class="x-ebookmaker-pageno" title="34"/> Colour-box," though highly-priced and costly fitted up, but to purchase that only which is likely and capable of answering his purpose.

I must give the present age credit for having left no means untried to supply the demand of suitable materials for the purposes of illuminating, in the hope of approaching, or even equalling, the effects displayed in the missals of the middle ages; and, as these effects vary in the originals, owing to different theories pursued by different artists, so the present systems adopted by various and eminent manufacturers in their present Illuminating Colours, are apt also to produce different results. We have then before us—Powder, Moist, Cake, and recently again a new contrivance of Liquid Colours, produced by a firm of eminent repute, and which, from my own experience, are certainly as bright and brilliant as one would wish to see—each of these possesses merits useful in its own way, provided the skill of the Artist has been able to seize on their adaptability,—but placing each of these four different kinds of colours in four equally clever hands, there will be four distinct results; thus, with our present Moist colours, we shall obtain (if we wish to imitate that) the coarsest results of the earlier productions of mediæval art, without their brilliancy, looking heavy, and wanting the transparency so charming in the better productions of the later Italian style. The Powder colours again look transparent, and perhaps brilliant, but require great skill and much manipulation, to keep the shading soft, and prevent the hard line, where the colour unhappily was suffered prematurely to dry; depth of tone, too, is out of the question. The Liquid colour possesses brilliancy of tint, a perfectly flat and even appearance like enamel, depth of tone, and is most useful for flat illuminations where no shading is required; transparency, however, according to my present impressions, is wanting. Cake colours, therefore, aided here and there by the adjuncts of moist or liquid colours, as the nature of the work in hand may suggest, are, in my opinion, the best medium through which the higher qualities of finish, and the general impression which those better and unapproachable specimens of our best models leave on our mind, can be attained.

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. "It is from your colour-box," would be the reply, and whilst, in another instance, I might find fault with a colour for being dingy and impure, she might have been heard to answer, that it was my own colour she had used. The fact is thus quite clear, that one artist has better skill to use the colours than another; and it requires a certain knowledge and method to use them properly. From my own experience, therefore, I will give explanations how each colour should be used, for what applies to one may be totally different in another. I shall, therefore, commence with—

The Ultramarine Blue,

Which is a metallic colour of recent invention, and chiefly manufactured in Germany. The best and purest is prepared in France, and varies considerably in price and quality. It forms one of the most essential colours in illuminated painting, giving tone and life to the whole, and forming a strong contrast against any other bright colour; it should, however, not be too predominant, but judiciously introduced. It is manufactured without any component ingredient which tends to affect its brightness, or its brilliant depth. In combination with enamel white it can be tempered to any shade, resembling the pure ultramarine in tint, but of a brighter and less greenish quality. It must be laid on very evenly, very rapidly, and after once being painted in and yet moist, a full brush must immediately be used, to let an additional quantity freely and fully drop in; when dry, it will be perfectly even and equally dispersed. Gold, 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.

Vermilion.

The vermilion, which at all times is difficult to obtain very bright, requires to be laid on evenly and not too thin; it should not be allowed to dry before the intended space be completed, otherwise you obtain a sharp edge. The brush should be moderately full, but if too full, it will cause the colour to run towards one point, and form a dark spot. Once is sufficient to go over with the brush, if carmine ornamentations are intended to embellish it; but when a bright red only is intended, it would be better to paint over twice, always taking care to let the first wash dry first, before applying the colour a second time. Carmine should always be used to shade or ornament it, and if in some instances a deeper contrast is desirable, add a little burnt carmine to it, where the greatest amount of intensity is required. Never use black to effect the object.

Emerald Green

Requires nearly the same treatment as vermilion, with a little more care in washing in a second time, since that colour is easily displaced by the second time going over it, which would give it an uneven appearance. The beauty of illuminated drawing is greatly increased by the solid and even appearance of the colours. If used faintly, it may be shaded and ornamented with cobalt; if used intensely, Hooker's green may be more effective; mixed with a little cobalt, it forms a bluish green, frequently introduced in drapery in the old missals. It is a useful and effective adjunct in scrollwork, but should not be used for the painting of natural leaves; they look then as if cut from bright green paper, instead of representing nature's variegated ornaments.

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 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.

Purple

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