part ii

. (New York, 1902), and the chapters of E. B. Greene's _The Government of Illinois_ (New York, 1904) contain useful lists of documents, monographs and books. Physiography is well described in _The Illinois Glacial Lobe_ (U.S. Geological Survey, Monograph, xxxviii.) and _The Water Resources of Illinois_ (U.S. Geological Survey, Annual Report, xviii.). The Illinois State Laboratory of Natural History, connected with the State University, has published S. A. Forbes and R. E. Richardson's _Fishes of Illinois_ (Urbana, 1909). Information concerning economic conditions may be derived from the volumes of the _Twelfth Census of the United States_, which treat of Agriculture, Manufactures and Mines and Quarries: a summary of agricultural conditions may be found in _Census Bulletin No. 213_. Constitutional and administrative problems are discussed in Elliott Anthony's _Constitutional History of Illinois_; Greene's _The Government of Illinois_, and H. P. Judson's _The Government of Illinois_ (New York, 1900). Among the reports of the state officials, those of the Railroad and Ware House Commission, of the Bureau of Labor Statistics, and of the Commissioners of Charity are especially valuable. There is an historical study of the problem of taxation, entitled, "History of the Struggle in Illinois to realize Equality in Taxation," by H. B. Hurd, in the _Publications of the Michigan Political Science Association_ (1901). Local government is described by Albert Shaw, _Local Government in Illinois_ (Johns Hopkins University Studies, vol. i. No. 10). The _Blue Book of the State of Illinois_ (Springfield, 1903); H. B. Hurd's Revised Statutes of Illinois (Chicago, 1903), and Starr and Curtis, _Annotated Statutes of the State of Illinois_ (Chicago, 1896), are also of value.

The standard histories of the state are J. Moses, _Illinois, Historical and Statistical_ (2 vols., Chicago, 1889); and H. Davidson and B. Stuvé, _Complete History of Illinois_ (Springfield, 1874). Edward G. Mason's _Chapters from Illinois History_ (Chicago, 1901) is of interest for the French explorations and the colonial period. C. E. Boyd in "The County of Illinois" (_American Hist. Rev._ vol. iv.), "Record Book and Papers of John Todd" (_Chicago Historical Society, Collections_, iv.), C. E. Carter, _Great Britain and the Illinois Country, 1763-1774_ (Washington, 1910), R. L. Schuyler, _The Transition of Illinois to American Government_ (New York, 1909), and W. H. Smith in _The St Clair Papers_ (Cincinnati, 1882), and the _Territorial Records of Illinois_ ("Publications of the State Historical Library," No. 3) are important for the period until 1818. Governor Thomas Ford's _History of Illinois_ (Chicago, 1854), and Governor John Reynolds's _My Own Times_ (1855), are contemporary sources for 1818-1846; they should be supplemented by N. W. Edwards's _History of Illinois (1778-1833)_ and _Life of Ninian Edwards_ (Springfield, 1870), E. B. Washburne's _Edwards Papers_ (Chicago, 1884), C. H. Garnett's _State Banks of Issue in Illinois_ (Univ. of Ill., 1898), and N. G. Harris's _History of Negro Servitude in Illinois_ (Chicago, 1904). C. E. Carr's _The Illini_ (Chicago, 1904) is a study of conditions in Illinois from 1850-1860. W. W. Lusk's _Politics and Politicians of Illinois, the Illinois Constitutional Convention_ (1862), _the Granger Movement in Illinois_, and _Illinois Railway Legislation and Common Control_ (University of Illinois Studies), _Street Railway Legislation in Illinois_ (_Atlantic Monthly_, vol. xciii.), are of value for conditions after 1860. The publications of the Chicago Historical Society, of the "Fergus Historical" series, of the State Historical Library, of the Wisconsin Historical Society, also the Michigan Pioneer Collections, contain valuable documents and essays.

FOOTNOTES:

[1] The statistics for years prior to 1900 are taken from reports of the U.S. Census, those for years after 1900 from the _Year Books_ of the U.S. Department of Agriculture. It should be borne in mind that in census years, when comparison can be made, the two sets of statistics often vary considerably.

[2] According to the report of the State Geological Survey, the value of the total mineral product in the state for 1907 was $152,122,648, the values of the different minerals being as follows: coal, $54,687,382; pig iron, about $52,228,000; petroleum, $16,432,947; clay and clay products, $13,351,362; zinc, $6,614,608; limestone, $4,333,651; Portland cement, $2,632,576; sand and gravel, $1,367,653; natural slag, $174,282; fluorspar, $141,971; mineral waters, $91,700; lead ore, $45,760; sandstone, $14,996; and pyrite, $5700.

[3] See the so-called _McLean County Case_ (67 Ill. 11), the _Neal Ruggles Case_ (91 Ill. 256), _The People_ v. _The Illinois Central Railroad Co._ (95 Ill. 313), and _Munn_ v. _Ill._ (94 U.S. 113).

[4] The populations in other census years were: (1810), 12,282; (1820), 55,211; (1830), 157,445; (1840), 476,183; (1850), 851,470; (1860), 1,711,951; (1870), 2,539,891; (1880), 3,077,871.

[5] The influence of immigration and sectionalism upon Illinois politics is well illustrated by the fact that the first six governors (1818-1838) were born in the Southern states, six of the eight United States senators of that period were also Southern born, and all of the representatives, with one exception, also came to Illinois from the Southern states. After 1838 the Eastern states began to be represented among the governors, but until 1901 no governor was elected who was a native of Illinois. See E. B. Greene, _Sectional Forces in the History of Illinois_ (Publications of the Historical Library of Illinois, No. 8, 1903).

[6] In the slavery issue of 1848 the sentiment for abolition centred in the northern counties, the opposition in the southern.

[7] Mr French's service of seven years is due to the fact that the Constitutional Convention of 1848 ordered a new election of state officials. French was re-elected Governor, beginning his new term in 1849.

ILLORIN, a province of British West Africa in the protectorate of Nigeria. It has an area of 6300 m., with an estimated population of about 250,000. Its inhabitants are of various tribes, among which the Yoruba now predominate. There are two minor emirates, Shonga and Lafiagi in this province, and a number of semi-independent towns of which the chief are Awton, Ajassa, Offa and Patiji. Under British administration the province is divided into three divisions, Illorin (central), Offa (southern) and Patiji (northern). The province is rich in agricultural and sylvan products. Among the former are tobacco, cotton, rice, peppers, ground-nuts and kolas. The latter include great quantities of shea as well as palm-oil and rubber. The capital is a town of the same name as the province. It is 160 m. in a direct line N.N.E. of Lagos, and 50 m. S.S.W. of Jebba, a port on the Niger, being connected with both places by railway. The town is surrounded by a mud wall partly in ruins, which has a circuit of some 10 m. Illorin is a great trading centre, Hausa caravans bringing goods from central Africa, and merchandise from the coasts of the Mediterranean, which is distributed from Illorin to Dahomey, Benin and the Lagos hinterland, while from the Guinea coast the trade is in the hands of the Yoruba and comes chiefly through Lagos. A variety of manufactures are carried on, including the making of leather goods, carved wooden vessels, finely plaited mats, embroidered work, shoes of yellow and red leather and pottery of various kinds. Before the establishment of British administration traders from the south, with a few selected exceptions, were prohibited from entering the city. Illorin middlemen transacted all business between the traders from the north, who were not allowed to pass to the south, and those from the south. Since the establishment of British authority the town has been thrown open, crowds of petty traders from Lagos have flocked into Illorin, and between 4000 and 5000 trade licences are issued yearly. The British resident estimated in 1904 that at least 3000 loads of British cotton goods, which he valued at £5 a load, were imported. The population of the town is estimated at from 60,000 to 70,000. The chief buildings are the palace of the emir and the houses of the _baloguns_ (war chiefs). From the centre of the town roads radiate like spokes of a wheel to the various gates. Baobabs and other shade trees are numerous. There are a number of mosques in the town, and the Mahommedans are the dominant power, but the Yoruba, who constitute the bulk of the people, are pagans.

The town of Illorin was founded, towards the close of the 18th century, by Yoruba, and rose to be the capital of one of the Yoruba kingdoms. About 1825 the kingdom, which had come under Mahommedan influence, ceased its connexion with the Yoruba states and became an emirate of the Sokoto empire. The Fula, however, maintained the Yoruba system of government, which places the chief power in a council of elders. In 1897 Illorin was occupied by the forces of the Royal Niger Company, and the emir placed himself "entirely under the protection and power of the company." After the assumption of authority by the British government in 1900, Illorin was organized for administration on the same system as the remainder of northern Nigeria. The emir took the oath of allegiance to the sovereign of Great Britain. A resident was placed at his court. Courts of justice have been established and British garrisons quartered at various places in the province. (See also NIGERIA and LAGOS.)

ILLUMINATED MSS.--"Illumination," in art, is a term used to signify the embellishment of written or printed text or design with colours and gold, rarely also with silver. The old form of the verb "to illuminate" was "to enlumine" (O. Fr. _enluminer_; Lat. _illuminare_, "to throw light on," "to brighten"), as used by Chaucer (_A.B.C._, 73), "kalendres enlumyned ben they," and other medieval writers. Joinville likens the

## action of St Louis in adorning his kingdom with monastic foundations to

a writer "qui a fait son livre qui l'enlumine d'or et d'azur"; while Dante (_Purgat._ xi. 79) alludes to this kind of decoration as "quell' arte che alluminare chiamata è in Parisi." But while the term should be strictly applied to the brilliant book-ornamentation which was developed in the later middle ages, it has been extended, by usage, to the illustration and decoration of early MSS. in general.

Early.

From remote times the practice of illustrating texts by means of pictorial representations was in vogue. The survival of papyrus rolls containing the text of the Egyptian ritual known as _The Book of the Dead_, dating back fifteen centuries B.C., and accompanied with numerous scenes painted in brilliant colours, proves how ancient was this very natural method of elucidating a written text by means of pictures. There are many passages in the writings of Latin authors showing that illustrated books were not uncommon in Rome at least in the early period of the empire; and the oldest extant paintings in ancient classical MSS. may with little hesitation be accepted as representative of the style of illustration which was practised very much earlier. But such paintings are rather illustrative than decorative, and the only strictly ornamental adjuncts are the frames in which they are set. Yet independent decoration appears in a primitive form in the papyri and the earliest vellum MSS. At the head or at the end of the text designs composed of cross-hatchings, cables, dotted patterns and scrolls, sometimes with birds or simple domestic objects, are found. The early practice of writing the initial lines or even the entire text of a volume in gold or coloured inks, and of staining with purple and of gilding the vellum, while it undoubtedly enhanced the decorative aspect, does not properly fall within the scope of this article; it concerns the material rather than the artistic element of the MS. (See MANUSCRIPTS, PALAEOGRAPHY.)

It will be seen, then, that in the earliest examples of book decorations we find the germs of the two lines on which that decoration was destined to develop in the illuminated MSS. of the middle ages: the illustrative picture was the precursor of the medieval miniature (the technical term for a picture in an illuminated MS.); and the independent simple ornament was to expand into the brilliant initial letters and borders of illumination. And yet, while the miniature has a career of its own in artistic development which may be more conveniently dealt with under a separate heading (see MINIATURE), its decorative qualities are so closely bound up with those of the initial and border that an historical description of illumination must give full recognition to its prominent position in the general scheme of book-ornamentation of the middle ages.

The first examples to come under consideration are the few surviving MSS. of early origin which, preserving as they do the classical tradition, form the connecting link between the art of the Roman empire and that of the middle ages. The most ancient of these, it is now agreed, is the fragmentary copy of the _Iliad_, on vellum, in the Ambrosian Library of Milan, which consists of cuttings of the coloured drawings with which the volume was adorned in illustration of the various scenes of the poem. The MS. may have been executed in Italy, and there is good reason to assign the fragments to the 3rd century. The character of the art is quite classical, bearing comparison with that of the wall-paintings of Pompeii and the catacombs. Equally classical in their style are the fifty illustrative pictures of the Vatican Virgil, known as the _Schedae Vaticanae_, of the 4th century; but in these we find an advance on the Homeric fragments in the direction of decoration, for gilt shading is here employed to heighten the lights, and the frames in which the pictures are set are ornamented with gilt lozenges. A second famous MS. of Virgil in the Vatican library is the _Codex Romanus_, a curious instance of rough and clumsy art, with its series of illustrations copied by an unskilful hand from earlier classical models. And a still later example of persistence of the classical tradition is seen in the long roll of the book of Joshua, also in the Vatican, perhaps of the 10th century, which is filled with a series of outline drawings of considerable merit, copied from an earlier MS. But all such MSS. exhibit little tendency to decoration, and if the book ornamentation of the early middle ages had been practised only in the western empire and not also at Constantinople, it is very doubtful if the brilliant illumination which was afterwards developed would have ever existed.

[Illustration: PLATE I.

THE LINDISFARNE GOSPELS.--ABOUT A.D. 700.

(British Museum. Cotton MS., Nero D. iv. f. 211.)]

Byzantine.

When the centre of government passed eastward, Roman art came under Oriental influence with its sense of splendour, and developed the style known as Byzantine which, in its earlier stages, and until it became stereotyped in character, was broad in its drawing, on classical lines, and brilliant in its colouring, and which introduced a profuse application of gold in the details of ornament. Reacting on the art of the west, the influence of the Byzantine or Greek school is not only prominent in such early works as the mosaics of Ravenna, but it has also left its mark in the peculiar character of Italian pictorial art of the middle ages.

Very few examples of early Byzantine work in MSS. have survived; but two fragmentary leaves (Brit. Mus., Add. MS. 5111) of tables of the Eusebian canons, which must have stood at the beginning of a copy of the Gospels, executed no doubt in the Eastern capital in the 6th century, are sufficient to exemplify the splendour of ornament which might be lavished on book decoration at that date. The surface of the vellum is entirely gilt, and the ornamental designs are in classical style and painted in bright colours. Two well-known MSS., the Genesis of the Imperial Library of Vienna, of the latter part of the 6th century, and the Gospels of Rossano in southern Italy, of the same period, both containing series of illustrative paintings of a semi-classical type, are very interesting specimens of Byzantine art; but they depend on their purple vellum and their silver-written texts to claim a place among highly ornamented MSS., for the paintings themselves are devoid of gold. On the other hand, the Greek MS. of Genesis, of the 5th or 6th century, which once formed part of the Cottonian collection in the British Museum, but which was almost totally destroyed by fire, was of a more artistic character: the drawing of its miniatures was of great merit and classical in style, and gold shading was largely employed in the details. The famous MS. of Dioscorides at Vienna, executed in the year 472, is another excellent example of the early Byzantine school, its series of paintings at the beginning of the volume well maintaining the classical sentiment.

From such early examples Byzantine art advanced to a maturer style in the 9th and 10th centuries, two MSS. in the Bibliothèque Nationale of Paris being types of the best work of this time. These are: the copy of the sermons of Gregory Nazianzen (MS. _Grec._ 510), executed about the year 880 and containing a series of large miniatures, some being of the highest excellence; and a psalter of the 10th century (MS. Grec. 139), among whose miniatures are examples which still maintain the old sentiment of classical art in a remarkable degree, one in particular, representing David as the psalmist, being an adapted copy of a classical scene of Orpheus and the Muses. The same scene is repeated in a later Psalter in the Vatican: an instance of the repetition of favourite subjects from one century to another which is common throughout the history of medieval art. At the period of the full maturity of the Byzantine school great skill is displayed in the best examples of figure-drawing, and a fine type of head and features is found in the miniatures of such MSS. as the _Homilies of Chrysostom_ at Paris, which belonged to the emperor Nicephorus III., 1078-1081, and in the best copies of the Gospels and Saints' Lives of that period, some of them being of exquisite finish. By this time also the scheme of decoration was established. Brilliant gilded backgrounds, give lustre to the miniatures. Initial letters in gold and colours are in ordinary use; but, it is to be observed, they never become very florid, but are rather meagre in outline, nor do they develop the pendants and borders which are afterwards so characteristic of the illuminated MSS. of the west. By way of general decoration, the rectangular head-pieces, which are such prominent features in Greek MSS. from the 10th to the 13th centuries, flourish in flowered and tesselated and geometric patterns in bright colours and gold. These are palpably of Oriental design, and may very well have been suggested by the woven fabrics of western Asia.

But Byzantine art was not destined to have a great history. Too self-contained and, under ecclesiastical influence, too much secluded from the contact with other ideas and other influences which are vitally necessary for healthy growth and expansion, it fell into stereotyped and formal convention and ran in narrow grooves. A general tendency was set up to paint the flesh tints in swarthy hues, to elongate and emaciate the limbs, to stiffen the gait, and generally to employ sombre colours in the miniatures, the depressing effect of which the artist seems to have felt himself compelled to relieve by rather startling contrasts of bright vermilion and lavish employment of gold. Still the initials and head-pieces continued to retain their brilliancy, of which they could scarcely be deprived without losing their _raison d'être_ as decorative adjuncts. But, with all faults, fine and delicate drawing, with technical finish in the applied colours, is still characteristic of the best Greek miniatures of the 10th to 12th centuries, and the fine type of head and features of the older time remains a tradition. For example, in the Gospel lectionary, Harleian MS. 1810, in the British Museum, of the 12th century, there is a series of scenes from the life of Christ which are more than usually free from the contemporary conventionalism and which contain many figures of noble design. After the 12th century there is little in the art of Greek MSS. to detain us. The later examples, as far as they exist, are decadent and are generally lifeless copies of the earlier MSS.

Byzantine art, as seen in Greek MSS., stands apart as a thing of itself. But we shall have to consider how far and in what manner it had an influence on western art. Its reaction and influence on Italian art have been mentioned. That that influence was direct is manifest both in the style of such works as the mosaics of Italy and in the character of the paintings of the early Italian masters, and eventually in the earliest examples of the illuminated MSS. of central and southern Italy. But it is not so obvious how the influence which the eastern art of the Greek school undoubtedly exercised on the illuminated MSS. of the Frankish empire was conveyed. All things considered, however, it seems more probable that it passed westward through the medium of Italian art rather than by actual contact, except perhaps in accidental instances.

Franco-Lombardic.

We turn to the west of Europe, and we shall see how in the elaborately ornamented Frankish MSS. of the Carolingian school was combined the lingering tradition of the classical style with a new and independent element which had grown up spontaneously in the north. This new factor was the Celtic art which had its origin and was brought to perfection in the illuminated MSS. of Ireland and afterwards of Britain. It will therefore be convenient to trace the history of that school of book ornamentation. But before doing so we must dispose, in few words, of the more primitive style which preceded the Carolingian development in western continental Europe. This primitive style, which we may call the native style, as distinguished from the more artificially compounded art of the revival under Charlemagne, seems to have been widely extended throughout the Frankish empire and to have been common in Lombardy, and to some degree in Spain, as well as in France, and is known as Merovingian and Franco-Lombardic. This kind of ornamentation appears chiefly in the form of initial letters composed of birds, fishes and animals contorted into the shapes of the alphabetical letters; and in a less degree of head-pieces and borders filled with interlacings, or bands, or geometrical patterns, and even details of animal life. In these patterns, barbarous as they usually are, the influence of such artistic objects as mosaics and enamels is evident. The prevailing colours are crude green, red, orange and yellow, which hold their place with persistence through successive generations of MSS. This native style also, in course of time, came under Celtic influence, and adopted into its scheme the interlaced designs of animal forms and other details of the ornament of the north. It is therefore necessary to bear in mind that, side by side with the great series of Carolingian MSS., executed with all possible magnificence, there was existent this native school producing its examples of a more rustic character, which must be taken into account when studying the development of the later national style in France, in the 10th and succeeding centuries.

