tag="{http://www.w3.org/1999/xhtml}a">Plate IX. is a careful outline of the above.

Plate X., from the Missal of Ferdinand and Isabella (British Museum, Add. 1851), described at page 57 of the "Historical Manual," introduces us to the pictorial, or rather miniature style,—one, which can only be excelled in by those who are prepared to devote themselves to painting as no longer a decorative, but as essentially a "fine art." Far am I from saying that the highest possible art was not brought to bear upon much Mediæval illumination; all that I would convey is, that care and neatness may produce very respectable reproductions of ordinary ornamental work, such as was commonly used during the fourteenth, and early in the fifteenth centuries; but that they alone will be found quite inadequate to imitate successfully the highly modelled and fully shadowed foliage, landscape, architectural groups, and figure subjects, which incessantly recur in books illuminated at periods corresponding with the great Renaissance of art under the Van Eycks and Memlings of Flanders, the Durers of Germany, and the Peruginos, Pinturicchios, and Raffaelles, of Italy.

Plate XI., fully coloured from the same source as Plate X., can only be satisfactorily copied by the student, who may have learnt to shadow with the brush from either objects "in the round," or from really good copies, either by very great personal devotion and perseverance, or under an experienced master.

Plate XII. gives a careful outline of the preceding plate.

M. D. W.

PART I.

WHAT ILLUMINATING WAS.

N the following pages an attempt has been made to concentrate into limited dimensions that which has generally been treated very voluminously. Few authors, who have tried both, will feel inclined to deny, that it is a much more difficult task to compress a great subject into a little book successfully, than it is to expand a little subject into a great book. Where materials of the highest interest, historically, artistically, and intellectually, abound, the danger is lest suppression and condensation may not break the links essential to bind a perspicuous narrative together. I must, therefore, on these grounds claim the indulgence of the reader, who may, I trust, be induced by the very imperfections of my story, to recur to the pages of those more copious and learned writers on the subjects, who have bestowed upon its elucidation long lives of exemplary and pertinacious industry.

Before, however, entering on my theme, it is my duty to point out to the reader, that although, for popular convenience and simplicity, it has been deemed expedient to divide the history of the Art of Illuminating from the theory of its use and practice, I have considered that each of the subdivided parts would be made more valuable by association, and by being made mutually suggestive and illustrative—by being, in fact, cast as two parts of one work, rather than as two separate works. I have not, therefore, hesitated to refer in this, the "Historical Manual," to the historical interest of plates contained in the technical, nor in the "Technical Manual" to the technical interest of plates contained in the historical. Much, indeed, of the matter contained in both should be considered as common to the two. Thus the ancient technical processes are no less historically interesting, than they may be likely, by a judicious revival of such as may be worthy, to prove practically valuable in the present day. Again, whatever proficiency a student may attain in the manipulation of his or her drawing, gilding, or painting, it will be in vain to hope to be enabled to produce a work of art which shall be satisfactory to the educated eye and taste, until a very considerable acquaintance has been made with the peculiarities of the various styles in which our forefathers delighted. No originality can ever be permanently agreeable which does not discard the precise conventional form of a period, which is but a mode or transient fashion, in favour of the principles which pervade all synchronous works of art, and which, transmute them as we may, must ever remain permanent through all time. Historically we should remember that miniature ornament of every period reflects on a diminished scale, and frequently in a highly concentrated form, the leading spirit which may have pervaded the greater revolutions of monumental art. Owing to the license which the diminished scale afforded, the imagination of the artist in these works was restricted by none of those material impediments which, in the execution of the major monuments of art, protracted the realization of the changing fashions of the day, frequently until long after the period when the original impulse may have been communicated to the art in which those variations were possibly but transient fluctuations.

Thus it is that in these relics of the past may frequently be traced artistic impulses destined to find no other embodiment than the form in which they are presented to us in the pages of a manuscript. The copiousness, then, of such documentary illustrations of the invention of remote periods is one of the most valuable features of the teaching they should convey to us. No revival nowadays of any historical style by the architect can be satisfactory which is not based upon a knowledge, not of the purely architectural features of the period alone, but of the condition and characteristics of all those decorative details which distinguished it as a living reality from the effete and denuded relic which may now only present itself for our information. Thus even the Saxon and Romanesque styles of architecture may, through the architect's careful attention to the decorative features exhibited to us in the pages of ancient illuminated books, be revived, not in their rude and structural nudity, but as glowing with those colours, and decorated with those forms, which we may observe as peculiarly affected in the ornamental and pictorial embellishments of the best artists of the days when those styles were the only ones popularly adopted. And not only are the beautiful ornaments and decorative features of illuminated manuscripts valuable as supplying us with correct information as to the system of embellishment regarded by the best artists of each period as harmonizing most perfectly with the structural styles prevalent in their days; but in the measure of their permanent beauty they are no less valuable to us as indications of what is excellent for all time.

Thus, then, they may be used, either as enabling us to restore the most brilliant features of the historic styles with an accuracy to be acquired from no other sources of information, or they may be regarded as providing us with materials for that more extended system of eclectic selection which must afford the only basis of perfection and originality in any styles which