however, be found most suitable; if prominent colours are gaudily used for the reverse side of the riband, it will appear to come forward, leaving the text in the background.

Specimens of differently shaped scrolls are affixed to each of our chapters.

COLOURS.

The materials required are as follows:--

Half-cakes of all the colours are sold equally good.

The German blue, however, is the most economical, and very useful.

This gold will discolour in time, but with care in keeping the brush and saucer quite clean, it will retain its brightness at least a year.

Shell gold is not suitable for large works.

Another method is to pass the piece of writing-paper sharply and briskly over your hair, two or three times, which, charging it slightly with electricity, will make the paper adhesive, so that the gold-leaf will be taken up by it.

There are other methods of applying gold-leaf, but this is given as the simplest. A gilder's tip is generally used, but requires skill in handling, which remark applies also to the gilder's palette and knife.

Any corners to which the gold has not adhered may be retouched with the size, and gilded as before. Be careful not to touch the gold with the fingers, or it will be quite spoilt. If the leaf curls up upon the paper, it can be blown down with a gentle breath.

SILVER is sold in shells; a water-colour, but it quickly tarnishes.

In proceeding to illuminate the scroll, place a little vermilion-powder, and quite twice as much carmine, in a saucer, with a drop or two of thick gum-water; mix it well with a brush, adding water as required. Stir the paint up now and then during use, as the vermilion has a tendency to sink.

One or two drops of ammonia improves the carmine.

Paint all the black in the scroll first, the red next, and, if German blue, blue last, as, with every precaution, it is apt to rub--in which case, remove the blemishes with crumbs of bread. If the text should consist of two lines, finish the upper one first , to prevent injury to the lower one by rubbing. Fresh water should be provided for each colour, in order to preserve its brightness.

For transmission by railway, &c. cardboard scrolls must be protected either by a thin piece of wood of the same size, or by two pieces of stout millboard, well wrapped round with paper. Even a dozen large scrolls packed together have been ruined for want of these precautions.

The following materials are required:--

In churches where the walls are damp, or otherwise unsuited for receiving colour, it is found that zinc is an excellent material for illuminating texts from Holy Scripture, to be fixed to the wall when completed. This method is much less expensive than painting in fresco.

Foundation-colours, &c. suitable to particular seasons of the Church will be enumerated at the end of this article.

The size, shape, and length of a scroll must, of course, vary with the position it is intended to occupy. In a text composed entirely of capitals, the size of the letters should be about half the depth of the zinc: the latter being 6 inches, including the border, the capitals would be 3 inches high. Small letters would bear, of course, their usual proportion, as in other illuminations. It is quite a mistaken idea that the larger the printing, the plainer will be the text; clearness is rather attained by keeping the letters close to each other, and leaving a sufficient space between each word. It will be found, as a general rule, that, with the exception of the letter I, all capitals are contained in a square--if 3 inches high, 3 wide. It is very useful to bear this in mind in calculating the number of words to be printed in a given space, especially when it is difficult to judge of the effect till complete. Texts for large churches, to be placed round arches, or at any great height, are generally printed in capitals.

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