Celtic

To turn now to the Celtic style of ornament in MSS. This we find in full development in Ireland as early as the 7th century. The Irish school of book ornamentation was essentially a native school working out its own ideas, created and fostered by the early civilization of the country and destined to have a profound influence on the art of Britain and eventually on that of the continent. It may be described as a mechanical art brought to the highest pitch of perfection by the most skilful and patient elaboration. Initials, borders and full-page designs are made up of interlaced ribbons, interlaced and entangled zoomorphic creatures, intricate knots, spirals, zig-zag ornaments, and delicate interwoven patterns, together with all kinds of designs worked out in red dots--all arranged and combined together with mathematical accuracy and with exquisite precision of touch; and painted in harmonious colours in thick pigments, which lend to the whole design the appearance of enamel. Gold is never used. In the production of his designs the Irish artist evidently took for his models the objects of early metal work in which the Celtic race was so skilled, and probably, too, the classical enamels and mosaics and jewelry which had been imported and copied in the country. The finest example of early Celtic book ornamentation is the famous copy of the Gospels known as the _Book of Kells_, of the latter part of the 7th century, preserved in Trinity College, Dublin: a miracle of minute and accurate workmanship, combining in its brilliant pages an endless variety of design.

But, with all his artistic excellence, the Irish artist failed completely in figure drawing; in fact he can hardly be said to have seriously attempted it. When we contemplate, for example, the rude figures intended to represent the evangelists in early copies of the Gospels, their limbs contorted and often composed of extraordinary interlacings and convolutions, we wonder that the sense of beauty which the Irish artist indubitably possessed in an eminent degree was not shocked by such barbarous productions. The explanation is probably to be found in tradition. These figures in course of time had come to be regarded rather as details to be worked into the general scheme of the ornament of the pages in which they occur than representations of the human form, and were accordingly treated by the artist as subjects on which to exercise his ingenuity in knotting them into fantastic shapes.

Lindisfarne Gospels.

Passing from Ireland, the Celtic style of book ornamentation was naturally practised in the monastic settlements of Scotland, and especially in St Columba's foundation in the island of Iona. Thence it spread to other houses in Britain. In the year 635, at the request of Oswald, king of Northumbria, Aidan, a monk of Iona, was sent to preach Christianity in that kingdom, and became the founder of the abbey and see of Lindisfarne in Holy Isle off the Northumbrian coast. Here was established by the brethren who accompanied the missionary the famous school of Lindisfarne, from which issued a wonderful series of finely written and finely ornamented MSS. in the Celtic style, some of which still survive. The most perfect is the _Lindisfarne Gospels_ or _St Cuthbert's Gospels_ or the _Durham Book_, as it is more commonly called from the fact of its having rested for some time at Durham after early wanderings. This MS., written in honour of St Cuthbert and completed early in the 8th century, is in the Cottonian collection in the British Museum--a beautiful example of writing, and of the Celtic style of ornament, and in perfect condition. The contact with foreign influences, unknown in Ireland, is manifested in this volume by the use of gold, but in very sparing quantity, in some of the details. An interesting point in the artistic treatment of the MS. is the style in which the figures of the four evangelists are portrayed. Here the conventional Irish method, noticed above, is abandoned; the figures are mechanical copies from Byzantine models. The artist was unskilled in such drawing and has indicated the folds of the draperies, not by shading, but by streaks of paint of contrasting colours. Explanations of such instances of the unexpected adoption of a foreign style are rarely forthcoming; but in this case there is one. The sections of the text have been identified as following the Neapolitan use. The Greek Theodore, archbishop of Canterbury, arrived in Britain in the year 688 and was accompanied by Adrian, abbot of a monastery in the island of Nisita near Naples; and they both visited Lindisfarne. There can therefore be little doubt that the Neapolitan MS. from which the text of the _Durham Book_ was derived, was one which Abbot Adrian had brought with him; and it may also be assumed that his MS. also contained paintings of the evangelists in the Byzantine style, which served as models to the Northumbrian artist.

Carolingian.

The Celtic style was thus established through the north of England, and thence it spread to the southern parts of the country. But, for the moment, the account of its further development in Britain must be suspended in order to resume the thread of the story of the later classical influence on the illumination of MSS. of the Frankish empire. Under Charlemagne, who became emperor of the West in the year 800, art revived in many branches, and particularly in that of the writing and the illumination of MSS. During the reigns of this monarch and his immediate successors was produced a series of magnificent volumes, mostly biblical and liturgical, made resplendent by a lavish use of gold. The character of the decoration runs still, as of old, in the two lines of illustration and of pure ornament. We find a certain amount of general illustration, usually of the biblical narrative, in pictorial scenes drawn in freehand in the later classical style, and undoubtedly inspired by the western art of Rome. But those illustrations are small in number compared with the numerous examples of pure ornament. Such ornament was employed in the tables of the Eusebian canons, in the accessories of the traditional pictures of the evangelists, in the full-page designs which introduced the opening words of the several books of Bibles or Gospels, in the large initial letters profusely scattered through the volumes, in the infinite variety of borders which, in some MSS., adorned page after page. In all this ornament the debased classical element is prominently in evidence, columns and arches of variegated marbles, and leaf mouldings and other architectural details are borrowed from the Roman basilicas, to serve as decorations for text and miniature. The conventional portrait-figures of the evangelists are modelled on the Byzantine pattern, but with differences which appear to indicate an intervening influence, such as would be exercised on the eastern art by its transmission through Italy. Such figures, which indeed become, in course of time, so formal as almost to be decorative details along with their settings, grew stereotyped and passed on monotonously from artist to artist, always subject to deterioration, and were perpetuated especially in MSS. of German origin down to the 11th and 12th centuries.

[Illustration: PLATE II.

PSALTER OF WESTMINSTER ABBEY.--LATE TWELFTH CENTURY.

(British Museum. _Royal MS._ 2A. xxii.)]

[Illustration: PLATE III.

LECTIONARY, OF THE USE OF PARIS. LATE THIRTEENTH CENTURY. (British Museum. Add. M.S. 17,341.)]

But it is not the debased classical decoration alone which marks the illumination of the Carolingian school. The influence of the Celtic art, which has been described, imposed itself and combined with it. This combination was due to the Englishman, Alcuin of York, who became abbot of the Benedictine house of St Martin of Tours, and who did so much to aid Charlemagne in the revival of letters. Thus, in the finest examples of the Carolingian illuminated MSS., Celtic interlaced patterns stand side by side with the designs of classical origin; and, at the same time, it is interesting to observe that the older native Merovingian style of ornament makes its presence felt, now and again, in this or that detail. But with all the artistic effort bestowed upon it, it must be conceded that Carolingian illumination, as presented in the MSS., is not always pleasing. Indeed, it is often coarse and monotonous, and there is a tendency to conceal inferiority under a dazzling abundance of gold. The leading idea of the ornament of the great MSS. was splendour. Gold was used in profusion even in the writing of the text, and silver also in a minor degree; and the vellum, stained or painted purple, enhanced the gorgeous effect of the illumination. But undoubtedly the purer style of the Celtic school balanced and restrained the tendency to coarseness; and this foreign influence naturally was stronger in some centres than in others. For example, in the abbey of Saint-Denis, near Paris, if we may draw conclusions from surviving examples, the Celtic style was in great favour. Another peculiarity in the decoration of the Carolingian MSS. is the tendency of the artist to mix his styles, and to attach details on a small scale, such as delicate sprays and flourishes, and minute objects, to large-scale initial letters, as though he felt that grossness required a corrective contrast. The art became more refined under the immediate successors of Charlemagne, and under Charles the Bald it culminated. The most famous MSS. of the Carolingian school are the _Evangeliarium_, written and illuminated by the scribe Godescalc for Charlemagne in the year 787; the _Sacramentarium_ written for Drogon, son of Charlemagne and bishop of Metz; the Gospels of the emperor Lothair, once at Tours; the first Bible of Charles the Bald, presented by Count Vivien, abbot of St Martin of Tours; the second Bible, called the Bible of Saint Denis, in Franco-Saxon style; and the so-called Gospels of Francis II. There are also in the British Museum (Harleian MS. 2788) an Evangeliarium written in gold and known as the _Codex aureus_, of this school; and a Bible of Alcuin's recension, probably executed at Tours in the middle of the 9th century, with illustrative miniatures and initial letters, but of a less elaborate degree of ornament.

After this brilliant period decadence sets in; and in the course of the 11th century Frankish illumination sinks to its lowest point, the miniatures being for the most part coarse and clumsy copies of earlier models. The colours become harsh, often assuming an unpleasant chalky appearance.

We have now to trace the development of another kind of book decoration, quite different from the florid style of gold and colours just now described, which had a lasting influence on the early art of England, where it was specially cultivated, and where it developed a character which at length became distinctively national. This is the style of outline drawing which fills so large a space in the Anglo-Saxon MSS. of the 10th and 11th centuries.

Anglo-Saxon.

We have already seen how the Celtic style of ornamentation was introduced into the north of England. Thence it appears to have spread rapidly southward. As early as the beginning of the 8th century it was practised at Canterbury, as is testified by a famous psalter in the British Museum (Cott. MS. Vespasian A. 1), in which much of the ornament is of Celtic type. But the same MS. is also witness to the presence of another influence in English art, that of the classical style of Rome, certain details of the ornament being of that character and a miniature in the MS. being altogether of the classical type. With little hesitation this element may be ascribed to MSS. brought from Rome, in the first instance by St Augustine, and afterwards by the incoming missionaries who succeeded him, and deposited in such centres as Canterbury and Winchester. But this importation of MSS. from Italy was not confined to the south. We have distinct evidence that they were brought into northern monasteries, such as those of Jarrow and Wearmouth and York. Thus the English artists of both south and north were in a position to take advantage of material from two sources; and they naturally did so. Thus we find that mingling of the Celtic and classical styles just noticed. In this way, early grown accustomed to take classical models for their drawings, the Anglo-Saxon artists were the more susceptible to the later development of the classical style of outline drawing which was next introduced into the country from the continent. The earliest MS. in which this style of drawing is exhibited in fullest detail is the volume known as the _Utrecht Psalter_, once in the Cottonian Library, in which the text of the psalms is profusely illustrated with minute pen-sketches remarkably full of detail. The period of the MS. is about the year 800; and it was probably executed in the north or north-east of France. But the special interest of the drawings is that they are evidently copies of much older models and provide a valuable link with the late classical art of some two or three centuries earlier. The work is very sketchy, the movement of the draperies indicated by lightly scribbled strokes of the pen, the limbs elongated, the shoulders humped--all characteristic features which are repeated in the later Anglo-Saxon work. The drawings of the _Utrecht Psalter_ are clearly typical examples of a style which, founded on Roman models, must at one time have been widely practised in western Europe. For instance, there are traces of it in such a centre as St Gallen in Switzerland, and there are extant MSS. of the _Psychomachia_ of Prudentius (a favourite work) with drawings of this character which were executed in France in the 10th century. But the style does not appear to have taken much hold on the fancy of continental artists. It was reserved for England to welcome and to make this free drawing her own, and to develop it especially in the great school of illumination at Winchester. Introduced probably in such examples as the _Utrecht Psalter_ and copies of the _Psychomachia_, this free drawing of semi-classical origin had fully established itself here in the course of the 10th century, and by that time had assumed a national character. A fair number of MSS. of the 10th and 11th centuries which issued from the Winchester school are still to be seen among the collections of the British museum, in most of which the light style of outline drawing with the characteristic fluttering drapery is more or less predominant, although body colours were also freely employed in many examples. But the most elaborate specimen of Anglo-Saxon illumination of the 10th century is one belonging to the duke of Devonshire: the _Benedictional_ of the see of Winchester, executed under the direction of Æthelwold, bishop from 963 to 984, which contains a series of miniatures, in this instance in body colours, but drawn in the unmistakable style of the new school. In the scheme of decoration, however, another influence is at work. As England had sent forth its early Celtic designs to modify the art of the Frankish empire, so the Carolingian style of ornament now, in its turn, makes its way into this country, and appears in the purely ornamental details of the Anglo-Saxon illuminated volumes. The frames of the miniatures are chiefly composed of conventional foliage, and the same architectural leaf-mouldings of classical origin which are seen in the foreign MSS. are here repeated. Profuse gilding also, which is frequently applied, sometimes with silver, is due to foreign influence. But this character of decoration soon assumed a national cast. Under the hands of the Anglo-Saxon artist the conventional foliage flourished with greater freedom; and the colouring which he applied was generally softer and more harmonious than that which was employed abroad. Examples of outline drawing of the best type exist in the Harleian _Psalter_ (No. 2904), of the same period as the Æthelwold _Benedictional_; in the register of New Minster (Stowe MS. 944), A.D. 1016-1020; and in the Prudentius (Cotton MS. Cleop. C. viii.), executed early in the 11th century.

Norman.

With the Norman Conquest naturally great changes were effected in the illumination of English MSS., as in other branches of art; no doubt to the ultimate improvement of English draughtsmanship. Left to itself the outline drawing of the Anglo-Saxons, inclining as it did to affectation, would probably have sunk into fantastic exaggeration and feebleness. Brought more directly under Norman domination it resulted in the fine, bold freehand style which is conspicuous in MSS. executed in England in the next three centuries. Then we come to the period when the art of illumination is brought into line in the countries of western Europe, in England and in France, in Flanders and in western Germany, by the splendid outburst of artistic sentiment of the 12th century. This century is the period of large folios providing ample space in their pages for the magnificent initial letters drawn on a grand scale which are to be seen in the great Bibles and psalters of the time. The leading feature is a wealth of foliage with twining and interlacing branches, among which human and animal life is freely introduced, the whole design being thrown into relief by brilliant colours and a generous use of gold. The figure drawing both in miniatures and initials is stiff, the figures elongated but bold, and with sweeping lines in the draperies; and a tendency to represent the latter clinging closely to the limbs is a legacy of the tradition of the later classical style. In England the school of Winchester appears to have maintained the same excellence after the Norman Conquest as before it. A remarkable MS. (Cotton, Nero C. iv.), a psalter of about the year 1160, with a series of fine miniatures, is a good example of its work. In France, Flanders and western Germany we find the same energy in producing boldly ornamented volumes, as in England; a certain heaviness of outline distinguishing the work of the Flemish and German artists from that of the English and French schools. Such MSS. as the Stavelot Bible (Brit. Mus., Add. MS. 28,107), of the close of the 11th century, the Bible of Floreffe (Add. MS. 17,737-17,738), of about the year 1160, and the Worms Bible (Harl. MS. 2803-2804), of the same time, are fine specimens of Flemish and German work.

13th Century.

It is towards the close of the 12th century and in the beginning of the 13th century that the character of illumination settles down on more conventional lines. Hitherto gold had been applied in a liquid state; now it is laid on in leaf and is highly burnished, a process which lends a brilliant effect to initial and miniature. A great change passes over the face of things. The large, bold style gives place to the minute. Volumes decrease in size; the texts are written in close-packed characters; the large and simple is superseded by the small and decorated. The period has arrived when book ornamentation becomes more settled and accurately defined within limits, and starts on the course of regulated expansion which was to run for three hundred years down to the close of the 15th century. In the 13th century the historiated or miniature initial, that is, the initial letter containing within its limits a miniature illustrating the subject of the immediate text, is established as a favourite detail of ornamentation, in addition to the regular independent miniature. Such initials form a prominent feature in the pretty little Bibles which were produced in hundreds at this period. But a still more interesting subject for study is the development of the border which was to have such a luxuriant growth in the 13th, 14th and 15th centuries. Commencing as a pendant from the initial, with terminal in form of bud or cusp, it gradually pushes its way along the margins, unfolding foliage as it proceeds, and in course of time envelopes the entire page of text in a complete framework formulating in each country a national style.

In the miniatures of the 13th century the art of England, of France, and of the Low Countries runs very much in one channel. The Flemish art, however, may be generally distinguished from the others by the heavier outline already noticed. The French art is exquisitely exact and clean-cut, and in its best examples it is the perfection of neat-handedness. English art is perhaps less exact, but makes up for any deficiency in this direction by its gracefulness. However, there is often little to choose between the productions of the three countries, and they are hard to distinguish. As an aid for such distinction, among small differences, we may notice the copper tone of French gold contrasting with the purer metal in English MSS.; and the favour shown to deep ultramarine appears to mark French work. But, besides actual illuminated miniature painting, there is also a not inconsiderable amount of freehand illustrative drawing in the MSS. In this particular the English artist maintains the excellence of work which distinguished his ancestors. Such series of delicate drawings, slightly tinted, as those to be seen in the famous Queen Mary's Psalter (Royal MS. 2 B. vii.), and in other MSS. of the 13th and 14th centuries in the British Museum, are not surpassed by any similar drawings done at the same period in any other country. In the 13th century also comes into vogue the highly decorated diaper-work, generally of lozenges or chequered patterns in brilliant colours and brightly burnished gold. These fill the backgrounds of miniatures and initials, together with other forms of decoration, such as sheets of gold stippled or surface-drawn in various designs. Diapering continued to be practised in all three countries down into the 15th century; and in particular it is applied with exquisite effect in many of the highly-finished MSS. of the artists of Paris.

To return to the growth of the borders: these continue to be generally of one style in both England and France and in Flanders during the 13th century; but, when with the opening of the 14th century the conventional foliage begins to expand, a divergence ensues. In France and Flanders the three-pointed leaf, or ivy leaf, appears, which soon becomes fixed and flourishes as a typical detail of ornament in French illumination of the 14th and 15th centuries. In England there is less convention, and along with formal branches and leafage, natural growths, such as daisy-buds, acorns, oak leaves, nuts, &c., are also represented.

German.

Meanwhile German illumination, which in the large MSS. of the 12th century had given high promise, in the following centuries falls away and becomes detached from the western schools, and is, as a general rule, of inferior quality, although in the 13th century fine examples are still to be met with. Dark outlines and backgrounds of highly-burnished gold are in favour. At present, however, there is not sufficient published material to enable us to pass a definite judgment on the value of German illumination in the later middle ages. But the researches of scholars are beginning to localize particular styles in certain centres. For example, in Bohemia there was a school of illumination of a higher class, which seems later to have had an influence on English art, as will be noticed presently.

Italian.

We must now turn to Italy, which has been left on one side during our examination of the art of the more western countries. In attempting to bridge the gap which severs the later classical style of Rome from the medieval art of Italy, much must be left to conjecture. That a debased classical style of drawing was employed in the earlier centuries of the middle ages we cannot doubt. Such a MS. as the Ashburnham Genesis of the 7th century, which contains pictures of a somewhat rude character but based apparently upon a recollection of the classical drawing of earlier times, and which appears to be of Italian origin, serves as a link, however slight. Coming down to a later period, the primitive native art of the Frankish empire, as we have seen, extended into northern Italy under the name of Franco-Lombardic ornamentation; and we have also seen how the art of the Byzantine school reacted on the art of the southern portion of the country. Hence, in the middle ages, the ornamentation of Italian MSS. appears to move on two leading lines. The first, which we owe to the Byzantine influence, in which figure-drawing is the leading idea, follows the old classical method and, showing a distinctly Greek impress, leads to the style which we recognize as Italian _par excellence_, and which is seen most effectively manifested in the works of Cimabue and Giotto and of allied schools. In this style the colouring is generally opaque: the flesh tints being laid over a foundation of deep olive green, which imparts a swarthy complexion to the features--a practice also common in Byzantine art. The other line is that of the Lombardic style which, like the Celtic school of the British Isles, was an art almost exclusively of pure ornament, of intricate interlacings of arabesques and animal forms, with bright colouring and ample use of gold. The Lombardic style was employed in certain centres, as, for example, at Monte Cassino, where in the 11th, 12th and 13th centuries brilliant examples were produced. But it was not destined to stand before the other, stronger and inherently more artistic, style which was to become national. Still, its scheme of brighter colouring and of general ornament seems to have had an effect upon later productions, if we are not mistaken in recognizing something of its influence in such designs as the interlaced white vine-branch borders which are so conspicuous in Italian MSS. of the period of the Renaissance.

