The History, Theory, and Practice of Illuminating: Condensed from 'The Art of Illuminating' by the same illustrator and authorWyatt, M. Digby (Matthew Digby), Sir
History
The History, Theory, and Practice of Illuminating: Condensed from 'The Art of Illuminating' by the same illustrator and author
Wyatt, M. Digby (Matthew Digby), Sir
Alphabet; Illumination of books and manuscripts; Initials
As pursuing the subject of ancient processes further than I have now done,
would scarcely he profitable to the student, I proceed to the second
division of this part of my subject, and accordingly take up _the modern
processes_. In offering the following details on this subject, however, to
the amateur's attention, I would not for one moment let it be supposed that
a knowledge of them alone will be sufficient to make him an efficient
illuminator. Fortunately many very excellent artists have of late devoted
themselves to giving instruction in the practical manipulation of the art,
and amateurs cannot do better than place themselves at once in
communication with masters, whose addresses may be obtained at the shops of
the principal artists' colourmen. There will still be, no doubt, in
different parts of the country, many desirous of illuminating, and yet
unable to obtain the benefit of seeing a practised hand work before them,
or even to pick up information as to the _modus operandi_. To such, at
least, the following observations may prove useful.[114]
The two great sections into which all the processes by which illumination
of any kind may be executed, divide themselves, are--1st, those in which
water and glutinous substances soluble in water form the vehicles for
applying the pigments, and causing them to adhere to the surfaces on which
they may be applied; and 2ndly, those in which oil or spirit, and resins,
or other substances which combine readily with such fluids, are made to
perform corresponding functions. The pigments, reduced to an impalpable
powder, are the same in both classes of processes, which are commonly known
as watercolour-painting and oil-painting. That which was of old the
artist's greatest stumbling-block--the manufacture and preparation of his
pigments--need now no longer occasion him the slightest embarrassment; for
every colour with which his palette could be enriched is to be bought,
ready prepared, of the principal artists' colourmen. In like manner every
other essential for his use is now freely at his command; and all that is
required on his part is knowledge how to employ the materials which others
most dexterously and carefully place at his disposal.
In commencing the collection of that information which I am now
endeavouring to communicate, I felt it my duty to enter into correspondence
with all those manufacturers whose products I had at different times
personally tested; and I accordingly addressed myself to the following,
whose materials, with insignificant exceptions, I have invariably found
satisfactory, both in nature and quality.
Public-domain text, read in full here on John Shaqi.
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