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
_Carmine._--A deep-toned luminous crimson, much stronger than crimson
lake; is clean and transparent. The brilliancy of this powerful colour
can be increased, by using it over a ground of gamboge.
_Orange Vermilion._--A high-toned opaque red, of pure and brilliant hue,
standing in relation to ordinary vermilion as carmine to crimson lake. It
is extremely effective, and answers admirably where vivid opaque red is
required; it works, washes, and mixes well. Its admixture with cadmium
results in a fine range of warm luminous tints. When mixed with lemon
yellow, it furnishes a series of extremely clean and pure tints; when
toned with white, the shades are clear and effective. This is a most
useful colour.
_Vermilion._--A dense, deep-toned red, powerful in colour, and opaque. It
is not so pure in tone as orange vermilion, and is of most service when
used alone; it can, however, be thinned with white and with yellows.
BLUES.
_Cobalt Blue._--A light-toned blue, clean and pure in tint, and
semi-transparent. This is the lightest blue used in illuminating, and by
the addition of white can he "paled" to any extent, the tints keeping
clear and good. Mixed with lemon yellow, it makes a clean useful green.
Its admixture with gamboge is not so satisfactory, and the green produced
by its combination with Mars yellow is dirty and useless. With rose
madder it produces middling, warm and cold purples (_i.e._, marones, and
lilacs or violets); with crimson lake, strong and effective ones; with
carmine, ditto. A series of quiet neutral tints can be produced by its
admixture with orange vermilion. The tints in question are clean and
good, and might occasionally be useful.
_French Blue._--A deep rich blue, nearly transparent; is the best
substitute for genuine ultramarine. The greens it makes with lemon
yellow, gamboge, cadmium, and Mars yellow, are not very effective or
useful. The violets and marones it forms with rose madder are granulous
and unsatisfactory; with carmine they are somewhat better; but those
formed with crimson lake are very good.
_Smalt._--A brilliant, full-toned blue; deep in tone, and nearly
transparent; luminous and very effective when used alone. It is
granulous, and does not wash or mix well. The greens it makes are not
particularly useful.
ORANGES.
_Mars Orange._--A brilliant orange of very pure tone, transparent and
lighter in colour than burnt sienna; and is not so coarse or staring. An
effective and useful colour.
_Burnt Sienna._--A deep rich orange, transparent and effective; works
well and mixes freely.
PURPLES.
_Indian Purple._--A rich deep-toned violet, or cold purple colour; most
effective when used alone. Can be lighted with French blue or cobalt, and
the tints will be found useful.
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