[Illustration: PLATE IV.

DURANDUS. DE DlVINIS OFFICIIS. FOURTEENTH CENTURY. Italian School. (British Museum. Add. MS. 31,032.)]

[Illustration: PLATE V.

VALERIUS MAXIMUS. ABOUT A.D. 1475. Executed for Philippe de Comines. (British Museum. _Harley M.S._ 4374.)]

14th Century.

The progress of Italian illumination in the style influenced by the Byzantine element is of particular interest in the general history of art, on account of the rapidity with which it grew to maturity, and the splendour to which it attained in the 15th century. Of the earlier centuries the existing examples are not many. That Italian artists were capable of great things as far back as the 12th century is evident from their frescoes. We may notice the curious occurrence of two very masterly paintings, the death of the Virgin and the Virgin enthroned, drawn with remarkable breadth in the Italian style, in the _Winchester Psalter_ (Cottonian MS. Nero C. iv.) of the middle of that century, as a token of the possibilities of Italian illumination at that date; but generally there is little to show. Even at the beginning of the 14th century most of the specimens are of an ordinary character and betray a want of skill in striking contrast with the highly artistic productions of the Northern schools of England and France at the same period. But, though inferior artistically, Italian book ornamentation had by this time been so far influenced by the methods of those schools as to fall into line with them in the general system of decoration. The miniature, the initial, the miniature-initial and the border--all have their place and are subject to the same laws of development as in the other schools. But, once started, Italian illumination in the 14th century, especially in Florence, expanded with extraordinary energy. We may cite the Royal MS. 6, E. ix., containing an address to Robert of Anjou, king of Sicily, 1334-1342, and the Add. MS. 27,428 of legends of the saints, of about the year 1370, as instances of very fine miniature-work of the Florentine type. As the century advances, Italian illumination becomes more prolific and is extended to all classes of MSS., the large volumes of the Decretals and other law books, and still more the great folio choral books, in particular affording ample space for the artist to exercise his fancy. As was natural from the contiguity of the two countries, as well as from political causes, France and Italy influenced each other in the art. In many MSS. of the Florentine school the French influence is very marked, and on the other hand, Italian influence is exercised especially in MSS. of the southern provinces of France. Italian art of this period also in some degree affected the illumination of southern German MSS.

We have also to note the occurrence in Italy in the 14th century of good illustrative outline drawings, generally tinted in light colours, and occasionally we meet with a wonderfully bright style of illumination of a lighter cast of colouring than usually prevails in Italian art: such as may be seen in a MS. of Durandus _De divinis oficiis_ (Brit. Mus., Add. MS. 31,032) containing an exquisite series of initials and borders.

Taking a general view of the character of European illumination in the 14th century it may be described as an art of great invention and flexibility. The rigid exactness of the 13th century is replaced by flowing lines, just as the stiff, formal strokes of the handwriting of that century was exchanged for a more cursive and easy style. The art of each individual country now developed a national type of its own, which again branched off into the different styles of provincial schools. For example, in the eastern counties of England a very fine school of illumination, the East Anglian, was established in the first half of the century and produced a series of beautiful MSS., such as the _Arundel Psalter_ (No. 83) in the British Museum.

Distinctive Borders.

By the end of the century the borders had developed on national lines so fully as to become, more than any other detail in the general scheme, the readiest means of identifying the country of origin. First as to the English border: the favour shown to the introduction of natural growths among the conventional foliage thrown out from the frame into which the border had by this time expanded has already been noticed. But now a new feature is introduced. The frame up to this time had consisted generally of conventional branches with bosses at the corners. Now it is divided more into compartments within which twining coils of ornament resembling cut feather-work are common details; and feathery scrolls fill the corner-bosses and are attached to other parts of the frame; while the foliage thrown out into the margin takes the form of sprays of curious lobe- or spoon-shaped and lozenge-shaped leaves or flowers, with others resembling curled feathers, and with cup- and trumpet-shaped flowers. This new style of border is contemporaneous with the appearance of a remarkably brilliant style in the miniatures, good in drawing and rich in colouring; and an explanation for the change has been sought in foreign influence. It has been suggested, with some plausibility, that this influence comes from the school of Prague, through the marriage of Richard II. with Anne of Bohemia in 1382. However this may be, there certainly is a decidedly German sentiment in the feathery scrolls just described.

Turning to the French border, we find towards the close of the 14th century that the early ivy-leaf pendant has now invaded all the margins and that the page is set in a conventional frame throwing off on every side sprigs and waving scrolls of the conventional ivy foliage, often also accompanied with very delicate compact tracery of minute flower-work filling the background of the frame. Nothing can be more charming than the effect of such borders, in which the general design is under perfect control. The character, too, of the French miniature of this period harmonizes thoroughly with the brilliant border, composed as it is very largely of decorative elements, such as diapered patterns and details of burnished gold. In the Low Countries, as was natural, the influence of French art continued to have great weight, at least in the western provinces where the style of illumination followed the French lead.

The Italian border in its ordinary form was of independent character, although following the methods of the West. Thrown out from the initial, it first took the form of pendants of a peculiarly heavy conventional curling foliage, associated, as progress was made, with slender rods jointed at intervals with bud-like ornaments and extending along the margins; at length expanding into a frame. The employment of gilt spots or pellets to fill spaces in the pendants and borders becomes very marked as the century advances. They are at first in a simple form, but they gradually throw out rays, and in the latter shape they become the chief constituents of one kind of border of the 15th century.

15th Century.

Illumination in the 15th century enters on a new phase. The balance is no longer evenly maintained between the relative values of the miniature and the border as factors in the general scheme of decoration. The influence of a new sentiment in art makes itself felt more and more; the flat treatment of the miniature gradually gives place to true laws of perspective and of figure-drawing, and to the depth and atmospheric effects of modern painting. Miniature painting in the decoration of MSS. now became more of a trade; what in old times had been done in the cloister was now done in the shop; and the professional miniaturist, working for his own fame, took the place of the nameless monk who worked for the credit of his house. Henceforth the miniature occupies a more important place than ever in the illuminated MS.; while the border, with certain important exceptions, is apt to recede into an inferior position and to become rather an ornamental adjunct to set off the miniature than a work of art claiming equality with it.

Continuing the survey of the several national styles, we shall have to witness the final supersession of the older styles of England and France by the later developments of Italy and Flanders. We left English illumination at the close of the 14th century strengthened by a fresh infusion of apparently a foreign, perhaps Bohemian, source. The style thus evolved marks a brilliant but short-lived epoch in English art. It is not confined to MSS., but appears also in the paintings of the time, as, for example, in the portrait of Richard II. in Westminster Abbey and in that in the Wilton triptych belonging to the earl of Pembroke. Delicate but brilliant colouring, gold worked in stippled patterns and a careful modelling of the human features are its characteristics. In MSS. also the decorative borders, of the new pattern already described, are of exceptional richness. Brilliant examples of the style, probably executed for Richard himself, may be seen in a magnificent Bible (Royal MS. 1, E. ix.), and in a series of cuttings from a missal (Add. MS. 29,704-29,705) in the British Museum. But the promise of this new school was not to be fulfilled. The same style of border decoration was carried into the 15th century, and good examples are found down to the middle of it, but a general deterioration soon sets in. Two MSS. must, however, be specially mentioned as surviving instances of the fine type of work which could still be turned out early in the century; and, curiously, they are both the productions of one and the same illuminator, the Dominican, John Siferwas. The first is a fragmentary Lectionary (Brit. Mus., Harl. MS., 7026) executed for John, Lord Lovel of Tichmersh, who died in 1408; the other is the famous Sherborne Missal, the property of the duke of Northumberland, a large volume completed about the same time for the Benedictine abbey of Sherborne in Dorsetshire. Certainly other MSS. of equal excellence must have existed; but they have now perished. After the middle of the 15th century English illumination may be said to have ceased, for the native style disappears before foreign imported art. This failure is sufficiently accounted for by the political state of the country and the distractions of the War of the Roses.

In France the 15th century opened more auspiciously for the art of illumination. Brilliant colouring and the diapered background glittering with gold, the legacy of the previous century, still continue in favour for some time; the border, too, of ivy-leaf tracery still holds its own. But in actual drawing there are signs, as time advances, of growing carelessness, and the artist appears to think more of the effect of colour than of draughtsmanship. This was only natural at a time when the real landscape began to replace the background of diaper and conventional rocks and trees. In the first quarter of the century the school of Paris comes prominently to the front with such magnificent volumes as the Book of Hours of the regent, John Plantagenet, duke of Bedford, now in the British Museum; and the companion MS. known as the Sobieski Hours, at Windsor. In these examples, as is always the case with masterpieces, we see a great advance upon earlier methods. The miniatures are generally exquisitely painted in brilliant colours and the drawing is of a high standard; and in the borders now appear natural flowers intermingled with the conventional tracery--a new idea which was to be carried further as the century advanced. The Psalter executed at Paris for the boy-king Henry VI. (Cotton MS. Domitian A. xviii.) is another example of this school, rather of earlier type than the Bedford MS., but beautifully painted. In all three MSS. the borders show no lack of finish; they are of a high standard and are worthy of the miniatures. But perhaps the very finest miniature-work to be found in any MS. of French origin of this period is the breviary (Harl. MS. 2897) illuminated for John the Fearless, duke of Burgundy, who was assassinated in 1419. It could hardly be surpassed in refinement and minuteness of detail.

Development towards the modern methods of painting moves on rapidly with the century. First, the border in the middle period grows florid; the simpler ivy-spray design, which had held its position so long, is gradually pushed away by a growth of flowering scrolls, with flowers, birds and animal and insect life introduced in more or less profusion. But henceforward deterioration increases, and the border becomes subsidiary. In the case of miniatures following the old patterns of the devotional and liturgical books, a certain restraint still prevails; but with those in other works, histories and romances and general literature, where the paintings are devised by the fancy of the artist, the advance is rapid. The recognition of the natural landscape, the perception of atmospheric effects now guide the artist's brush, and the modern French school of the second half of the 15th century is fairly established. The most celebrated leaders of this school were Jean Foucquet of Tours and his sons, many of whose works still bear witness to their skill. In the MSS. of this school the influence of the Flemish contemporary art is very obvious; and before the advance of that art French illumination receded. A certain hardness of surface and want of depth characterize the French work of this time, as well as the practice of employing gilt hatching to obtain the high lights. This practice is carried to excess in the latest examples of French illumination in the early part of the 16th century, when the art became mechanical and overloaded with ornament, and thus expired.

It has been seen that the Flemish school of illumination in the 13th and 14th centuries followed the French model. In the 15th century, while the old tradition continued in force for a while, the art developed on an independent line; and in the second half of the century it exercised a widespread influence on the neighbouring countries, on France, on Holland and on Germany. This development was one of the results of the industrial and artistic activity of the Low Countries at this period, when the school of the Van Eycks and their followers, and of other artists of the great and wealthy cities, such as Bruges, Antwerp, Ghent, were so prolific. The Flemish miniatures naturally followed on the lines of painting. The new style was essentially modern, freeing itself from the traditions of medieval illumination and copying nature. Under the hand of the Flemish artist the landscape attained to great perfection, softness and depth of colouring, the leading attribute of the school, lending a particular charm and sense of reality to his out-door scenes. His closer observation of nature is testified also in the purely decorative part of his work. Flowers, insects, birds and other natural objects now frequent the border, the origin of which is finally forgotten. It ceases to be a connected growth wandering round the page; it becomes a flat frame of dull gold or colour, over which isolated objects, flowers, fruits, insects, butterflies, are strewn, painted with naturalistic accuracy and often made, by means of strong shadows, to stand out in relief against the background. This practice was soon carried to florid excess, and all kinds of objects, including jewels and personal ornaments, were pressed into the service of the border, in addition to the details copied from nature. The soft beauty of the later Flemish style proved very attractive to the taste of the day, with the result that it maintained a high standard well on into the 16th century, the only rivals being the MSS. of Italian art. The names of celebrated miniaturists, such as Memlinc, Simon Bening of Ghent, Gerard of Bruges, are associated with its productions; and many famous extant examples bear witness to the excellence to which it attained. The Grimani Breviary at Venice is one of the best known MSS. of the school; but almost every national library has specimens to boast of. Among those in the British Museum may be mentioned the breviary of Queen Isabella of Spain (Add. MS. 18,851); the Book of Hours of Juana of Castille (Add. MS. 18,852); a very beautiful Book of Hours executed at Bruges (Egerton MS. 2125); another exquisite but fragmentary MS. of the same type (Add. MS. 24,098) and cuttings from a calendar of the finest execution (Add. MS. 18,855) ascribed to Bening of Ghent; a series of large sheets of genealogies of the royal houses of Portugal and Spain (Add. MS. 12,531) by the same master and others; and late additions to the Sforza Book of Hours (Add. MS. 34,294).

But, besides the brilliantly coloured style of Flemish illumination which has been described, there was another which was practised with great effect in the 15th century. This was the simpler style of drawing in white delicately shaded to indicate the contour of figures and the folds of drapery, &c., known as _grisaille_ or _camaïeu gris_. It was not indeed confined to the Flemish schools, but was practised also to some extent and to good effect in northern France, and also in Holland and other countries; but the centre of its activity appears to have been in the Low Countries. The excellence to which it attained may be seen in the MSS. of the _Miracles de Nostre Dame_ now in Paris and the Bodleian Library, which were executed for Philip the Good, duke of Burgundy, in the middle of the 15th century.

Of the Dutch school of illumination, which was connected with that of Flanders, there is little to be said. Judging from existing examples, the art was generally of a more rustic and coarser type. There are, however, exceptions. A MS. in the British Museum (King's MS. 5) of the beginning of the 15th century contains scenes from the life of Christ in which the features are carefully modelled, very much after the style of English work of the same time; and some of the specimens of Dutch work in _camaïeu gris_ are excellent.

German illumination in the 15th century appears to have largely copied the Flemish style; but it lost the finer qualities of its pattern, and in decoration it inclined to extravagance. Where the Flemish artist was content with single flowers gracefully placed, the German filled his borders with straggling plants and foliage and with large flourished scrolls.

Italian illumination, which had developed so rapidly in the 14th century, now advanced with accelerated pace and expanded into a variety of styles, more or less local, culminating in the exquisite productions of the classical renaissance in the latter half of the 15th century. As in the other national styles of France and Flanders, the Italian miniaturist quickly abandoned the conventional for the natural landscape; but with more character both in the figure-drawing and in the actual representation of scenery. The colouring is brilliant, not of the softness of the Flemish school, but of stronger and harder body; the outlines are firm and crisp and details well delineated. The Florentine, the Lombard, the Venetian, the Neapolitan and other schools flourished; and, though they borrowed details from each other, each had something distinctive in its scheme of colouring. The border developed on several lines. The rayed gold spots or studs or pellets, which were noticed in the 14th century, are now grouped in profusion along the margins and in the interstices of delicate flowering and other designs. Another favourite detail in the composition of both initials and borders was the twining vine tendril, generally in white or gold upon a coloured ground, apparently a revival of the interlacing Lombardic work of the 11th and 12th centuries. At first, restrained and not too complex, it fills the body of initials and short borders; then it rapidly expands, and the convolutions and interlacings become more and more elaborate. Lastly came the completed solid frame into which are introduced arabesques, vignettes, candelabras, trophies, vases, medallions, antique gems, cupids, fawns, birds, &c., and all that the fancy led by the spirit of classical renaissance could suggest. Among the principal Italian MSS. of the 15th century in the British Museum there are: a copy of _Plutarch's Lives_, with miniatures in a remarkable style (Add. MS. 22,318); Aristotle's _Ethics_, translated into Spanish by Charles, prince of Viana, probably executed in Sicily about 1458 (Add. MS. 21,120); a breviary of Santa Croce at Florence, late in the century (Add. MS. 29,735); Livy's _History of the Macedonian War_, of the Neapolitan school, late in the century (Harl. MS. 3694); and, above all, the remarkable Book of Hours of Bona Sforza of Savoy of about the year 1490 (Add. MS. 34,291); besides a fair number of MSS. exhibiting the rich colouring of the Venetian school.

Like that of the French and Flemish schools, Italian illumination survived into the 16th century, and for a time showed vigour. Very elaborate borders of the classical type and of good design were still produced. But, as in other countries, it was then a dying art. The attempt to graft illumination on to books produced by the printing press, which were now displacing the hand-written volumes with which the art had always been associated, proved, except in a few rare instances, a failure. The experiment did not succeed; and the art was dead.

Spain.

It remains to say a few words respecting the book ornamentation of the Peninsula. In the earlier centuries of the middle ages there appears to have been scarcely anything worthy of note. The Mozarabic liturgies and biblical MSS. of the 9th to 12th centuries are adorned with initial letters closely allied to the primitive specimens of the Merovingian and Franco-Lombardic pattern, and coloured with the same crude tints; the larger letters also being partly composed of interlaced designs. But the style is barbaric. Such illustrative drawings as are to be found are also of a most primitive character. Moorish influence is apparent in the colours, particularly in the yellows, reds and blacks. In the later middle ages no national school of illumination was developed, owing to political conditions. When in the 15th century a demand arose for illuminated MSS., recourse was had to foreign artists. Flemish art naturally was imported, and French art on the one side and Italian art on the other accompanied it. In the breviary executed for Queen Isabella of Spain about the year 1497 (Brit. Mus., Add. MS. 18,851) we find a curious random association of miniatures and borders in both the French and the Flemish styles, the national taste for black, however, asserting itself in the borders where, in many instances, the usual coloured designs are replaced by black-tinted foliage and scrolls.

In other outlying countries of Europe the art of illumination can scarcely be said to have existed. In Slavonic countries a recollection of the Byzantine school lingered in book ornamentation, but chiefly in a degraded and extravagant system of fantastic interlacings. In the 16th century there was a revival in Russia of the Byzantine style, and the head-pieces and other ornamental details of the 11th and 12th centuries were successfully imitated.

The consideration of oriental art does not come within the scope of this article. It may, however, be noted that in Arabic and Persian MSS. of the 13th to 16th centuries there are many examples of exquisitely drawn title-pages and other ornament of intricate detail, resplendent with colour and gold, which may be ranked with western illuminations.

AUTHORITIES.--Medieval and later works dealing in part with the technicalities of illumination are collected by Mrs Merrifield, _Original Treatises dating from the 12th to 18th Centuries on the Art of Painting_ (1849); see also Theophilus, _De diversis Artibus_, ed. R. Hendrie (1847). Text-books and collections of facsimiles are Count A. de Bastard, _Peintures et ornaments des manuscrits_, a magnificent series of facsimiles, chiefly from Carolingian MSS. (1832-1869); Shaw and Madden, _Illuminated Ornaments from MSS. and early Printed Books_ (1833); Noel Humphreys and Jones, _The Illuminated Books of the Middle Ages_ (1849); H. Shaw, _Handbook of Medieval Alphabets_ (1853), and _The Art of Illumination_ (1870); Tymms and Digby Wyatt, _The Art of Illumination_ (1860); Birch and Jenner, _Early Drawings and Illuminations_, with a dictionary of subjects in MSS. in the British Museum (1879); J. H. Middleton, _Illuminated MSS. in Classical and Medieval Times_ (1892); G. F. Warner, _Illuminated MSS. in the British Museum_ (official publication, 1903); H. Omont, _Facsimilés des miniatures des plus anciens MSS. grecs de la Bibl. Nationale_ (1902); V. de Boutovsky, _Histoire de l'ornement russe du X^e au XVI^e siècle_, including facsimiles from Byzantine MSS. (1870); J. O. Westwood, _Facsimiles of Miniatures and Ornaments of Anglo-Saxon and Irish MSS._ (1868); E. M. Thompson, _English Illuminated MSS._ (1895); _Paleografia artistica di Montecassino_ (1876-1884); _Le Miniature nei codici Cassinesi_ (1887); A. Haseloff, _Eine thüringisch-sächsische Malereischule des 13. Jahrhunderts_ (1897); G. Schwarzenski, _Die Regensburger Buchmalerei des 10. und 11. Jahrhunderts_ (1901); Sauerland and Haseloff, _Der Psalter Erzbischof Egberts von Trier_ (1901).

