however, be taken in the selection, that the picture and the sacred words subjoined have a real connexion with each other. For example, the Magdalene at the foot of the cross is not suitable in illustration of the text, "Lord, remember me when Thou comest into Thy kingdom." A square picture may have the lines of the border prolonged so as to cross at the corners and finish about half an inch from the principal line. An arch may be surmounted with a cross.

Borders.

To those who prefer concentrating all possible beauty of decoration on the sacred words of a text the most approved border will be that resembling "a riband of blue," which is most simple in execution. Rule a line rather less than a quarter of an inch from the edge of the cardboard, and fill it in carefully and steadily with colour. The ruled line is indispensable to the preservation of a neat and uniform edge. If blue already predominate in the scroll, red can be substituted in the border; gold, without a coloured outline on each side, always looks indistinct. Lines of colour may be drawn within the edge, using a reed pen (or large soft quill), and the long ruler.

A triple trefoil in each corner, coloured, with gold edge, has a good effect, if the letters are very plain: these should, however, be in addition to a plain coloured edge or border.—Ornamental borders should consist of suitable sprays wound round a thick bar, which gives an appearance of solidity, the grace of curved lines being much enhanced by contrast with the perpendicular or horizontal.

If the scroll is meant to represent a riband curled at the ends, or folded, the reverse side may be ornamented with gold stars, or foliage. Plainly shaded blue, with perhaps a narrow gold edge, will, however, be found most suitable; if prominent colours are gaudily used for the reverse side of the riband, it will appear to come forward, leaving the text in the background.

Specimens of differently shaped scrolls are affixed to each of our chapters.

In conclusion, it cannot be too strictly enforced, that every line, straight or curved, should be firmly drawn, and the edges, in painting, be kept perfectly neat and clear. Whether from unsteadiness in outline, or from a shaking hand when painting (especially in gold), nine-tenths of the amateur illuminations produced have a quivering ruggedness about them which could well be dispensed with. In ornamental finish, also, this unsteadiness is almost universal, so that the points of small leaves, or fleurs-de-lys, instead of being sharply defined, most frequently degenerate into unsightly loops, similar to the following example.

As it should be.

As it generally is.

Painting.

The materials required are as follows:—

1. Blue (intense). German (or French) blue, in powder, at 6d. per ounce. It is at first rather troublesome to use, requiring to be mixed with plenty of gum-water, to prevent rubbing.

Smalt, 5s.; or French blue, 3s.[7] These are prepared as moist colours in covered pans.

The German blue, however, is the most economical, and very useful.

2. Red. What is called "Carmine" powder, at 1s. per oz., will be found very useful, but the genuine colour is much more expensive. Vermilion, ditto, 6d. per oz. Both of these are necessary.

3. Purple (violet). For the colour ready prepared, "violet carmine," moist cake, 2s. To compose the colour, crimson lake, a little to be mixed with cobalt blue. This is very rarely used.

4. White. Chinese white, in a tin tube, 1s. This is little used except on tinted cardboard.

5. Green (emerald). Moist colour, 1s.

6. Black (lamp). Ditto.

7. Grey. For bright grey, smalt mixed with Chinese white; for a duller tint add a very little brown madder. This is a colour seldom used in illuminating large scrolls, and only suitable for grounding.

A cake of neutral tint (to mix with cobalt) for shading white flowers, or a white dove.

Gold. For beginners, "Bessemer's Gold Paint."[8] |Bessemer's Gold Paint. |This includes two bottles, one of gold powder, the other of oil; price 1s. 6d. The powder always outlasts the oil, but the latter can be bought separately, 6d. per bottle. Very little of the powder and oil must be mixed at a time, as it dries up very quickly, requiring the occasional addition of a drop of the oil. If too much oil is added, the gold will look thin and poor, leaving greasy edges on the cardboard. It is a good plan to employ two little saucers, placing the powder in one and oil in the other.

A small quantity of spirits of turpentine is required, with which the brush and saucer must be washed perfectly clean, immediately after use; wipe them dry with a piece of rag or soft paper. If this rule be neglected, the gold hardens, and brush and saucer become useless.

Shell gold (with which water only is employed) is not suitable for large works.

Chinese metallic ink, or liquid gold 1s. per bottle, is an excellent preparation. When thoroughly mixed by shaking, pour a little into a small saucer, stirring it up each time the brush is filled. At first, great care is requisite to prevent blots. It works most easily when nearly dry, by the addition of a little water in the brush.

Leaf-gold is considered the most durable, is beautifully bright, and repays the trouble of its application. A "book" containing 25 leaves costs 1s. 6d., or 100 leaves for 4s. Water-gold size seems to be the simplest preparation, 1s. 6d. per box. This size is used like a moist colour, with water. Paint the surface to be gilded, smoothly and rather thickly, carefully preserving the edges clear and sharp. |Gold-leaf.| Let it stand until, on touching the size lightly with the finger, it is found to be sticky, but not moist, so as to smear. While the size is drying, take a piece