I cannot quit this portion of my theme without one word of summary, in the way of advice, to the designer of illumination, on whatever material applied. Briefly, then, let him eschew quaintness, and aim at beauty; let him not shrink from beauty in old times because it was masked in quaintness; but with a discriminating eye let him learn to winnow the chaff from the wheat, and, scattering the one to the winds, let him garner up the other in the storehouse of his memory, and for the sustenance of his artistic life; and let him rest assured that the best designers, in all ages, have been usually those who have gathered most widely and profoundly from the failures, successes, and experiences of their predecessors. PART II. HOW ILLUMINATING MAY BE PRACTISED. On analysis it will be found that this section of my Essay resolves itself into three divisions, embracing respectively, 1stly, the ancient processes; 2ndly, the modern processes; and, 3rdly, the possible processes, not yet introduced into common use. Of the last, I do not propose speaking in the present work. Notices of the first of these might of course have been presented in the historical manual; but, upon reflection, I considered it would be most useful to the student to introduce them, in a collected form, in this place; and for the following reasons:--1stly, In order that they might not interrupt the thread of the narrative; and, 2ndly, because I considered it desirable to put the ancient and modern processes in direct contrast, so that the amateur might be the better enabled to reject what is obsolete in the former, and to revive any which might appear to promise greater technical excellence or facility than he might be enabled to obtain through the employment of the latter. I commence, therefore, with the _Ancient processes_.