Several of the most ancient illustrated or illuminated MSS. have been issued wholly or partially in facsimile, viz. The _Ambrosian Homer_, by A. Ceriani; the _Schedae Vaticanae_ and the _Codex Romanus_ of Virgil, by the Vatican Library; the Vienna Dioscorides, in the Leiden series of facsimiles; the Vienna Genesis, by Hartel and Wickhoff; the Greek Gospels of Rossano, by A. Haseloff; the Ashburnham Pentateuch, by B. von Gebhart; the Utrecht Psalter, by the Palaeographical Society.

Facsimiles from illuminated MSS. are also included in large palaeographical works such as Silvestre, _Universal Palaeography_, ed. Madden (1850); the _Facsimiles_ of the Palaeographical Society (1873-1894) and of the New Palaeographical Society (1903, &c.); and the _Collezione paleografia Vaticana_, the issue of which was commenced in 1905. Excellent photographic reproductions on a reduced scale are being issued by the British Museum and by the Bibliothèque Nationale in Paris. (E. M. T.)

ILLUMINATI (Lat. _illuminare_), a designation in use from the 15th century, and applied to, or assumed by, enthusiasts of types distinct from each other, according as the "light" claimed was viewed as directly communicated from a higher source, or as due to a clarified and exalted condition of the human intelligence. To the former class belong the _alumbrados_ of Spain. Menendez Pelayo first finds the name about 1492 (in the form _aluminados_, 1498), but traces them back to a Gnostic origin, and thinks their views were promoted in Spain through influences from Italy. One of their earliest leaders, born in Salamanca, a labourer's daughter, known as La Beata de Piedrahita, came under the notice of the Inquisition in 1511, as claiming to hold colloquies with our Lord and the Virgin; having high patrons, no decision was taken against her (_Los Heterodoxos Españoles_, 1881, lib. v.). Ignatius Loyola, while studying at Salamanca (1527) was brought before an ecclesiastical commission on a charge of sympathy with the _alumbrados_, but escaped with an admonition. Others were not so fortunate. In 1529 a congregation of unlettered adherents at Toledo was visited with scourging and imprisonment. Greater rigours followed, and for about a century the _alumbrados_ afforded many victims to the Inquisition, especially at Cordova. The movement (under the name of _Illuminés_) seems to have reached France from Seville in 1623, and attained some proportions in Picardy when joined (1634) by Pierre Guérin, curé of Saint-Georges de Roye, whose followers, known as Guérinets, were suppressed in 1635 (Hermant, _Hist. des hérésies_, 1717). Another and obscure body of _Illuminés_ came to light in the south of France in 1722, and appears to have lingered till 1794, having affinities with those known contemporaneously in this country as "French Prophets," an offshoot of the Camisards. Of different class were the so-called Illuminati, better known as Rosicrucians, who claimed to originate in 1422, but rose into notice in 1537; a secret society, combining with the mysteries of alchemy the possession of esoteric principles of religion. Their positions are embodied in three anonymous treatises of 1614 (Richard et Giraud, _Dict. de la théol. cath._). A short-lived movement of republican freethought, to whose adherents the name Illuminati was given, was founded on May-day 1776 by Adam Weishaupt (d. 1830), professor of Canon Law at Ingolstadt, an ex-Jesuit. The chosen title of this Order or Society was Perfectibilists (_Perfektibilisten_). Its members, pledged to obedience to their superiors, were divided into three main classes; the first including "novices," "minervals" and "lesser illuminati"; the second consisting of freemasons, "ordinary," "Scottish" and "Scottish knights"; the third or "mystery" class comprising two grades of "priest" and "regent" and of "magus" and "king." Relations with masonic lodges were established at Munich and Freising in 1780. The order had its branches in most countries of the European continent, but its total numbers never seem to have exceeded two thousand. The scheme had its attraction for literary men, such as Goethe and Herder, and even for the reigning dukes of Gotha and Weimar. Internal rupture preceded its downfall, which was effected by an edict of the Bavarian government in 1785. Later, the title Illuminati was given to the French Martinists, founded in 1754 by Martinez Pasqualis, and to their imitators, the Russian Martinists, headed about 1790 by Professor Schwartz of Moscow; both were Cabalists and allegorists, imbibing ideas from Jakob Boehme and Emmanuel Swedenborg (Bergier, _Dict. de théol._).

See (especially for details of the movement of Weishaupt,) P. Tschackert, in Hauck's _Realencyklopädie_ (1901). (A. Go.*)

ILLUMINATION, in optics, the intensity of the light falling upon a surface. The measurement of the illumination is termed photometry (q.v.). The fundamental law of illumination is that if the medium be transparent the intensity of illumination which a luminous point can produce on a surface directly exposed to it is inversely as the square of the distance. The word transparent implies that no light is absorbed or stopped. Whatever, therefore, leaves the source of light must in succession pass through each of a series of spherical surfaces described round the source as centre. The same _amount_ of light falls perpendicularly on all these surfaces in succession. The amount received in a given time by a unit of surface on each is therefore inversely as the number of such units in each. But the surfaces of spheres are as the squares of their radii,--whence the proposition. (We assume here that the velocity of light is constant, and that the source gives out its light uniformly.) When the rays fall otherwise than perpendicularly on the surface, the illumination produced is proportional to the cosine of the angle of obliquity; for the area seen under a given spherical angle increases as the secant of the obliquity, the distance remaining the same.

As a corollary to this we have the further proposition that the apparent brightness of a luminous surface (seen through a transparent homogeneous medium) is the same at all distances.

The word brightness is here taken as a measure of the amount of light falling on the pupil per unit of spherical angle subtended by the luminous surface. The spherical angle subtended by any small surface whose plane is at right angles to the line of sight is inversely as the square of the distance. So also is the light received from it. Hence the brightness is the same at all distances.

The word brightness is often used (even scientifically) in another sense from that just defined. Thus we speak of a bright star, of the question--When is Venus at its brightest? &c. Strictly, such expressions are not defensible except for sources of light which (like a star) have no apparent surface, so that we cannot tell from what amount of spherical angle their light appears to come. In that case the spherical angle is, for want of knowledge, assumed to be the same for all, and therefore the brightness of each is now estimated in terms of the _whole_ quantity of light we receive from it.

The function of a telescope is to increase the "apparent magnitude" of distant objects; it does not increase the "apparent brightness." If we put out of account the loss of light by reflection at glass surfaces (or by imperfect reflection at metallic surfaces) and by absorption, and suppose that the magnifying power does not exceed the ratio of the aperture of the object-glass to that of the pupil, under which condition the pupil will be filled with light, we may say that the "apparent brightness" is absolutely unchanged by the use of a telescope. In this statement, however, two reservations must be admitted. If the object under examination, like a fixed star, have no sensible apparent magnitude, the conception of "apparent brightness" is altogether inapplicable, and we are concerned only with the total quantity of light reaching the eye. Again, it is found that the visibility of an object seen against a black background depends not only upon the "apparent brightness" but also upon the apparent magnitude. If two or three crosses of different sizes be cut out of the same piece of white paper, and be erected against a black background on the further side of a nearly dark room, the smaller ones become invisible in a light still sufficient to show the larger. Under these circumstances a suitable telescope may of course bring also the smaller objects into view. The explanation is probably to be sought in imperfect action of the lens of the eye when the pupil is dilated to the utmost. Lord Rayleigh found that in a nearly dark room he became distinctly short-sighted, a defect of which there is no trace whatever in a moderate light. If this view be correct, the brightness of the image on the retina is really less in the case of a small than in the case of a large object, although the so-called apparent brightnesses may be the same. However this may be, the utility of a night-glass is beyond dispute.

The general law that (apart from the accidental losses mentioned above) the "apparent brightness" depends only upon the area of the pupil filled with light, though often ill understood, has been established for a long time, as the following quotation from Smith's _Optics_ (Cambridge, 1738), p. 113, will show:--

"Since the magnitude of the pupil is subject to be varied by various degrees of light, let NO be its semi-diameter when the object PL is viewed by the naked eye from the distance OP; and upon a plane that touches the eye at O, let OK be the semi-diameter of the greatest area, visible through all the glasses to another eye at P, to be found as PL was; or, which is the same thing, let OK be the semi-diameter of the greatest area inlightened by a pencil of rays flowing from P through all the glasses; and when this area is not less than the area of the pupil, the point P will appear just as bright through all the glasses as it would do if they were removed; but if the inlightened area be less than the area of the pupil, the point P will appear less bright through the glasses than if they were removed in the same proportion as the inlightened area is less than the pupil. And these proportions of apparent brightness would be accurate if all the incident rays were transmitted through the glasses to the eye, or if only an insensible part of them were stopt."

A very important fact connected with our present subject is: The brightness of a self-luminous surface does not depend upon its inclination to the line of sight. Thus a red-hot ball of iron, free from scales of oxide, &c., appears flat in the dark; so, also, the sun, seen through mist, appears as a flat disk. This fact, however, depends ultimately upon the second law of thermodynamics (see RADIATION). It may be stated, however, in another form, in which its connexion with what precedes is more obvious--The amount of radiation, in any direction, from a luminous surface is proportional to the cosine of the obliquity.

The flow of light (if we may so call it) in straight lines from the luminous point, with constant velocity, leads, as we have seen, to the expression [mu]r^(-2) (where r is the distance from the luminous point) for the quantity of light which passes through unit of surface perpendicular to the ray in unit of time, [mu] being a quantity indicating the rate at which light is emitted by the source. This represents the illumination of the surface on which it falls. The flow through unit of surface whose normal is inclined at an angle [theta] to the ray is of course [mu]r^(-2) cos [theta], again representing the illumination. These are precisely the expressions for the gravitation force exerted by a particle of mass [mu] on a unit of matter at distance r, and for its resolved part in a given direction. Hence we may employ an expression V = [Sigma][mu]r^(-1), which is exactly analogous to the gravitation or electric potential, for the purpose of calculating the effect due to any number of separate sources of light.

And the fundamental proposition in potentials, viz. that, if n be the external normal at any point of a closed surface, the integral [int][int](dV/dn)dS, taken over the whole surface, has the value--4[pi][mu]0, where [mu]0 is the sum of the values of [mu] for each source lying within the surface, follows almost intuitively from the mere consideration of what it means as regards light. For every source external to the closed surface sends in light which goes out again. But the light from an internal source goes wholly out; and the amount per second from each unit source is 4[pi], the total area of the unit sphere surrounding the source.

It is well to observe, however, that the analogy is not quite complete. To make it so, all the sources must lie on the same side of the surface whose illumination we are dealing with. This is due to the fact that, in order that a surface may be illuminated at all, it must be capable of scattering light, i.e. it must be to some extent opaque. Hence the illumination depends mainly upon those sources which are on the same side as that from which it is regarded.

Though this process bears some resemblance to the heat analogy employed by Lord Kelvin (Sir W. Thomson) for investigations in statical electricity and to Clerk Maxwell's device of an incompressible fluid without mass, it is by no means identical with them. Each method deals with a substance, real or imaginary, which flows in conical streams from a source so that the same amount of it passes per second through every section of the cone. But in the present process the velocity is constant and the density variable, while in the others the density is virtually constant and the velocity variable. There is a curious reciprocity in formulae such as we have just given. For instance, it is easily seen that the light received from a uniformly illuminated surface is represented by [int][int]r^(-2) cos [theta] dS.

As we have seen that this integral vanishes for a closed surface which has no source inside, its value is the same for all shells of equal uniform brightness whose edges lie on the same cone.

ILLUSTRATION. In a general sense, illustration (or the art of representing pictorially some idea which has been expressed in words) is as old as Art itself. There has never been a time since civilization began when artists were not prompted to pictorial themes from legendary, historical or literary sources. But the art of illustration, as now understood, is a comparatively modern product. The tendency of modern culture has been to make the interests of the different arts overlap. The theory of Wagner, as applied to opera, for making a combined appeal to the artistic emotions, has been also the underlying principle in the development of that great body of artistic production which in painting gives us the picture containing "literary" elements, and, in actual association with literature in its printed form, becomes what we call "illustration." The illustrator's work is the complement of expression in some other medium. A poem can hardly exist which does not awaken in the mind at some moment a suggestion either of picture or music. The sensitive temperament of the artist or the musician is able to realize out of words some parallel idea which can only be conveyed, or can be best conveyed, through his own medium of music or painting. Similarly, music or painting may, and often does, suggest poetry. It is from this inter-relation of the emotions governing the different arts that illustration may be said to spring. The success of illustration lies, then, in the instinctive transference of an idea from one medium to another; the more spontaneous it be and the less laboured in application, the better.

Leaving on one side the illuminated manuscripts of the middle ages (see ILLUMINATED MSS.) we start with the fact that illustration was coincident with the invention of printing. Italian art produced many fine examples, notably the outline illustrations to the _Poliphili Hypneratomachia_, printed by Aldus at Venice in the last year of the 15th century. Other early works exist, the products of unnamed artists of the French, German, Spanish and Italian schools; while of more singular importance, though not then brought into book form, were the illustrations to Dante's _Divine Comedy_ made by Botticelli at about the same period. The sudden development of engraving on metal and wood drew many painters of the Renaissance towards illustration as a further opportunity for the exercise of their powers; and the line-work, either original or engraved by others, of Pollajuolo, Mantegna, Michelangelo and Titian has its place in the gradual enlargement of illustrative art. The German school of the 16th century committed its energies even more vigorously to illustration; and many of its artists are now known chiefly through their engravings on wood or copper, a good proportion of which were done to the accompaniment of printed matter. The names of Dürer, Burgmair, Altdorfer and Holbein represent a school whose engraved illustrations possess qualities which have never been rivalled, and remain an invaluable aid to imitators of the present day.

Progress in England.

Illustration has generally flourished in any particular age in proportion to the health and vigour of the artistic productions in other kinds. No evident revival in painting has come about, no great school has existed during the last four centuries, which has not set its mark upon the illustration of the period and quickened it into a medium for true artistic expression. The etchers of the Low Countries during the 17th century, with Rembrandt at their head, were to a great extent illustrators in their choice of subjects. In France the period of Watteau and Fragonard gave rise to a school of delicately engraved illustration, exquisite in detail and invention. In England Hogarth came to be the founder of many new conditions, both in painting and illustration, and was followed by men of genius so distinct as Reynolds on the one side and Bewick on the other. With Reynolds one connects the illustrators and engravers for whom now Bartolozzi supplies a surviving name and an embodiment in his graceful but never quite English art. But it is from Thomas Bewick that the wonderfully consistent development of English illustration begins to date. Bewick marks an important period in the technical history of wood-engraving as the practical inventor of the "tint" and "white line" method of wood-cutting; but he also happened to be an artist. His artistic device was to give local colour and texture without shadow, securing thereby a precision of outline which allowed no form to be lost. And though, in consequence, many of his best designs have somewhat the air of a specimen plate, he succeeded in bringing into black-and-white illustration an element of colour which had been wholly absent from it in the work of the 15th and 16th century German and Italian schools. Bewick's method started a new school; but the more racy qualities of his woodcuts were entirely dependent on the designer being his own cutter; and the same happy relationship gave distinct characteristics to the nearly contemporary work of William Blake and of Calvert. Blake's wonderful _Illustrations to the Book of Job_, while magnificent in their conventional rendering of light and shade, still retain the colourlessness of the old masters, as do also the more broadly handled designs to his own books of prophecy and verse; but in his woodcuts to Philips's _Pastorals_ the modern tendency towards local colour makes itself strongly felt. So wonderfully, indeed, have colour and tone been expressed in these rough wood-blocks, that more vivid impressions of darkness and twilight falling across quiet landscape have never been produced through the same materials. The pastoral designs made by Edward Calvert on similar lines can hardly be over-praised. Technically these engravings are far more able than those from which they drew their inspiration.

With the exception of the two artists named, and in a minor degree of Thomas Stothard and John Flaxman, who also produced original illustrations, the period from the end of the 18th century till about the middle of the 19th was less notable for the work of the designer than of the engraver. The delicate plates to Rogers's _Italy_ were done from drawings which Turner had not produced for purposes of illustration; and the admirable lithographs of Samuel Prout and Richard Bonington were merely studies of architecture and landscape made in a material that admitted of indefinite multiplication. It is true that Géricault came over to England about the year 1820 to draw the English race-horse and other studies of country life, which were published in London in 1821, and that other fine work in lithography was done by James Ward, G. Cattermole, and somewhat later by J. F. Lewis. But illustration proper, subject-illustration applied to literature, was mainly in the hands of the wood-engravers; and these, forming a really fine school founded on the lines which Bewick had laid down, had for about thirty years to content themselves with rendering the works of ephemeral artists, among whom Benjamin R. Haydon and John Martin stand out as the chief lights. It must not be forgotten, however, that while the day of a serious English school of illustration had not yet come, Great Britain possessed an indigenous tradition of gross and lively caricature; a tradition of such robust force and vulgarity that, by the side of some choicer specimens of James Gillray and Henry W. Bunbury, the art of Rowlandson appears almost refined. This was the school in which George Cruikshank, John Leech, and the Dickens illustrators had their training, from which they drew more and more away; until, with the help of _Punch_, just before the middle of the 19th century, English caricaturists had learned the secret of how to be apposite and amusing without scurrility and without libel. (See CARICATURE.)

Influence of Wood-engraving.

Under NEWSPAPERS will be found some account of the rise of _illustrated journalism_. It was in about the year 1832 that the illustrated weekly paper started on its career in England, and almost by accident determined under what form a great national art was to develop itself. While in France the illustrators were making their triumphs by means of lithography, English illustration was becoming more and more identified with wood-engraving. The demand for a method of illustration, easy to produce and easy to print, for books and magazines of large circulation and moderate price, forced the artist before long into drawing upon the wood itself; and so soon as the artist had asserted his preference for facsimile over "tint," the school which came to be called "of the 'sixties" was in embryo, and waited only for artistic power to give it distinction. The engraver's translation of the artist's painting or wash-drawing into "tint" had largely exalted the individuality of the engraver at the expense of the artist. But from the moment when the designer began to put his own lines upon the wood, new conditions shaped themselves; and though the artist at times might make demands which the engraver could not follow, or the engraver inadequately fulfil the expectation of the artist, the general tendency was to bring designer and engraver into almost ideal relations--an ideal which nothing short of the artist being his own engraver could have equalled. Out of an alliance cemented by their common use and understanding of the material on which they worked came the school of facsimile or partial-facsimile engraving which flourished during the 'sixties, and lasted just so long as its conditions were unimpaired--losing its flavour only at the moment when "improved" mechanical appliances enabled the artist once more to dissociate himself from the conditions which bound the engraver in his craft.

Pre-Raphaelite movement.

Influence of Millais.

