D. Laurent de Lara

“ The pedantic absurdity of retaining any class of ornamentation, solely because it was used in the early ages by our ancestral predecessors, on account of their notions of drawing and perspective being imperfect, is as rational, as it would be for the vigorous offspring of a lame parent to use crutches and insist on walking lamely; and whilst we may justly admire the ingenuity of their efforts in producing the historic records of their skill, we may, at least, elevate our taste in improving on that which plainly bears the stamp of their imperfections. ”

“ 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 ”

“ 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. ”

“ 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. ”

“ 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. ”

“ For 50 the same reason they object to green gold, or agate ornamentations; yet what can be more attractive than the yellow and bright green gold in combination, enriched by the artistic engravings of the agate? What more gorgeous to the eye than a display of graceful curves fantastically interwoven, enclosing highly-finished medallions, and thrown up by all the effects imagination and art can conjure up? ”

“ 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. ”

“ Gold, 37 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. ”

“ 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. ”

“ As the student will obtain better and more accurate ideas of copying from drawings than from prints, I have, at the suggestion of many of my friends, adopted this plan of supplying the amateur artist with an illuminated copy, and its outline, which he may easily fill up according to his own taste, or strictly follow the original: the encouragement this suggestion has received from the public has tended to confer a great boon on a worthy class of female artists, who have been zealous and successful in a beautiful branch of female accomplishment. ”

“ 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. ”

“ I therefore carefully selected models from the best specimens in the libraries of Paris, Brussels, Heidelberg, and Amsterdam, besides those to be found in our own Museum, and the Bodleian library, Oxford, and which, with important alterations, I found adaptable for my object. I attempted to illustrate subjects from the seventh to the fifteenth century—from the Byzantine, Anglo-Saxon, Flemish, and Italian schools, which should form a complete grammar of ornamental art, from which the student might learn something better than to daub in a worthless or a meaningless design. ”

“ We have the transparent border, with a profusion of scrollwork, foliage, fruits, flowers, and insects, relieved by tre-foiled ornamentations in raised gold, and the blank spaces filled up with black filigree work, and which I perform simply with the lead pencil. [C] The colours to be arranged in such borders may be as varied as possible, in proportion as the design consists of small and numerous ornamentations. The contrast and variety cannot here be too profuse, so long as they are made with discretion. A predominance of too much blue, or red, or green, becomes tiresome to the eye ”

“ Though the age of romance and chivalry has gone by, and we 70 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. ”

“ 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. ”

“ 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 33 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. ”

“ 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. ”

“ If the gold is closely to fill up against the scroll or flowers, you may throw a strong shadow under it on the gold, by which means the ornaments will appear to stand out in bold relief, and be very effective, taking care that the shadows are properly thrown on, and always according to the strict rules of drawing. [E] The solid part, instead of gold or silver, may also be made of a light tint, such as a pink, or light blue, or deep purple, or even black; in which case the same colours in 58 deeper tint, with solution of gum arabic may be used, this will throw up the shadow more perfectly ”

“ 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? ”

“ 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 39 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. ”

“ 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. ”

“ WHILST the student may profitably employ himself in attempting minor trifles—initials, copies of anything within his reach, or his own ideas; to acquire proficiency in the art, it is requisite to employ a master to direct his taste on the one hand, and to lead him on step by step to perfection, on the other. ”

“ What probable results are likely to follow from this general revival of an obsolete art? 13 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 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 27 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 ”

“ 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. 26 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 ”

“ 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. ”