A Theory of chisels and pens, which gave it its more characteristic
Illumination and finished form. If we use chisels and pens pro¬
perly we shall get a similar result—not absolutely
the same—for no two chisels or two hands can
be quite the same—but closely resembling it and
belonging to our own time as much as to any
other.

The essential form of the “Roman” A is a purely
abstract form, the common property of every rational
age and country,1 and its characterisation is mainly
the product of tools and materials not peculiar to the
ancient Romans.

But when there is any real complexity of form
and arrangement, or sentiment, we may reasonably
suppose that it is peculiar to its time, and that the
life and virtue of it cannot be restored.

It was common enough in the Middle Ages to
make an initial A of two dragons firmly locked
together by claws and teeth. Such forms fitted the
humour of the time, and were part of the then
natural “scheme of things.” But we should beware
of using such antique fantasies and “organisms”;
for medieval humour, together with its fauna and
flora, belong to the past. And our own work is only
honest when made in our own humour, time, and
place.

There are, however, an infinite variety of simple
abstract forms and symbols, such as circles, crosses,
squares, lozenges, triangles, and a number of Alpha¬
bets, such as Square and Round Capitals, Small
Letters—upright and sloping—which—weeded of

1 It has even been supposed that we might make the inhabit¬
ants of Mars aware of the existence of rational Terrestrials, by
exhibiting a vast illumination—in lamp-light—consisting of a
somewhat similar form—the first Proposition in Euclid.

162

archaisms—we may use freely. And all these forms A Theory of

can be diversified by the tools with which they are Illumination

made, and the manner in which the tools are used,

and be glorified by the addition of bright colours and

silver and gold. Very effective “designs” can be

made with “chequers” and diaper patterns, and with

the very letters themselves. And I have little doubt

that an excellent modern style of illumination is quite

feasible, in which the greatest possible richness of

colour effect is achieved together with extreme

simplicity of form.

“filigree, or pen-work, illumination”

(See also pp. 171-4, 175, 184-6, 411, 414-15;
figs. 79, 92, 125-26, 150, 188-89; Plates XI,

XIII, XIV, XVII.)

This is a type of illumination which can safely be
attempted by one who, having learnt to write, is
desirous of illuminating his writing; for it is the
direct outcome of penmanship (see p. 170), and con¬
sists mainly of pen flourishes, or semi-formal lines
and shapes which can be made with a pen, suitably
applied to the part to be decorated. Its effect may
be very charming and restful: no colour standing
out as in a positive colour scheme, no individual
form catching the eye ; but the whole having a rich¬
ness of simple detail and smooth colouring more or
less intricate and agreeably bewildering.

It may be compared to the tooling of a book-
cover, both in the method of producing it, and in
its effect. A book-binder has a number of stamps
which bear the simplest forms and symbols, such as
little circles and “leaves” and stars and curved lines,

163