Before the fortunate circumstances which governed the work of the 'sixties became decisive, illustrations of a transitional character, but tending to the same end, had been produced by John Tenniel, John Gilbert, Birket Foster, Harrison Weir, T. Creswick, W. Mulready and others; but their methods were too vague and diffuse to bear as yet the mark of a school; no single influence gave a unity to their efforts. On some of them Adolf von Menzel's illustrations to Kügler's _Frederick the Great_, published in England in 1844, may have left a mark; Gilbert certainly shows traces of the influence of Delacroix and Bonington in the free, loose method of his draughtsmanship, independent of accurate modelling, and with here and there a paint-like dab of black to relieve a generally colourless effect; while Tenniel, with cold, precise lines of wire-drawn hardness, remained the representative of the past academic style, influencing others by the dignity of his fine technique, but with his own feeling quite untouched by the Pre-Raphaelite and romantic movement which was soon to occupy the world of illustration. In greater or less degree it may be said of the work of all these artists that, as it antedates, so to the end does it stand somewhat removed in character from, the school with which for a time it became contemporary. The year which decisively marked the beginning of new things in illustration was 1857, the year of the Moxon _Tennyson_ and of Wilmott's _Poets of the Nineteenth Century_, with illustrations by Rossetti, Millais, Holman Hunt and Ford Madox Brown. In these artists we get the germ of the movement which afterwards came to have so wide a popularity. At the beginning, Pre-Raphaelite in name, poetic and literary in its choice of subjects, the school quickly expanded to an acceptance of those open-air and everyday subjects which one connects with the names of Frederick Walker, Arthur B. Houghton, G. F. Pinwell and M. North. The illustrations of the Pre-Raphaelites were eminently thoughtful, full of symbolism, and with a certain pressure of interest to which the epithet of "intense" came to be applied. As an example of their method of thought-transference from word to form, Madox Brown's drawing for the Dalziel Bible of "Elijah and the Widow's Son" may be taken. The restoration of life to a dead body, of a child to its mother, is there conveyed with many illustrative touches and asides, which become clumsy when stated in words. The hen bearing her chicken between her wings is a perfectly direct and appropriate pictorial symbol, but a far more imaginative stroke is the shadow on the wall of a swallow flying back to the clay bottle where it has made its nest. Here is illustration full of literary symbolism, yet wholly pictorial in its means; and in this it is entirely characteristic of Pre-Raphaelite feeling, with its method of suggesting, through externals, consideration as opposed to mere outlook. Of this phase Rossetti must be accounted the leader, but it was Millais who, by the sheer weight of his personality, carried English illustration along with him from Pre-Raphaelitism to the freer romanticism and naturalistic tendencies of the 'sixties. Rossetti, with his poetic enthusiasm, his strong personal magnetism and dramatic power of composition, may be said to have brought about the awakening; it was Millais who, by his rapid development of style, his original and daring technique, turned it into a movement. When he started, there were many influences behind him and his fellow-workers--among older foreign contemporaries, those of Menzel and Rethel; and behind these again something of the old masters. But through a transitional period, represented by his twelve drawings of "The Parables," which appeared first in _Good Words_, Millais emerged in to the perfect independence of his illustrations to Trollope's novels, _Framley Parsonage_, and _The_ _Small House at Allington_, his own master and the master of a new school. Depicting the ugly fashions of his day with grave dignity and distinction, and with a broad power of rendering type in work which had the aspect of genre, he drew the picture of his age in a summary so embracing that his illustrations attain the rank almost of historical art. For art of this sort the symbolism of the Pre-Raphaelites lost its use: the realization in form of a character conveyed by an author's words, the happy suggestion of a locality helping to fix the writer's description, the verisimilitudes of ordinary life, even to trivial detail, carried out with real pictorial conviction, were the things most to be aimed at. Pictorial conviction was the great mark of the illustrative school of the 'sixties. The work of its artists has absorbed so completely the interest and reality of the letterpress that the results are a model of what faithful yet imaginative illustration should be. In the illustrated magazines of this period, _Once a Week_, _Good Words_, _Cornhill_, _London Society_, _The Argosy_, _The Leisure Hour_, _Sunday at Home_, _The Quiver_ and _The Churchman's Family Magazine_, as well as others, is to be found the best work of this new school of illustrators; and with the greater number of them it cannot be mistaken that Millais is the prevailing force.

By their side other men were working, more deeply influenced by the old masters, and by the minuteness and hard, definite treatment of form which the Pre-Raphaelite school had inculcated. Foremost of these was Frederick Sandys. His illustrations, scattered through nearly all the magazines which have been named, show always a decorative power of design and are full of fine drawing and fine invention, but remain resolutely cold in handling and lacking in imaginative ardour. The few illustrations done by Burne-Jones at this period show a whole-hearted following of Rossetti, but a somewhat struggling technique; and the same qualities are to be found in the work of Arthur Hughes, whose illustrations in _Good Words for the Young_ (1869) have a charm of tender poetic invention showing through the faults and persistent uncertainty of his draughtsmanship. The illustrations of Frederick Shields to Defoe's _History of the Plague_ have a certain affinity to the work of Sandys; but, with less power over form, they show a more dramatic sense of light and shade, and at their best can claim real and original beauty. The formality of feeling and composition, and the strained, stiff quality of line in Lord Leighton's designs to _Romola_ (1863), do a good deal to mar one's enjoyment of their admirable draughtsmanship. Many fine drawings done at this period by Leighton, Poynter, Henry Armstead and Burne-Jones did not appear until the year 1880 in the "Dalziel Bible Gallery," when the methods of which they were the outcome had fallen almost out of use.

"The 'sixties."

Deeply influenced by the broad later phases of Millais's black-and-white work were those artists whose tendency lay in the direction of idyllic naturalism and popular romance, the men to whom more particularly is given the name of the period and school "the 'sixties," and whose more immediate leader, as far as popular estimation goes, was Frederick Walker. With his, one may roughly group the names of Pinwell, Houghton, North, Charles Keene, Lawless, Matthew J. Mahoney, Morten and, with a certain reservation, W. Small and G. du Maurier. In no very separate category stand two other artists whose contributions to illustration were but incidental, John Pettie and J. M'Neill Whistler. The broad characteristics of this variously related group were a loose, easy line suggestive of movement, a general fondness for white spaces and open-air effects, and in the best of them a thorough sense of the serious beauty of domestic and rural life. They treated the present with a feeling rather idyllic than realistic; when they touched the past it was with a courteous sort of realism, and a wonderful inventiveness of detail which carried with it a charm of conviction. Walker's method shows a broad and vivid use of black and white, with a fine sense of balance, but very little preoccupation for decorative effect. Pinwell had a more delicate fancy, but less freedom in his technique--less ease, but more originality of composition. In Houghton's work one sees a swift, masterful technique, full of audacity, noble in its economy of means, sometimes rough and careless. His temperament was dramatic, passionate, satiric and witty. Some of his best work, his "Scenes from American Life," appeared in the pages of the _Graphic_ as late as the years 1873-1874. There are indications in the work of Lawless that he might have come close to Millais in his power of infusing distinction into the barest materials of everyday life, but he died too soon for his work to reach its full accomplishment. North was essentially a landscape illustrator. The delicate sense of beauty in du Maurier's early work became lost in the formal but graceful conventions of his later _Punch_ drawings. It was in the pages of _Punch_ that Keene secured his chief triumphs. The two last-named artists outstayed the day which saw the break-up of the school of which these are the leading names. It ran its course through a period when illustrated magazines formed the staple of popular consumption, before the illustrated newspapers, with their hungry rush for the record of latest events, became a weekly feature. Its waning influence may be plainly traced through the early years of the _Graphic_, which started in 1869 with some really fine work, done under transitional conditions before the engraver's rendering of tone-drawings once more ousted facsimile from its high place in illustration.

In connexion with this transitional period, drawings for the _Graphic_ by Houghton, Pinwell, Sir Hubert von Herkomer, E. J. Gregory, H. Woods, Charles Green, H. Paterson (Mrs Allingham) and William Small deserve honourable mention. Yet it was the last-named who was mainly instrumental in bringing about the change from line-work to pigment, which depressed the artistic value of illustration during the 'seventies and the 'eighties to almost absolute mediocrity. Several artists of great ability practised illustration during this period: in addition to those _Graphic_ artists already mentioned there were Luke Fildes, Frank Holl, S. P. Hall, Paul Renouard and a few others of smaller merit. But the interest was for the time shifting from black-and-white work and turning to colour. Kate Greenaway began to produce her charming idyllic renderings of children in mob-caps and long skirts. Walter Crane on somewhat similar lines designed his illustrated nursery rhymes; while Randolph Caldecott took the field with his fresh and breezy scenes of hunting life and carousal in the times most typical of the English squirearchy. Working with a broad outline, suggestive of the brush by its easy freedom, and adding washes of conventional colour for embellishment, he was one of the first in England to show the beginnings of Japanese influence. Even more dependent upon colour were his illustrated books for children; while in black and white, in his illustrations to _Bracebridge Hall_ (1876), for instance, pen and ink began to replace the pencil, and to produce a new and more independent style of draughtsmanship. This style was taken up and followed by many artists of ability, by Harry Furniss, Hugh Thomson and others, till the influence of E. A. Abbey's more mobile and more elaborate penmanship came to produce a still further development in the direction of fineness and illusion, and that of Phil May, with Linley Sambourne for his teacher, to simplify and make broad for those who aimed rather at a journalistic and shorthand method of illustration. (See also CARICATURE and CARTOON.)

Under the absolutely liberating conditions of "process reproduction" (see PROCESS) the latest developments in illustration on its lighter and more popular side are full of French influences, or ready to follow the wind in any fresh direction, whether to America or Japan; but on the graver side they show a strong leaning towards the older traditions of the 'sixties and of Pre-Raphaelitism. The founding by William Morris of the Kelmscott Press in 1891, through which were produced a series of decorated and illustrated books, aimed frankly at a revival of medieval taste. In Morris's books decorative effect and sense of material claimed mastery over the whole scheme, and subdued the illustrations to a sort of glorious captivity into which no breath of modern spirit could be breathed. The illustrations of Burne-Jones filled with a happy touch of archaism the decorative borders of William Morris; and only a little less happy, apart from their imaginative inferiority, were the serious efforts of Walter Crane and one or two others. Directly under the Morris influence arose the "Birmingham school," with an entire devotion to decorative methods and still archaic effects which tended sometimes to rather inane technical results. Among its leaders may be named Arthur Gaskin, C. M. Gere and E. H. New; while work not dissimilar but more independent in spirit had already been done by Selwyn Image and H. P. Horne in the _Century Guild Hobby-Horse_. But far greater originality and force belonged to the work of a group, known for a time as the neo-Pre-Raphaelites, which joined to an earnest study of the past a scrupulously open mind towards more modern influences. Its earliest expression of existence was the publication of an occasional periodical, the _Dial_ (1889-1897), but before long its influence became felt outside its first narrow limits. The technical influence of Abbey, but still more the emotional and intellectual teaching of Rossetti and Millais, together with side-influences from the few great French symbolists, were, apart from their own originality, the forces which gave distinction to the work of C. S. Ricketts, C. H. Shannon, R. Savage and their immediate following. Beauty of line, languorous passion, symbolism full of literary allusions, and a fondness for the life of any age but the present, are the characteristics of the school. Their influence fell very much in the same quarters where Morris found a welcome; but an affinity for the Italian rather than the German masters (shown especially in the "Vale Press" publications), and a studied note of world-weariness, kept them somewhat apart from the sturdy medievalism of Morris, and linked them intellectually with the decadent school initiated by the wayward genius of Aubrey Beardsley. But though broadly men may be classed in groups, no grouping will supply a formula for all the noteworthy work produced when men are drawn this way and that by current influences. Among artists resolutely independent of contemporary coteries may be named W. Strang, whose grave, rugged work shows him a pupil, through Legros, of Dürer and others of the old masters; T. Sturge Moore, an original engraver of designs which have an equal affinity for Blake, Calvert and Hokusai; W. Nicholson, whose style shows a dignified return to the best part of the Rowlandson tradition; and E. J. Sullivan. In the closing years of the 19th century Aubrey Beardsley became the creator of an entirely novel style of decorative illustration. Drawing inspiration from all sources of European and Japanese art, he produced, by the force of a vivid personality and extraordinary technical skill, a result which was highly original and impressive. To a genuine liking for analysis of repulsive and vicious types of humanity he added an exquisite sense of line, balance and mass; and partly by _succès de scandale_, partly by genuine artistic brilliance, he gathered round him a host of imitators, to whom, for the most part, he was able to impart only his more mediocre qualities.

United States.

In America, until a comparatively recent date, illustration bowed the knee to the superior excellence of the engraver over the artist. Not until the brilliant pen-drawing of E. A. Abbey carried the day with the black-and-white artists of England did any work of real moment emanate from the United States, unless that of Elihu Vedder be regarded as an exception. Howard Pyle is a brilliant imitator of Dürer; he has also the ability to adapt himself to draughtsmanship of a more modern tendency. C. S. Reinhart was an artist of directness and force, in a style based upon modern French and German examples; while of greater originality as a whole, though derivative in detail, is the fanciful penmanship of Alfred Brennan. Other artists who stand in the front rank of American illustrators, and whose works appear chiefly in the pages of _Scribner's_, _Harper's_ and the _Century Magazine_, are W. T. Smedley, F. S. Church, R. Blum, Wenzell, A. B. Frost, and in

## particular C. Dana Gibson, the last of whom gained a reputation in

England as an American du Maurier.

France.

The record of modern French illustration goes back to the day when political caricature and the Napoleonic legend divided between them the triumphs of early lithography. The illustrators of France at that period were also her greatest artists. Of the historical and romantic school were D. Raffet, Nicholas J. Charlet, Géricault, Delacroix, J. B. Isabey and Achille Devéria, many of whose works appeared in _L'Artiste_, a paper founded in 1831 as the official organ of the romanticists; while the realists were led in the direction of caricature by two artists of such enormous force as Gavarni and Honoré Daumier, whose works, appearing in _La Lithographie Mensuelle_, _Le Charivari_ and _La Caricature_, ran the gauntlet of political interference and suppression during a troubled period of French politics--which was the very cause of their prosperity. Behind these men lay the influence of the great Spanish realist Goya. Following upon the harsh satire and venomous realism of this famous school of pictorial invective, the influence of the Barbizon school came as a milder force; but the power of its artists did not show in the direction of original lithography, and far more value attaches to the few woodcuts of J. F. Millet's studies of peasant life. In these we see clearly the tendency of French illustrative art to keep as far as possible the authentic and sketch-like touch of the artist; and it was no doubt from this tendency that so many of the great French illustrators retained lithography rather than commit themselves to the middleman engraver. Nevertheless, from about the year 1830 many French artists produced illustrations which were interpreted upon the wood for the most part by English engravers. Cunier's editions of _Paul et Virginie_ and _La Chaumière Indienne_, illustrated by Huet, Jacque, Isabey, Johannot and Meissonier, were followed by Meissonier's more famous illustrations to _Contes rémois_. After Meissonier came J. B. E. Detaille and Alphonse M. de Neuville and, with a voluminous style of his own, L. A. G. Doré. By the majority of these artists the drawing for the engraver seems to have been done with the pen; and the tendency to penmanship was still more accentuated when from Spain came the influence of M. J. Fortuny's brilliant technique; while after him, again, came Daniel Vierge, to make, as it were, the point of the pen still more pointed. During the middle period of the 19th century the best French illustration was serious in character; but among the later men, when we have recognized the grave beauty of Grasset's _Les Quatre Fils d'Aymon_ (in spite of his vicious treatment of the page by flooding washes of colour through the type itself), and the delicate grace of Boutet de Monvel's _Jeanne d'Arc_, also in colours, it is to the illustrators of the comic papers that we have to go for the most typical and most audacious specimens of French art. In the pages of _Gil Blas_, _Le Pierrot_, _L'Écho de Paris_, _Le Figaro Illustré_, _Le Courrier Français_, and similar publications, are to be found, reproduced with a dexterity of process unsurpassed in England, the designs of J. L. Forain, C. L. Léandre, L. A, Willette and T. A. Steinlen, the leaders of a school enterprising in technique, and with a mixture of subtlety and grossness in its humour. Caran d'Ache also became celebrated as a draughtsman of comic drama in outline.

Germany.

Among illustrators of Teutonic race the one artist who seems worthy of comparison with the great Menzel is Hans Tegner, if, indeed, he be not in some respects his technical superior; but apart from these two, the illustrators respectively of Kügler's _Frederick the Great_ and Holberg's _Comedies_, there is no German, Danish or Dutch illustrator who can lay claim to first rank. Max Klinger, A. Böcklin, W. Trübner, Franz Stück and Hans Thoma are all symbolists who combine in a singular degree force with brutality; the imaginative quality in their work is for the most part ruined by the hard, braggart way in which it is driven home. The achievements and tendency of the later school of illustration in Germany are best seen in the weekly illustrated journal, _Jugend_, of Munich. Typical of an older German school is the work of Adolf Oberländer, a solid, scientific sort of caricaturist, whose illustrations are at times so monumental that the humour in them seems crushed out of life. Others who command high qualities of technique are W. Dietz, L. von Nagel, Hermann Vogel, H. Lüders and Robert Haug. Behind all these men in greater or less degree lies the influence of Menzel's coldly balanced and dry-lighted realism; but wherever the influence of Menzel ceases, the merit of German illustration for the most part tends to disappear or become mediocre.

AUTHORITIES.--W. J. Linton, _The Masters of Wood Engraving_ (London, 1889); C. G. Harper, _English Pen Artists of To-day_ (London, 1892); Joseph Pennell, _Pen Drawing and Pen Draughtsmen_ (London, 1894), _Modern Illustration_ (London, 1895); Walter Crane, _The Decorative Illustration of Books_ (London, 1896); Gleeson White, _English Illustration: "The 'Sixties": 1855-1870_ (Westminster, 1897); W. A. Chatto, _A Treatise on Wood Engraving_ (London, n.d.); Bar-le-Duc, _Les Illustrations du XIX^e siècle_ (Paris, 1882); T. Kutschmann, _Geschichte der deutschen Illustration vom ersten Auftreten des Formschnittes bis auf die Gegenwart_ (Berlin, 1899). (L. Ho.)

_Technical Developments._

The history of illustration, apart from the merits of individual artists, during the period since the year 1875, is mainly that of the development of what is called Process (q.v.), the term applied to methods of reproducing a drawing or photograph which depend on the use of some mechanical agency in the making of the block, as distinguished from such products of manual skill as steel or wood-engraving, lithography and the like. There is good reason to believe that the art of stereotyping--the multiplication of an already existing block by means of moulds and casts--is as old as the 15th century; and the early processes were, in a measure, a refinement upon this: with the difference that they aimed at the making of a metal block by means of a cast of the lines of the drawing itself, the background of which had been cut away so as to leave the design in a definite relief. Experiments of this nature may be said to have assumed practical shape from the time of the invention of Palmer's process called at first _Glyphography_, about the year 1844; this was afterwards perfected and used to a considerable extent under the name of _Dawson's Typographic Etching_, and its results were in many cases quite admirable, and often appear in books and periodicals of the first part of the period with which we are now concerned. The _Graphic_, for instance, published its first process block in 1876, and the _Illustrated London News_ also made similar experiments at about the same time.

From this time begins the gradual application of photography to the uses of illustration, the first successful line blocks made by its help being probably those of Gillot, at Paris, in the early 'eighties. The next stage was to be the invention of some means of reproducing wash drawings. To do this it was necessary for the surface of the block to be so broken up that every tone of the drawing should be represented thereon by a grain holding ink enough to reproduce it. This was finally accomplished by the insertion of a screen, in the camera, between the lens and the plate--the effect of which was to break up the whole surface of the negative into dots, and so secure, when printed on a zinc plate and etched, an approximation to the desired result. Half-tone blocks (as they were called) of this nature (see PROCESS) were used in the _Graphic_ from 1884 and the _Illustrated London News_ from 1885 onwards, the methods at first in favour being those of Meisenbach and Boussod Valadon and Co.'s phototype. Lemercier and Petit of Paris, Angerer and Göschl of Vienna, and F. Ives of Philadelphia also perfected processes giving a similar result, a block by the latter appearing in the _Century_ magazine as early as 1882. Processes of this description had, however, been used for some years before by Henry Blackburn in his _Academy Notes_.

