DOI Heft:
No. 231 (June 1912)
DOI Artikel:Rosenkrantz, Tessa: Some modern illuminations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21157#0076
Modern Illuminations
ILLUMINATED TITLE-PAGE BY I'-HCEBE RENNELL
of Hiawatha, by Miss Dorothy Pelton, is an ex-
cellent example of modern illumination, and in the
text executed by Mrs. Powell on purple vellum
there is a personal charm which satisfies our desire
for individual expression in this delightful craft.
Mr. Granville Fell’s panel Spring is of particular
interest, because the artist’s design is here treated
by the beautiful “ vellucent ” process invented some
years ago by Mr. Cedric Chivers, an account of
which was given in an earlier number of this
magazine (see vol. xxix.). It is a process which
allows an exceptionally wide range to the decorator
of leathers, permitting pictorial treatment and a free
play of colour which is impossible under ordinary
conditions. The surface of the leather is covered
over by a transparent layer of vellum, which
protects it, and imparts to the colours a rich glow,
like the wonderful glaze upon certain old master-
pieces. The two surfaces are so pressed together
as to be like one material. The leather frame has
been omitted from the reproduction of Mr. Fell’s
design as not being directly pertinent to the subject
of this article, but the subdued effect given by the
vellum over the design is at once apparent.
From the examples of illuminations which we
reproduce it can be realised how wide is the scope
eye in form and in colour. On closer intimacy we
find that the pictures which usually form part of
the initial letters are in absolute harmony with the
subject of the page, and that every ornament chosen
bears some more or less near connection with the
book itself. Often the features of the architecture
of the church or monastery or royal palace to which
the book belongs are repeated or suggested in the
ornaments. An illuminated page should therefore
be primarily a beautiful piece of decoration, and
secondarily the decorations themselves should be in
harmony with the subject of the page. This is fai
removed from modern “ illustration.”
In the example we give by Mrs. Sydney Cockerell
the primary and secondary laws are beautifully
adhered to, and the no less important factor of
being faithful to the spirit of the age is also ful-
filled. It is a fine piece of decoration; the lettering
is beautiful and clear, the design adequate and
essentially modern.
Modern too, and well considered, is the most
pleasing illuminated panel for a Gloria in Excelsis
by Miss Olive Carleton Smyth, but we cannot
criticise it here on the same level with the Song
of Solomon, seeing that it is merely a “ panel,”
and not the page of a written book. The Song
54
on behalf of the Rcnjal Insti-
tute of British Architects-'
and of the Architectural
Societies both in the United
Kingdom and m theBritish
Uomuiions beqond the Seas
in alliance thcrennth, of^
ADDRESS, WITH LETTERING AND INITIAL. BY GRAILY
HEWITT
ILLUMINATED TITLE-PAGE BY I'-HCEBE RENNELL
of Hiawatha, by Miss Dorothy Pelton, is an ex-
cellent example of modern illumination, and in the
text executed by Mrs. Powell on purple vellum
there is a personal charm which satisfies our desire
for individual expression in this delightful craft.
Mr. Granville Fell’s panel Spring is of particular
interest, because the artist’s design is here treated
by the beautiful “ vellucent ” process invented some
years ago by Mr. Cedric Chivers, an account of
which was given in an earlier number of this
magazine (see vol. xxix.). It is a process which
allows an exceptionally wide range to the decorator
of leathers, permitting pictorial treatment and a free
play of colour which is impossible under ordinary
conditions. The surface of the leather is covered
over by a transparent layer of vellum, which
protects it, and imparts to the colours a rich glow,
like the wonderful glaze upon certain old master-
pieces. The two surfaces are so pressed together
as to be like one material. The leather frame has
been omitted from the reproduction of Mr. Fell’s
design as not being directly pertinent to the subject
of this article, but the subdued effect given by the
vellum over the design is at once apparent.
From the examples of illuminations which we
reproduce it can be realised how wide is the scope
eye in form and in colour. On closer intimacy we
find that the pictures which usually form part of
the initial letters are in absolute harmony with the
subject of the page, and that every ornament chosen
bears some more or less near connection with the
book itself. Often the features of the architecture
of the church or monastery or royal palace to which
the book belongs are repeated or suggested in the
ornaments. An illuminated page should therefore
be primarily a beautiful piece of decoration, and
secondarily the decorations themselves should be in
harmony with the subject of the page. This is fai
removed from modern “ illustration.”
In the example we give by Mrs. Sydney Cockerell
the primary and secondary laws are beautifully
adhered to, and the no less important factor of
being faithful to the spirit of the age is also ful-
filled. It is a fine piece of decoration; the lettering
is beautiful and clear, the design adequate and
essentially modern.
Modern too, and well considered, is the most
pleasing illuminated panel for a Gloria in Excelsis
by Miss Olive Carleton Smyth, but we cannot
criticise it here on the same level with the Song
of Solomon, seeing that it is merely a “ panel,”
and not the page of a written book. The Song
54
on behalf of the Rcnjal Insti-
tute of British Architects-'
and of the Architectural
Societies both in the United
Kingdom and m theBritish
Uomuiions beqond the Seas
in alliance thcrennth, of^
ADDRESS, WITH LETTERING AND INITIAL. BY GRAILY
HEWITT