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.

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