During the decade 1875-1885, however, the main body of illustration was accomplished by wood-engraving, which a few years earlier had achieved such splendid results. Its artistic qualities were now at a rather low ebb, although good facsimile engravings of pen-drawings were not infrequent. The two great illustrated periodicals already referred to during that period relied more upon pictorial than journalistic work. An increasing tendency towards the illustration of the events of the day was certainly shown, but the whole purpose of the journal was not, as at present, subordinated thereto. The chief illustrated magazines of the time, _Harper's_, the _Century_, the _English Illustrated_, were also content with the older methods, and are filled with wood-engravings, in which, if the value of the simple line forming the chief quality of the earlier work has disappeared, a most astonishing delicacy and success were obtained in the reproduction of tone.

Perhaps the most notable and most characteristic production of the time in England was colour-printing. The _Graphic_ and the _Illustrated London News_ published full-page supplements of high technical merit printed from wood-blocks in conjunction with metal plates, the latter sometimes having a relief aquatint surface which produced an effect of stipple upon the shading; metal was also used in preference to wood for the printing of certain colours. The children's books illustrated by Randolph Caldecott, Walter Crane and Kate Greenaway at this time are among the finest specimens of colour-printing yet seen outside of Japan; in them the use of flat masses of pleasant colour in connexion with a bold and simple outline was carried to a very high pitch of excellence. These plates were generally printed by Edmund Evans. In 1887 the use of process was becoming still more general; but its future was by no means adequately foreseen, and the blocks of this and the next few years are anything but satisfactory. This, it soon appeared, was due to inefficient printing on the one hand, and, on the other, to a want of recognition by artists of the special qualities of drawing most suitable for photographic reproduction. The publication of Quevedo's _Pablo de Segovia_ with illustrations by Daniel Vierge in 1882, although hardly noticed at the time, was to be a revelation of the possibilities of the new development; and a serious study of pen-drawing from this point of view was soon inaugurated by the issue of Joseph Pennell's _Pen Drawing and Pen Draughtsmen_ in 1889, followed in by C. G. Harper's _English Pen Artists of To-day_ and in 1896 by Walter Crane's _Decorative Illustration of Books_. At this time also the influence of Aubrey Beardsley made itself strongly felt, not merely as a matter of style, but, by the use of simple line or mass of solid black, as an almost perfect type of the work most suitable to the needs of process. Wider experience of printing requirements, and finer workmanship in the actual making of the blocks, in Paris, Vienna, New York and London, soon brought the half-tone process into great vogue. The spread of education has enormously increased the demand for ephemeral literature, more especially that which lends itself to pictorial illustration; and the photograph or drawing in wash reproduced in half-tone has of late to a great extent ousted line work from the better class of both books and periodicals.

Improvements in machinery have made it possible to print illustrations at a very high speed; and the facility with which photographs can now be taken of scenes such as the public delight to see reproduced in pictures has brought about an almost complete change in pictorial journalism. In addition, reference must be made to an extraordinary increase in the numbers and circulation of cheap periodical publications depending to a very large extent for popularity on their illustrations. Several of these, printed on the coarsest paper, from rotary machines, sell to the extent of hundreds of thousands of copies per week. It was inevitable that this cheapening process should not be permitted to develop without opposition, and the _Dial_ (1889-1897) must be looked on as a protest by the band of artists who promoted it against the unintelligent book-making now becoming prevalent. Much more effective and far-reaching in the same direction was the influence of William Morris, as shown in the publications of the Kelmscott Press (dating from 1891). In these volumes the aim was to produce illustrations and ornaments which were of their own nature akin to, and thus able to harmonize with the type, and to do this by pure handicraft work. As a result, a distinct improvement is to be found in the mere book-making of Great Britain; and although the main force of the movement soon spent itself in somewhat uninspired imitations, there can be no doubt of the survival of a taste for well-produced volumes, in which the relationship of type, paper, illustration and binding has been a matter of careful and artistic consideration. Under this influence, a notable feature has been the re-issue, in an excellent form, of illustrated editions of the works of most of the famous writers.

In France the general movement has proceeded upon lines on the whole very similar. Process--especially what was called "Gillotage"--was adopted earlier, and used at first with greater liberality than in England, although wood-engraving has persisted effectively even up to our own time. In the various types of periodicals of which the _Revue Illustrée_, _Figaro Illustré_ and _Gil Blas Illustré_ may be taken as examples, the most noticeable feature is a use of colour-printing, which is far in advance of anything generally attempted in Great Britain. A favourite and effective process is that employed for the reproduction of chalk drawings (as by Steinlen), which consists of the application of a surface-tint of colour from a metal plate to a print from an ordinary process block.

In Germany, _Jugend_, _Simplicissimus_, and other publications devoted to humour and caricature, employ colour-printing to a great extent with success. The organ of the artists of the younger German schools, Pan (1895), makes use of every means of illustration, and has especially cultivated lithography and wood-cuts, using these arts effectively but with some eccentricity. Holland has also employed coloured lithography for a remarkable series of children's books illustrated by van Hoytema and others. The Viennese _Kunst und Kunsthandwerk_ is an art publication which is exceptionally well produced and printed.

Illustration in the United States has some few characteristics which differentiate it from that of other countries. The later school of fine wood-engraving is even yet in existence. American artists also introduced an effective use of the process block, namely, the engraving or working over of the whole or certain portions of it by hand. This is generally done by an engraver, but in certain cases it has been the work of the original draughtsman, and its possibilities have been foreseen by him in making his drawing. The only other variant of note is the use of half-tone blocks superimposed for various colours. (E. F. S.)

ILLUSTRES, the Latin name given to the highest magistrates of the later Roman Empire. The designation was at first informal, and not strictly differentiated from other marks of honour. From the time of Valentinian I. it became an official title of the consuls, the chief praefecti or ministers, and of the commanders-in-chief of the army. Its usage was eventually extended to lower grades of the imperial service, and to pensionaries from the order of the _spectabiles_. The Illustres were privileged to be tried in criminal cases by none but the emperor or his deputy, and to delegate procuratores to represent them in the courts.

See O. Hirschfeld in _Sitzungsberichte der Berliner Akademie_ (1901), p. 594 sqq.; and T. Hodgkin, _Italy and her Invaders_ (Oxford, 1892), i. 603-617.

ILLYRIA, a name applied to part of the Balkan Peninsula extending along the eastern shore of the Adriatic from Fiume to Durazzo, and inland as far as the Danube and the Servian Morava. This region comprises the modern provinces or states of Dalmatia, Bosnia and Herzegovina, and Montenegro, with the southern half of Croatia-Slavonia, part of western Servia, the sanjak of Novibazar, and the extreme north of Albania. As the inhabitants of Illyria never attained complete political unity its landward boundaries were never clearly defined. Indeed, the very name seems originally to have been an ethnological rather than a geographical term; the older Greek historians usually wrote of "the Illyrians" ([Greek: hoi Illyrioi]), while the names Illyris ([Greek: Illyris]) or less commonly Illyria ([Greek: Illyria]) came subsequently to be used of the indeterminate area inhabited by the Illyrian tribes, i.e. a region extending eastward from the Adriatic between Liburnia on the N. and Epirus on the S., and gradually shading off into the territories of kindred peoples towards Thrace. The Latin name Illyricum was not, unless at a very early period, synonymous with Illyria; it also may originally have signified the land inhabited by the Illyrians, but it became a political expression, and was applied to various divisions of the Roman Empire, the boundaries of which were frequently changed and often included an area far larger than Illyria properly so called. Vienna and Athens at different times formed part of Illyricum, but no geographer would ever have included these cities in Illyria.

_Ethnology._--Little can be learned from written sources of the origin and character of the Illyrians. The Greek legend that Cadmus and Harmonia settled in Illyria and became the parents of Illyrius, the eponymous ancestor of the whole Illyrian people, has been interpreted as an indication that the Greeks recognized some affinity between themselves and the Illyrians; but this inference is based on insufficient data. Herodotus and other Greek historians represent the Illyrians as a barbarous people, who resembled the ruder tribes of Thrace. Both are described as tattooing their persons and offering human sacrifices to their gods. The women of Illyria seem to have occupied a high position socially and even to have exercised political power. Queens are mentioned among their rulers. Fuller and more trustworthy information can be obtained from archaeological evidence. In Bosnia the lake-dwellings at Butmir, the cemeteries of Jezerine and Glasinac and other sites have yielded numerous stone and horn implements, iron and bronze ornaments, weapons, &c., and objects of more recent date fashioned in silver, tin, amber and even glass. These illustrate various stages in the development of primitive Illyrian civilization, from the neolithic age onward. The Hallstatt and La Tène cultures are especially well represented. (See W. Ridgeway, _The Early Age of Greece_, 1901; R. Munro, _Bosnia-Herzegovina and Dalmatia_, Edinburgh, 1900; and W. Radimský, _Die neolithische Station von Butmir_, Vienna, 1895-1898.) Similar discoveries have been made in Dalmatia, as among the tumuli on the Sabbioncello promontory, and in Croatia-Slavonia. H. Kiepert ("Über den Volkstamm der Leleges," in _Monatsber. Berl. Akad._, 1861, p. 114) sought to prove that the Illyrians were akin to the Leleges; his theory was supported by E. Schrader, but is not generally accepted. In Dalmatia there appears to have been a large Celtic element, and Celtic place-names are common. The ancient Illyrian languages fall into two groups, the northern, closely connected with Venetic, and the southern, perhaps allied to Messapian and now probably represented by Albanian.

See K. Brugmann, _Kurze vergleichende Grammatik der Indogermanischen Sprachen_ (Strassburg, 1904); and his larger _Grundriss der vergleichenden Grammatik_ (2nd ed., Strassburg, 1897), with the authorities there quoted, especially P. Kretschmer, _Einleitung in die Geschichte der Griechischen Sprachen_ (Göttingen, 1896): see also ALBANIA.

_History._--Greek colonization on the Illyrian seaboard probably began late in the 7th century B.C. or early in the 6th century. The most important settlements appear to have been at Epidamnus (Durazzo), Tragurium (Traù), Rhizon (near Cattaro), Salona (near Spalato), Epidaurum (Ragusavecchia), Zara and on the islands of Curzola, Lesina and Lissa. There is a collection of Greek coins from Illyria in the museum at Agram, and the researches of Professor F. Bulié and others at Salona (see Spalato) have brought to light Greek inscriptions, Greek pottery, &c. dating from 600 B.C. But Greek influence seems never to have penetrated far into the interior, and even on the coast it was rapidly superseded by Latin civilization after the 3rd century B.C. Until then the Illyrian tribes appear to have lived in a state of intermittent warfare with their neighbours and one another. They are said by Herodotus (ix. 43) to have attacked the temple of Delphi. Brasidas with his small army of Spartans was assaulted by them on his march (424 B.C.) across Thessaly and Macedonia to attack the Athenian colonies in Thrace. The earlier history of the Macedonian kings is one constant struggle against the Illyrian tribes. The migrations of the Celts at the beginning of the 4th century disturbed the country between the Danube and the Adriatic. The Scordisci and other Celtic tribes settled there, and forced the Illyrians towards the south. The necessities of defence seem to have united the Illyrians under a chief Bardylis (about 383 B.C.) and his son Clitus. Bardylis nearly succeeded in destroying the rising kingdom of Macedonia; King Amyntas II was defeated, and a few years later Perdiccas was defeated and slain (359). But the great Philip crushed the Illyrians completely, and annexed part of their country. During the next century we hear of them as pirates. Issuing from the secluded harbours of the coast, they ravaged the shores of Italy and Greece, and preyed on the commerce of the Adriatic. The Greeks applied to Rome for help. Teuta, the Illyrian queen, rejected the Roman demands for redress, and murdered the ambassadors; but the two Illyrian Wars (229 and 219 B.C.) ended in the submission of the Illyrians, a considerable part of their territory being annexed by the conquerors. Illyria, however, remained a powerful kingdom with its capital at Scodra (Scutari in Albania), until 180 B.C., when the Dalmatians declared themselves independent of Gentius or Genthius, the king of Illyria, and founded a republic with its capital at Delminium (see DALMATIA: _History_, on the site of Delminium). In 168 Gentius came into conflict with the Romans, who conquered and annexed his country. Dalmatia was invaded by a Roman army under Gaius Marcius Figulus in 156, but Figulus was driven back to the Roman frontier, and in Dalmatia the Illyrians were not finally subdued until 165 years afterwards. Publius Scipio Nasica, who succeeded Figulus, captured Delminium, and in 119 L. Caecilius Metellus overran the country and received a triumph and the surname _Dalmaticus_. But in 51 a Dalmatian raid on Liburnia led to a renewal of hostilities; the Roman armies were often worsted, and although in 39 Asinius Pollio gained some successes (see Horace, _Odes_ ii. 1. 15) these appear to have been exaggerated, and it was not until Octavian took the field in person that the Dalmatians submitted in 33. (For an account of the war see Appian, _Illyrica_, 24-28; Dio Cassius xlix. 38; Livy, _Epit._ 131, 132). They again revolted in 16 and 11, and in A.D. 6-9 joined the rebel Pannonians. Suetonius (_Tiberius_, 16) declares that they were the most formidable enemies with whom the Romans had had to contend since the Punic Wars. In A.D. 9, however, Tiberius entirely subjugated them, for which he was awarded a triumph in 12 (Dio Cass. lv. 23-29, lvi. 11-17; Vell. Pat. ii. 110-115). Thenceforward Dalmatia, Iapydia and Liburnia were united as the province of Illyricum.

Latin civilization spread rapidly, the cultivation of the vine was introduced, gold-mining was carried on in Bosnia, and flourishing commercial cities arose along the coast. Illyria became one of the best recruiting grounds for the Roman legions; and in troubled times many Illyrian soldiers fought their way up from the ranks to the imperial purple. Claudius, Aurelian, Probus, Diocletian and Maximian were all sons of Illyrian peasants. It is probable, however, that most of the highland tribes now represented by the Albanians remained almost unaffected by Roman influence. The importance of Illyricum caused its name to be extended to many neighbouring districts; in the 2nd century A.D. the _Illyricus Limes_ included Noricum, Pannonia, Moesia, Dacia and Thrace. In the reorganization of the empire by Diocletian (285) the diocese of Illyricum was created; it comprised Pannonia, Noricum and Dalmatia, while Dacia and Macedonia, together called Eastern Illyricum, were added later. Either Diocletian or after him Constantine made Illyricum one of the four prefectures, each governed by a _praefectus praetorio_, into which the empire was divided. This prefecture included Pannonia, Noricum, Crete and the entire Balkan peninsula except Thrace, which was attached by Constantine to the prefecture of the East. From the partition of the empire in 285 until 379 Illyricum was included in the Western Empire, but thenceforward Eastern Illyricum was annexed to the Eastern Empire; its frontier was almost identical with the line of demarcation between Latin-speaking and Greek-speaking peoples, and roughly corresponded to the boundary which now severs Latin from Greek Christianity in the Balkan peninsula. The whole peninsula except Thrace was still known as Illyricum, but was subdivided into Illyris Barbara or Romana and Illyris Graeca (Eastern Illyricum with Greece and Crete). The Via Egnatia, the great line of road which connected Rome with Constantinople and the East, led across Illyricum from Dyrrachium to Thessalonica.

In the 5th century began a series of invasions which profoundly modified the ethnical character and the civilization of the Illyrians. In 441 and 447 their country was ravaged by the Huns. In 481 Dalmatia was added to the Ostrogothic kingdom, which already included the more northerly parts of Illyricum, i.e. Pannonia and Noricum. Dalmatia was partially reconquered by Justinian in 536, but after 565 it was devastated by the Avars, and throughout the century bands of Slavonic invaders had been gradually establishing themselves in Illyria, where, unlike the earlier barbarian conquerors, they formed permanent settlements. Between 600 and 650 the main body of the immigrants occupied Illyria (see SERVIA: _History_; and SLAVS). It consisted of Croats and Serbs, two groups of tribes who spoke a single language and were so closely related that the origin of the distinction between them is obscure. The Croats settled in the western half of Illyria, the Serbs in the eastern; thus the former came gradually under the influence of Italy and Roman Catholicism, the latter under the influence of Byzantium and the Greek Church. Hence the distinction between them became a marked difference of civilization and creed, which has always tended to keep the Illyrian Slavs politically disunited.

The Croats and Serbs rapidly absorbed most of the Latinized Illyrians. But the wealthy and powerful city-states on the coast were strong enough to maintain their independence and their distinctively Italian character. Other Roman provincials took refuge in the mountains of the interior; these Mavrovlachi, as they were called (see DALMATIA: _Population_; and VLACHS), preserved their language and nationality for many centuries. The Illyrian tribes which had withstood the attraction of Roman civilization remained unconquered among the mountains of Albania and were never Slavonized. With these exceptions Illyria became entirely Serbo-Croatian in population, language and culture.

The name of Illyria had by this time disappeared from history. In literature it was preserved, and the scene of Shakespeare's comedy, _Twelfth Night_, is laid in Illyria. Politically the name was revived in 1809, when the name Illyrian Provinces was given to Carniola, Dalmatia, Istria, Fiume, Görz and Gradisca, and Trieste, with parts of Carinthia and Croatia; these territories were ceded by Austria to Italy at the peace of Schönnbrun (14th Oct. 1809). The Illyrian Provinces were occupied by French troops and governed in the interest of Napoleon; the republic of Ragusa was annexed to them in 1811, but about the end of 1813 the French occupation ceased to be effective and the provinces reverted to Austria. The kingdom of Illyria, which was constituted in 1816 out of the crown-lands of Carinthia, Carniola, Istria, Görz and Gradisca, and Trieste, formed until 1849 a kingdom of the Austrian crown. For the political propaganda known as Illyrism, see CROATIA-SLAVONIA: _History_.

BIBLIOGRAPHY.--In addition to the authorities quoted above, see G. Zippel, _Die römische Herrschaft in Illyrien bis auf Augustus_ (Leipzig, 1877); P. O. Bahn, _Der Ursprung der römischen Provinz Illyrien_ (Grimma, 1876); J. Marquardt, _Römische Staatsverwaltung_, i. (1881), p. 295; E. A. Freeman, "The Illyrian Emperors and their Land" (_Historical Essays_, series 3, 1879); C. Patsch in Pauly-Wissowa's _Realencyklopädie_, iv. pt. 2 (1901); Th. Mommsen, _The Provinces of the Roman Empire_ (ed. F. Haverfield, 1909).

ILMENAU, a town and summer resort of Germany, in the grand-duchy of Saxe-Weimar, at the north foot of the Thuringian Forest, on the river Ilm, 30 m. by rail south of Erfurt. Pop. (1905) 11,222. The town, which stands picturesquely among wooded hills, is much frequented by visitors in the summer. It was a favourite resort of Goethe, who wrote here his _Iphigenie_, and often stayed at Gabelbach in the neighbourhood. It has a grand-ducal palace, a Roman Catholic and two Evangelical churches, a sanatorium for nervous disorders, and several educational establishments. Its chief manufactures are glass and porcelain, toys, gloves and chemicals, and the town has tanneries and saw-mills. Formerly a part of the county of Henneberg, Ilmenau came in 1631 into the possession of electoral Saxony, afterwards passing to Saxe-Weimar.

See R. Springer, _Die klassischen Stätten von Jena und Ilmenau_ (Berlin, 1869); Pasig, _Goethe und Ilmenau_ (2nd ed., Weimar, 1902); and Fils, _Bad Ilmenau und seine Umgebung_ (Hildburghausen, 1886).

ILMENITE, a mineral known also as titanic iron, formerly regarded as an iron and titanium sesquioxide (Fe, Ti)2O3 isomorphous with haematite (Fe2O3), but now generally considered to be an iron titanate FeTiO3 isomorphous with pyrophanite (MnTiO3) and geikielite (MgTiO3). It crystallizes in the parallel-faced hemihedral class of the rhombohedral system, thus having the same degree of symmetry as phenacite and pyrophanite, but differing from that of haematite. The angles between the faces are very nearly the same as between the corresponding faces of haematite; but it is to be noted that the rhombohedral angle (94° 29´) of ilmenite is not intermediate between that of haematite (94° 0´) and of the artificially prepared crystals of titanium sesquioxide (92° 40´), which should be the case if the three substances were isomorphous. Analyses show wide variations in chemical composition, and there is a gradation from normal ilmenite FeTiO3 (with titanium dioxide 52.7, and ferrous oxide 47.3%) to titaniferous haematite and titaniferous magnetite. Frequently also, magnesia and manganous oxide are present in small amounts, the former reaching 16%. The formula (Fe, Mg)TiO3 is then analogous to those of geikielite and pyrophanite. Many analyses show the presence of TiO2 and (Fe, Mg)O in this ratio of 1:1, yet there is often an excess of ferric oxide to be accounted for; this may perhaps be explained by the regular intergrowth on a minute scale of ilmenite with haematite, like the intergrowth of such substances as calcite and sodium nitrate, which are similar crystallographically but not chemically.

[Illustration]

In many of its external characters ilmenite is very similar to haematite; the crystals often have the same tabular or lamellar habit; the twin-laws are the same, giving rise to twin-lamellae and planes of

## parting parallel to the basal plane and the primitive rhombohedron; the

colour is iron-black with a submetallic lustre; finally, the conchoidal fracture is the same in both minerals. Ilmenite has a black streak; it is opaque, but in very thin scales sometimes transparent with a clove-brown colour. It is slightly magnetic, but without polarity. The hardness is 5½, and the specific gravity varies with the chemical composition from 4.3 to 5.0.

Owing to the wide variations in composition, which even yet are not properly understood, several varieties of the mineral have been distinguished by special names. Crichtonite occurs as small and brilliant crystals of acute rhombohedral habit on quartz at Le Bourg d'Oisans in Dauphiné; it agrees closely in composition with the formula FeTiO3 and has a specific gravity of 4.7. Manaccanite (or Menaccanite) is a black sandy material, first found in 1791 in a stream at Manaccan near Helston in Cornwall. Iserite, from Iserwiese in the Iser Mountains, Bohemia, is a similar sand, but containing some octahedral crystals, possibly of titaniferous magnetite. Washingtonite is found as large tabular crystals at Washington, Connecticut. Uddevallite is from Uddevalla in Sweden. Picrotitanite or picroilmenite (Gr. [Greek: pikros], "bitter") is the name given to varieties containing a considerable amount of magnesia. Other varieties are kibdelophane, hystatite, &c. The name ilmenite, proposed by A. T. Kupffer in 1827, is after the Ilmen Mountains in the southern Urals, whence come the best crystals of the mineral. The largest crystals, sometimes as much as 16 lb. in weight, are from Kragerö and Arendal in Norway.

Ilmenite occurs, often in association with magnetite, in gneisses and schists, sometimes forming beds of considerable extent, but of little or no economic value. It is a common accessory constituent of igneous rocks of all kinds, more especially basic rocks such as gabbro, diabase and basalt. In these rocks it occurs as platy crystals, and is frequently represented by a white, opaque alteration product known as leucoxene. (L. J. S.)

ILOILO, a town, port of entry and the capital of the province of Iloilo, Panay, Philippine Islands, at the mouth of Iloilo river, on the S.E. coast. Pop. (1903) 19,054. In 1903, after the census had been taken, the population of the town was more than doubled by the addition of the municipalities of La Paz (pop. 5724), Mandurriao (pop. 4482), Molo (pop. 8551) and Jaro (pop. 10,681); in 1908 Jaro again became a separate town. The town is built on low sandy ground, is irregularly laid out, and its streets are not paved. It has a good government house and a fine church. The harbour, suitable for ships of 15 ft. draught, is well protected by the island of Guimaras, and ocean-going vessels can lie in the channel. The surrounding country, which is traversed by gravel roads leading to the principal towns of the province, is fertile and well cultivated, producing sugar, tobacco and rice in abundance. In commercial importance Iloilo ranks next to Manila among Philippine cities; it has manufactures of piña, jusi, coconut oil, lime, vinegar and various articles made from palm wood. Much of the town was burned by Filipino insurgents soon after its capture by American troops in February 1899.

ILSENBURG, a village and health resort of Germany, in Prussian Saxony, romantically situated under the north foot of the Harz Mountains, at the entrance to the Ilsethal, 6 m. N.W. from Wernigerode by the railway to Goslar. Pop. (1900) 3868. It has an Evangelical church, a modern château of the princes of Stolberg, with pretty grounds, and a high grade school, and manufactures metal wares, machines and iron screws and bolts.

Owing to its charming surroundings and its central position in the range, Ilsenburg is one of the most frequented tourist resorts in the Harz Mountains, being visited annually by some 6000 persons. The old castle, Schloss Ilsenburg, lying on a high crag above the town, was originally an imperial stronghold and was probably built by the German king Henry I. The emperor Otto III. resided here in 995, Henry II. bestowed it in 1003 upon the bishop of Halberstadt, who converted it into a Benedictine monastery, and the school attached to it enjoyed a great reputation towards the end of the 11th century. After the Reformation the castle passed to the counts of Wernigerode, who restored it and made it their residence until 1710. Higher still, on the edge of the plateau rises the Ilsenstein, a granite peak standing about 500 ft. above the valley, crowned by an iron cross erected by Count Anton von Stolberg-Wernigerode in memory of his friends who fell in the wars of 1813-1815. Around this rock cluster numerous legends.

See Jacobs, _Urkundenbuch des Klosters Ilsenburg_ (Halle, 1875); Brandes, _Ilsenburg als Sommeraufenthalt_ (Wernigerode, 1885); and H. Herre, _Ilsenburger Annalen_ (Leipzig, 1890).

IMAGE (Lat. _imago_, perhaps from the same root as _imitari_, copy, imitate), in general, a copy, representation, exact counterpart of something else. Thus the reflection of a person in a mirror is known as his "image"; in popular usage one person is similarly described as "the very image" of another; so in entomology the term is applied in its Latin form _imago_ to an insect which, having passed through its larval stages, has achieved its full typical development. The term is in fact susceptible of two opposite connotations; on the one hand, it implies that the thing to which it is applied is only a copy; on the other that as a copy it is faithful and accurate.

Psychology (q.v.) recognizes two uses of the term. The simplest is for the impression made by an observed object on the retina, the eye; in this connexion the term "after-image" (better "after-sensation") is used for an image which remains when the eye is withdrawn from a brilliantly lighted object; it is called positive when the colour remains the same, negative when the complementary colours are seen. The strict psychological use of the term "image" is by analogy from the physiological for a purely mental idea which is taken as being observed by the eye of the mind. These images are created or produced not by an external stimulus, such as is necessary for a visual image (even the after-image is due to the continued excitement of the same organ), but by a mental act of reproduction. The simplest ideational image, which has been described as the primary memory-image, is "the peculiarly vivid and definite ideal representation of an object which we can maintain or recall by a suitable effort of attention immediately after perceiving it" (Stout). For this no external stimulus is required, and as compared with the after-image it represents the objects in perspective just as they might be seen in perception. This is characteristic of all mental images. The essential requisite for this primary image is that the attention should have been fixed upon the impressions.

The relation between sense-impressions and mental images is a highly complicated one. Difference in intensity is not a wholly satisfactory ground of distinction; abnormal physical conditions apart, an image may have an intensity far greater than that of a sense-given impression. On the other hand, Hume is certainly right in holding that the distinctive character of a percept as compared with an image is in all ordinary cases the force and liveliness with which it strikes the mind--the distinction, therefore, being one of quality, not of degree. A distinction of some importance is found in the "superior steadiness" (Ward) of impressions; while looking at any set of surroundings, images of many different scenes may pass through the mind, each one of which is immediately distinguished from the impression of the actual scene before the eyes. This arises partly, no doubt, from the fact that the perception has clear localization, which the image has not. In many cases indeed an image even of a most familiar scene is exceedingly vague and inaccurate.

In Art the term is used for a representation or likeness of an animate or inanimate object, particularly of the figure of a person in sculpture or painting. The most general application of the word is to such a representation when used as an object of religious worship or adoration, or as a decorative or architectural ornament in places of religious worship. The worship of images, or idolatry, from the point of view of comparative religion, is treated in the article IMAGE-WORSHIP, and the history of the attitude of the Christian church, outside the post-Reformation church of England, towards the use of images as objects of worship and religion in the article ICONOCLASTS. With regard to the Pre-Reformation period in England, it is of interest to note that by the constitutions of Archbishop Winchelsey, 1305, it was the duty of the parish to provide for the parish church, among other objects, the images of Christ on the Cross, of the saint to whom the church was dedicated, to be placed in the chancel, and of other saints. The injunctions of Edward VI., 1547, ordered the destruction of all images that had been the objects of superstitious use, and the act of 1549 (3 & 4 Edw. VI. c. 10) declared all such images illegal. This act, repealed in Mary's reign, was revived in 1604 (1 James I. c. 25) and is still in force. The present effect of this unrepealed act, as stated in _Boyd_ v. _Philpotts_ (L.R. 6 P.C. 449), is that it only referred to the images then subject to abuse, which had been ordered to be removed, and did not refer to the subsequent use or abuse of other images. In Article XXII. of the Articles of Religion it is laid down that "the Romish Doctrine concerning ... Worshipping and Adoration as well of Images as of Reliques ... is a fond thing mainly invented and grounded on no warranty of Scripture, but rather repugnant to the Word of God." The law in regard to images, which in this connexion include pictures and stained-glass windows, but not sculptured effigies on monuments or merely ornamental work, is contained in various judicial decisions, and is not defined by statute. The effect of these decisions is thus summarized in the report of the Royal Commission on Ecclesiastical Discipline, 1906: "Such images are lawful as objects of decoration in a church, but are unlawful if they are made, or are in danger of being made, objects of superstitious reverence, contrary to Article XXII. against the worshipping and adoration of images. In accordance with this view, crosses, if not placed on the Holy Table, and also crucifixes, if part only of a sculptured design or architectural decoration, have been declared lawful. The question whether a crucifix or rood standing alone or combined with figures of the Blessed Virgin and St John can, in any circumstances, be regarded as merely decorative, has given rise to a difference of judicial opinion and appears to be unsettled." Speaking generally, articles of decoration and embellishment not used in the services cannot lawfully be introduced into a church without the consent of the ordinary given by a faculty, the granting of which is subject to the judicial discretion of the chancellor or commissary, sitting as judge of the bishop's court. By section 8 of the Public Worship Regulation Act 1874, complainants may take proceedings if it is considered that "any alteration in, or addition to, the fabric, ornaments or furniture has been made without legal authority, or that any decoration forbidden by law has been introduced into such church ... provided that no proceedings shall be taken ... if such alteration or addition has been completed five years before the commencement of such proceedings." The following are the principal cases on the subject: in _Boyd_ v. _Philpotts_, 1874 (L.R., 4 _Ad. & Ec._ 297; 6 P.C. 435), the Exeter reredos case, the privy council, reversing the bishop's judgment, allowed the structure, which contained sculptures in high relief of the Ascension, Transfiguration and Descent of the Holy Ghost at Pentecost, together with a cross and angels; in _R._ v. _the Bishop of London_, 1889 (23 _Q.B.D._ 414, 24 _Q.B.D._ 213), the St Paul's reredos case, the bishop refused further proceedings against the legality of a structure containing sculptured figures of Christ on the Cross and the Virgin and Child. In _Clifton_ v. _Ridsdale_, 1876 (1 P. & D., 316), a metal crucifix on the centre of the chancel screen was declared illegal as being in danger of being used superstitiously, and in the same case pictures or rather coloured reliefs representing the "Stations of the Cross" were ordered to be removed on the ground that they had been erected without a faculty, and were also considered unlawful by Lord Penzance as connected with certain superstitious devotion authorized by the Roman church.

IMAGE WORSHIP. It is obvious that two religious votaries kneeling together before a statue may entertain widely different conceptions of what the image is and signifies, although their outward attitude is the same. The one may regard it as a mere image, picture or representation of the higher being, void in itself of value or power. It is to him, like the photograph hung on a wall of one we love, cherished as a picture and no more. But the other may regard it, as a little girl regards her doll, as an animated being, no mere picture, but as tenement and vehicle of the god and fraught with divine influence. The former is the attitude which the Latin Church officially inculcates towards sacred pictures and statues; they are intended to convey to the eyes of the faithful, especially to the illiterate among them, the history of Jesus, of the Virgin and of the saints. The other attitude, however, is that into which simple-minded Latin peasants actually lapse, as it is also that which characterizes other religions ancient or modern which use pictures or sculptures of gods, demons, men, brutes, or of particular parts and organs of the same. With the latter attitude alone does the present article deal, and it may conveniently be called idolatry or image worship. For the history of the use of images in Christian worship see ICONOCLASTS.

The image or idol differs from the fetish, charm, talisman, phylactery or miraculous relic, only in this, that either in the flat or the round it _resembles_ the power adored; it has a prototype capable of being brought before the eye and visualized. This is not necessarily the case with the worshipper of _aniconic_ or unshaped gods. The Semite or savage who sets up a sacred stone or Bethel believes indeed that a divine power or influence enters the stone and dwells in it, and he treats the stone as if it were the god, kisses it, anoints it with oil, feeds the god in it by pouring out over it the blood of victims slain. But he is not an idolater, for he has not "made unto himself any graven image, nor the likeness of anything that is in heaven above or in the water beneath or in the water under the earth."

The question arises: must the stage of aniconic gods historically precede and lead up to that of pictures and images? Are the latter a development of the former? In the history of human religions can we trace, as it were, a law of transition from sacred stock and stone up to picture and image? Is it true to say that the latter is characteristic of a later and higher stage of religious development? It was perhaps the facility with which a pillar of stone or wood can be turned into an image by painting or sculpturing on it eyes, ears, mouth, marks of sex and so on, which led anthropologists of an earlier generation to postulate such a law of development; but facts do not bear it out. In the first place, what we are accustomed to call higher religions deliberately attach greater sanctity to aniconic gods than to iconic ones, and that from no artistic incapacity. The Jews were as well able as their neighbours to fashion golden calves, snakes and the minor idols called teraphim, when their legislator, in the words we have just cited, forbade the ancillary use of all plastic and pictorial art for religious purposes. And of our own Christianity, Robertson Smith remarks as follows: "The host in the Mass is artistically as much inferior to the Venus of Milo as a Semitic _Masseba_ was, but no one will say that medieval Christianity is a lower form of religion than Aphrodite worship."

Here then in the most marked manner the aniconic sacrament has ousted pictures and statues. It is the embodiment and home of divine personality and power, and not they. Equally contradictory of any such law of development is the circumstance that the Greeks of the 5th and 4th centuries B.C., although Pheidias and other artists were embodying their gods and goddesses in the most perfect of images, nevertheless continued to cherish the rude aniconic stocks and stones of their ancestors. If any such law ever operated in human religious development, how can we explain the following facts. In the shadowy age which preceded the Stone age and hardly ended later than 10,000 B.C., the cave-dwellers of the Dordogne could draw elks, bisons, elephants and other animals at rest or in movement, with a freshness and realism which to-day only a Landseer can rival. And yet in the European Stone age which followed, the age in which the great menhirs and cromlechs were erected, in which the domestication of animals began and the first corn was sown, we find in the strata no image of man or beast, big or little.

Whence this seeming blight and decay of art? Salomon Reinach, guided by the analogy of similar practices among the aborigines of Australia, and noticing that these primitive pictures represent none but animals that formed the staple food of the age and place, and that they are usually found in the deepest and darkest recesses of the caves where they could only be drawn and seen by torchlight, has argued that they were not intended for artistic gratification (a late motive in human art), but were magical representations destined to influence and perhaps attract the hunter's quarry. In a word this earliest art was ancillary to the chase. It is a common practice in the magic of all ages and countries to acquire control and influence over men and animals by making images of them. The prototype is believed to suffer whatever is done to the image. Reinach, therefore, supposes that in the Stone age which succeeded, pictorial art was banned because it had got into the hands of magicians and had come to be regarded as inevitably uncanny and malefic. This is certainly the secret of the ordinary Mahommedan prohibition of pictures and statues, which goes even to the length of denying to poor little Arab girls the enjoyment of having dolls. It is felt that if you have got a picture of any one, you have some power of harming him through it; you can bind or loose him, just as you can a Djinn whose name you have somehow learned. It is as dangerous for your enemy to have a picture of you as for him to know your name. The old Hebrew prohibition of graven images was surely based on a like superstition, so far as it was not merely due to the physical impossibility for nomads of heavy statues that do not admit of being carried from camp to camp and from pasture to pasture. Possessing no images of Yahweh the Jews were also not exposed to the same risk as were idolaters of having their gods stolen by their foes and used against them. Lastly, the restriction to aniconic worship saved them from much superstition, for there is nothing which so much stimulates the growth of a mythology as the manufacture of idols. The artist must indeed start with imaginative types, revealed to him in visions or borrowed from current myths. But the tendency of his art is to give rise to new tales of the gods. There is perpetual action and reaction between picture and myth; and a legislator desiring to purify and raise his countrymen's religion must devote no less attention to their plastic art than to their hymnology.

Motives drawn from homoeopathic magic may thus explain the occasional disuse and prohibition of pictorial and plastic art in cult; they may equally explain its genesis and rise in certain ages and countries. Prayer is much more hopeful and efficacious for a worshipper who has means of bringing near to himself, and even coercing the god he worships. An image fashioned like a god, and which has this advantage over a mere stock and stone that it declares itself and reveals at a glance to what god it is sacred, must surely attract and influence the god to choose it as his home and tenement. And having the god thus at hand and imprisoned in matter, the simple-minded worshipper can punish him if his prayers are left unanswered. Dr E. B. Tylor accordingly (in his chapter on "Idolatry" in _Primitive Culture_, ii. 170), reminds us of "the negro who feeds ancestral images and brings them a share of his trade profits, but will beat an idol or fling it into the fire if it cannot give him luck or preserve him from sickness." So Augustus Caesar, having lost some ships in a storm, punished Neptune by forbidding his image to be carried in procession at the Circensian games (Sueton. _Aug._ 16).

In certain cases the wish to carry elsewhere the cult of a favourite or ancestral cult, may have dictated the manufacture of images that declare themselves and reveal at a glance whose they are. Thus a Phoenician colonist might desire to carry abroad the cult of a certain Baal or Astarte who lived in a conical stone or pillar. Pilgrims visiting Paphos, the original home and temple of Astarte, could of course be in no doubt about which of the heavenly powers inhabited the cone of stone in which she was there held to be immanent; nor was any Semite ever ignorant as to which Baal he stood before. It was necessarily the Baal or Lord of the region. But small portrait statues must surely have been made to be carried about or used in private worship. Meanwhile the shapeless cone remained the object of public adoration and pilgrimage.

The Egyptian writer Hermes Trismegistus (c. 250), in a work called _Asclepius_ (cited by Augustine, _De civit. Dei_, viii. 26), claims that his ancestors discovered the art of making gods, and since they could not create souls, they called up the souls of demons or angels and introduced them into the holy images and divine mysteries, that through these souls the idols might possess powers of doing good and harm. This was the belief of the pagans, and the Christians for centuries shared it with them. Not a few Christian martyrs sought and won the palm by smashing the idols in order to dislodge the indwelling devil; occasionally their zeal was further gratified by beholding it pass away like smoke from its ruined home.

Image worship then is a sort of animism. It is a continuance by adults of their childish games with dolls. In the Roman religion, on a feast of thanksgiving for a great victory, couches were spread in the temples for the gods, whose images were taken down from their pedestals and laid on the couches, and tables set before them loaded with delicate viands. This was called a _Lectisternium_. So Marco Polo (i. chap. 53) relates how the Tatars had each a figure of Natigay, the god of the earth, who watched over their children, cattle and crops. The image was made of felt and cloth, and similar images of his wife and children were set on his left hand and in front of him. "And when they eat, they take the fat of the meat and grease the god's mouth withal, as well as the mouths of his wife and children." The old Greek statues moved of themselves, shook their spears, kneeled down, spoke, walked, wept, laughed, winked, and even bled and sweated,--a mighty portent. Images of Christ, of the Virgin and saints have achieved many a similar miraculous portent. A figure of Christ has been known even to give its shoes to a poor man, and a Virgin to drop a ring off her finger to a suppliant. In Umbrian villages on Easter Sunday the images of Jesus and His Mother are carried in rival processions from their respective chapels, and are made to bow when they meet face to face. The spectators applaud or hiss according as they make their bow well or ill. In antiquity it was a common ceremony to arrange a holy marriage between male and female images, and such unions acted on the earth as a fertility charm. Much of a priest's time was given up to the toilet of the god or goddess. Thus Isis was dressed and coiffed every day by her special attendants according to Apuleius (_Met._ xi. 9). Like the statue of St Agatha of Catania to-day, her image was loaded with jewels, and an inscription of Cadiz (_C.I.L._ ii. 3386) contains an inventory of the jewels with which Isis had been endowed by Spanish devotees.

Idolatrous cults repose so largely on make-believe and credulity that the priests who administered them, perhaps oftener than we know, fell into the kind of imposture and trickery of which the legend of Bel and the dragon represents a classical example. "Thinkest thou not," said King Astyages, "that Bel is a living god? Or seest thou not how much he eateth and drinketh every day? Then Daniel laughed, and said, O King, be not deceived: for this is but clay within, and brass without, and did never eat or drink anything." In the sequel Daniel proves to the king that the priests with their wives and children came in through privy doors and consumed the viands set before the god; and the king, angered at their trickery, slew them all and gave Bel over to Daniel for destruction.

The invectives against idolatry of the early Jewish and Christian apologists, of Philo, Minucius Felix, Tertullian, Arnobius, Lactantius and others, are very good reading and throw much light on the question how an ancient pagan conceived of his idols. One capital argument of the Christians was the absurdity of a man making an idol and then being afraid of or adoring the work of his own hands. Lactantius preserves the answer of the pagans so attacked (_De origine Erroris_, ii. 2): We do not, they said, fear the images themselves, but those beings after whose likeness they were fashioned and by whose names they were consecrated. Few such rites of consecration remain, but they must have been similar to those used in India to-day. There the Brahmin invites the god to dwell within the image, specially made hollow to contain him, "performing the ceremony of _adhivasa_ or inhabitation, after which he puts in the eyes and the _prana_, i.e. breath, life or soul."[1] Similarly Augustine (_De civ. Dei_, viii. 23) relates how, according to Hermes, the spirits entered by invitation (_spiritus invitatos_), so that the images became bodies of the gods (_corpora deorum_). Thus the invisible spirits by a certain art are so joined unto the visible objects of corporeal matter that the latter become as it were animated bodies, images dedicated to those spirits and controlled by them (see CONSECRATION). Such statues were animated with sense and full of spirit, they foresaw the future, and foretold it by lot, through their priests, in dreams and in other ways.

See E. B. Tylor, _Primitive Culture_, ed. 1903 (list of authorities and sources vol., p. 171); L. R. Farnell, _The Evolution of Religion_ (London, 1905); Jacob Grimm, _Teutonic Mythology_, translation by J. S. Stallybrass. (F. C. C.)

FOOTNOTE:

[1] Tylor, _Prim. Culture_, ii. 178.

IMAGINATION, in general, the power or process of producing mental pictures or ideas. The term is technically used in psychology for the process of reviving in the mind percepts of objects formerly given in sense perception. Since this use of the term conflicts with that of ordinary language, some psychologists have preferred to describe this process as "imaging" or "imagery" or to speak of it as "reproductive" as opposed to "productive" or "constructive" imagination (see IMAGE and PSYCHOLOGY). The common use of the term is for the process of forming in the mind new images which have not been previously experienced, or at least only partially or in different combinations. Thus the image of a centaur is the result of combining the common percepts of man and horse: fairy tales and fiction generally are the result of this process of combination. Imagination in this sense, not being limited to the acquisition of exact knowledge by the requirements of practical necessity, is up to a certain point free from objective restraints. In various spheres, however, even imagination is in practice limited: thus a man whose imaginations do violence to the elementary laws of thought, or to the necessary principles of practical possibility, or to the reasonable probabilities of a given case is regarded as insane. The same limitations beset imagination in the field of scientific hypothesis. Progress in scientific research is due largely to provisional explanations which are constructed by imagination, but such hypotheses must be framed in relation to previously ascertained facts and in accordance with the principles of the particular science. In spite, however, of these broad practical considerations, imagination differs fundamentally from belief in that the latter involves "objective control of subjective activity" (Stout). The play of imagination, apart from the obvious limitations (e.g. of avoiding explicit self-contradiction), is conditioned only by the general trend of the mind at a given moment. Belief, on the other hand, is immediately related to practical activity: it is perfectly possible to _imagine_ myself a millionaire, but unless I _believe_ it I do not, therefore, act as such. Belief always endeavours to conform to objective conditions; though it is from one point of view subjective it is also objectively conditioned, whereas imagination as such is specifically free. The dividing line between imagination and belief varies widely in different stages of mental development. Thus a savage who is ill frames an ideal reconstruction of the causes of his illness, and attributes it to the hostile magic of an enemy. In ignorance of pathology he is satisfied with this explanation, and actually _believes_ in it, whereas such a hypothesis in the mind of civilized man would be treated as a pure effort of imagination, or even as a hallucination. It follows that the distinction between imagination and belief depends in practice on knowledge, social environment, training and the like.

Although, however, the absence of objective restraint, i.e. a certain unreality, is characteristic of imagination, none the less it has great practical importance as a purely ideational activity. Its very freedom from objective limitation makes it a source of pleasure and pain. A person of vivid imagination suffers acutely from the imagination of perils besetting a friend. In fact in some cases the ideal construction is so "real" that specific physical manifestations occur, as though imagination had passed into belief or the events imagined were actually in progress.

IMAM, an Arabic word, meaning "leader" or "guide" in the sense of a "pattern whose example is followed, whether for good or bad." Thus it is applied to the Koran, to a builder's level and plumb-line, to a road, to a school-boy's daily task, to a written record. It is used in several of these, senses in the Koran, but specifically several times of leaders and (ii. 118) of Abraham, "Lo, I make thee a pattern for mankind." _Imam_ thus became the name of the head of the Moslem community, whose leadership and patternhood, as in the case of Mahomet himself, is to be regarded as of the widest description. His duty is to be the lieutenant, the Caliph (q.v.) of the Prophet, to guard the faith and maintain the government of the state. Round the origin and basis of his office all controversies as to the Moslem state centre. The Sunnites hold that it is for men to appoint and that the basis is obedience to the general usage of the Moslem peoples from the earliest times. The necessity for leaders has always been recognized, and a leader has always been appointed. The basis is thus agreement in the technical sense (see MAHOMMEDAN LAW), not Koran nor tradition from Mahomet nor analogy. The Shi'ites in general hold that the appointment lies with God, through the Prophet or otherwise, and that He always has appointed. The Kharijites theoretically recognize no absolute need of an Imam; he is convenient and allowable. The Motazilites held that reason, not agreement, dictated the appointment. Another distinction between the Sunnites and the Shi'ites is that the Sunnites regard the Imam as liable to err, and to be obeyed even though he personally sins, provided he maintains the ordinances of Islam. Effective leadership is the essential point. But the Shi'ites believe that the divinely appointed Imam is also divinely illumined and preserved (_ma'sum_) from sin. The above is called the greater Imamate. The lesser Imamate is the leadership in the Friday prayers. This was originally performed by the Imam in the first sense, who not only led in prayers but delivered a sermon (_khutba_); but with the growth of the Moslem empire and the retirement of the caliph from public life, it was necessarily given over to a deputy--part of a gradual process of putting the Imamate or caliphate into commission. These deputy Imams are, in Turkey, ministers of the state, each in charge of his own parish; they issue passports, &c., and perform the rites of circumcision, marriage and burial. In Persia among Shi'ites their position is more purely spiritual, and they are independent of the state. A few of their leaders are called _Mujtahids_, i.e. capable of giving an independent opinion on questions of religion and canon law. A third use of the term Imam is as an honorary title. It is thus applied to leading theologians, e.g. to Abu Hanifa, ash-Shafi'i, Malik ibn Anas, Ahmad ibn Hanbal (these are called "the four Imams"), Ghazali.

See McG. de Slane's transl. of Ibn Khaldun's _Prolégomènes_, i. 384 seq., 402 seq., 426 seq., 445; iii. 35, 58 seq.; Ostrorog's transl. of Mawardi's _Ahkam_ i. 89 seq.; Haarbrücker's transl. of Shahrastani by index; Juynboll's _De Mohammedanische Wet_, 316 seq.; Sell's _Faith of Islam_, 95 seq.; Macdonald's _Development of Muslim Theology_, 56 seq. (D. B. Ma.)

IMBECILE (through the French from Lat. _imbecillus_ or _imbecillis_, weak, feeble; of unknown origin), weak or feeble, particularly in mind. The term "imbecility" is used conventionally of a condition of mental degeneration less profound than "idiotcy" (see INSANITY).

IMBREX (Latin for "tile"), in architecture the term given to the covering tile of the ancient roof: the plain tile is turned up on each side and the imbrex covers the joint. In the simpler type of roof the imbrex is semicircular, but in some of the Greek temples it has vertical sides and an angular top. In the temple of Apollo at Bassae, where the tiles were in Parian marble, the imbrex on one side of the tile and the tile were worked in one piece out of the solid marble.

IMBROS, a Turkish island in the Aegean, at the southern end of the Thracian Chersonese peninsula. It forms with Samothrace, about 17 m. distant, a caza (or canton) in the sanjak of Lemnos and province of the Archipelago Isles. Herodotus (v. 26) mentions it as an abode of the historic Pelasgians (q.v.). It was, like Samothrace, a seat of the worship of the Cabeiri (q.v.). The island is now the seat of a Greek bishopric. There is communication with the mainland by occasional vessels. The island is of great fertility--wheat, oats, barley, olives, sesame and valonia being the principal products, in addition to a variety of fruits. Pop. about 92,000, nearly all Turks.

IMERETIA, or IMERITIA a district in Russian Transcaucasia, extends from the left bank of the river Tskheniz-Tskhali to the Suram range, which separates it from Georgia on the east, and is bounded on the south by Akhaltsikh, and thus corresponds roughly to the eastern part of the modern government of Kutais. Anciently a part of Colchis, and included in Lazia during the Roman empire, Imeretia was nominally under the dominion of the Greek emperors. In the early part of the 6th century it became the theatre of wars between the Byzantine emperor Justinian and Chosroes, or Khosrau, king of Persia. Between 750 and 985 it was ruled by a dynasty (Apkhaz) of native princes, but was devastated by hostile incursions, reviving only after it became united to Georgia. It flourished until the reign of Queen Thamar, but after her death (1212) the country became impoverished through strife and internal dissensions. It was reunited with Georgia from 1318 to 1346, and again in 1424. But the union only lasted forty-five years; from 1469 until 1810 it was governed by a Bagratid dynasty, closely akin to that which ruled over Georgia. In 1621 it made the earliest appeal to Russia for aid; in 1650 it acknowledged Russian suzerainty and in 1769 a Russian force expelled the Turks. In 1803 the monarch declared himself a vassal of Russia, and in 1810 the little kingdom was definitively annexed to that empire. (See GEORGIA.)

IMIDAZOLES, or GLYOXALINES, organic chemical compounds containing the ring system

/ CH = CH HN / | . \ CH = N

Imidazole itself was first prepared by H. Debus (_Ann._ 1858, 107, p. 254) by the action of ammonia on glyoxal, 2C2H2O2 + 2NH3 = C3H4N2 + H2CO2 + 2H2O. The compounds of this series may be prepared by the condensation of ortho-diketones with ammonia and aldehydes

R·C - N \\ R·CO·CO·R + 2NH3 + R´·CHO = 3H2O + || \\ C·R´; R·C - NH /

from thioimidazolones by oxidation with dilute nitric acid (W. Marckwald, _Ber._, 1892, 25, p. 2361); by distillation of hydrobenzamide and similarly constituted bodies; and by the action of phosphorus pentachloride on symmetrical dimethyloxamide, a methylchlorglyoxaline being formed (O. Wallach, _Ann._, 1877, 184, p. 500).

The glyoxalines are basic in character, and the imide hydrogen is replaceable by metals and alkyl groups. They are stable towards reducing agents, and acidyl groups are only introduced with difficulty.

_Imidazole_ (glyoxaline), C3H4N2, crystallizes in thick prisms which melt at 88-89° C. and boil at 253° C., and are readily soluble in alcohol and in water. It is unaffected by chromic acid, but potassium permanganate oxidizes it to formic acid. It forms salts with acids.

_Lophine_ (triphenylglyoxaline),

C6H5·C-N \\ || \\ C·C6H5, C6H5·C-NH /

is formed by the dry distillation of hydrobenzamide, or by saturating an alcoholic solution of benzil and benzaldehyde (at a temperature of 40° C.) with ammonia. It crystallizes in needles which melt at 275° C. It is a weak base. When heated to 300° C. with hydriodic acid and hydrochloric acid, in the presence of some red phosphorus, it yields benzoic acid.

The keto-glyoxalines are known as imidazolones and are prepared by the

## action of acids on acetalyl thioureas (W. Marckwald, Ber., 1892, 25,

p. 2357). _Benzimidazole_,

/ N \\ C6H4 / \\ CH, \ NH /

is the simplest representative of the benzoglyoxalines and is prepared by the condensation of formic acid with ortho-phenylene diamine. It forms rhombic crystals which melt at 170° C. It is basic in character, and on oxidation with potassium permanganate yields a small amount of glyoxaline dicarboxylic acid,

HOOC·C - N \\ || \\ CH. HOOC·C - NH /

(E. Bamberger, _Ann._, 1893, 273, p. 338).

IMITATION (Lat. _imitatio_, from _imitari_, to imitate), the reproduction or repetition of an action or thought as observed in another person or in oneself, or the construction of one object in the likeness of another. By some writers (e.g. Preyer and Lloyd Morgan) the term "imitation" is limited to cases in which one person copies the

## action or thought of another; others have preferred a wider use of the

term (i.e. including "self-imitation"), and have attempted to classify imitative action into various groupings, e.g. as cases of "conscious imitation," "imitative suggestion," "plastic imitation" (as when the members of a crowd subconsciously reproduce one another's modes of thought and action), and the like. The main distinction is that which takes into account the question of attention (q.v.). In _conscious_ imitation, the attention is fixed on the act and its reproduction: in _unconscious_ imitation the reproduction is entirely mechanical and the agent does not "attend" to the action or thought which he is copying: in _subconscious_ imitation the action is not deliberate, though the necessary train of thought would immediately follow if the attention were turned upon it under normal conditions. Imitation plays an extremely important part in human and animal development, and a clear understanding of its character is important both for the study of primitive peoples, and also in the theories of education, art and sociology. The child's early development is in large measure imitative: thus the first articulate sounds and the first movements are mainly reproductions of the words and actions of parents, and even in the later stages that teacher is likely to achieve the best results who himself gives examples of how a word should be pronounced or an action done. The impulse to imitate is, however, not confined to children: there is among the majority of adults a tendency to assimilate themselves either to their society or to those whom they especially admire or respect: this tendency to shun the eccentric is rooted deeply in human psychology. Moreover, even among highly developed persons the imitative impulse frequently overrides the reason, as when an audience, a crowd, or even practically a whole community is carried away by a panic for which no adequate ground has been given, or when a cough or a yawn is imitated by a company of people. Such cases may be compared with those of persons in mesmeric trances who mechanically copy a series of movements made by the mesmerist. The universality of the imitative impulse has led many psychologists to regard it as an instinct (so William James, _Principles of Psychology_, ii. 408; cf. INSTINCT), and in that large class of imitative actions which have no obvious ulterior purpose the impulse certainly appears to be instinctive in character. On the other hand where the imitator recognizes the particular effect of a process and imitates with the deliberate intention of producing the same effect, his

## action can scarcely be classed as instinctive. A considerable number of

psychologists have distinguished imitative from instinctive actions (e.g. Baldwin, and Sully). According to Darwin the imitative impulse begins in infants at the age of four months. It is to be noted, however, that the child imitates, not every action indiscriminately, but especially those towards which it has a congenital tendency. The same is true of animals: though different kinds of animals may live in close proximity, the young of each kind imitate primarily the actions of their own parents.

Among primitive man imitation plays a very important part. The savage believes that he can bring about events by imitating them. He makes, for instance, an image of his enemy and pierces it with darts or burns it, believing that by so doing he will cause his enemy's death: similarly sailors would whistle, or farmers would pour water on the ground, in the hope of producing wind or rain. This form of imitation is known as sympathetic magic (see MAGIC). The sociological importance of imitation is elaborately investigated by Gabriel Tarde (_Les Lois de l'imitation_, 2nd ed., 1895), who bases all social evolution on the imitative impulse. He distinguishes "custom imitations," i.e. imitations of ancient or even forgotten actions, and "mode imitations," i.e. imitations of current fashions. New discoveries are, in his scheme, the product of the conflict of imitations. This theory, though of great value, seems to neglect original natural similarities which, by the law of causation, produce similar consequences, where imitation is geographically or chronologically impossible.

The term "imitation" has also the following special uses:--

1. _In Art-theory._--According to Plato all artistic production is a form of imitation ([Greek: mimêsis]). That which really exists is the idea or type created by God; of this type all concrete objects are representations, while the painter, the tragedian, the musician are merely imitators, thrice removed from the truth (_Rep._ x. 596 seq.). Such persons are represented by Plato as a menace to the moral fibre of the community (_Rep._ iii.), as performing no useful function, drawing men away from reality and pandering to the irrational side of the soul. All art should aim at moral improvement. Plato clearly intends by "imitation" more than is connotated by the modern word: though in general he associates with it all that is bad and second-rate, he in some passages admits the value of the imitation of that which is good, and thus assigns to it a certain symbolic significance. Aristotle, likewise regarding art as imitation, emphasizes its purely artistic value as purging the emotions ([Greek: katharsis]), and producing beautiful things as such (see AESTHETICS and FINE ARTS).

2. _In Biology_, the term is sometimes applied to the assimilation by one species of certain external characteristics (especially colour) which enable them to escape the notice of other species which would otherwise prey upon them. It is a form of protective resemblance and is generally known as mimicry (q.v.; see also COLOURS OF ANIMALS).

3. _In Music_, the term "imitation" is applied in contrapuntal composition to the repetition of a passage in one or more of the other voices or parts of a composition. When the repetition is note for note with all the intervals the same, the imitation is called "strict" and becomes a canon (q.v.); if not it is called "free," the latter being much the more common. There are many varieties of imitation, known as imitation "by inversion," "by inversion and reversion," "by augmentation," "by diminution" (see _Grove's Dictionary of Music, s. v._, and textbooks of musical theory).

IMITATION OF CHRIST, THE (_Imitatio Christi_), the title of a famous medieval Christian devotional work, much used still by both Catholics and Protestants and usually ascribed to Thomas à Kempis. The "Contestation" over the author of the _Imitation of Christ_ is probably the most considerable and famous controversy that has ever been carried on concerning a purely literary question. It has been going on almost without flagging for three centuries, and nearly 200 combatants have entered the lists. In the present article nothing is said on the history of the controversy, but an attempt is made to summarize the results that may be looked on as definitely acquired.

Until quite recently there were three candidates in the field--Thomas à Kempis (1380-1471), a canon regular of Mount St Agnes in Zwolle, in the diocese of Utrecht, of the Windesheim Congregation of Augustinian Canons; John Gerson (1363-1429), chancellor of the University of Paris; and an abbot, John Gersen, said to have been abbot of a Benedictine monastery at Vercelli in the 12th century. Towards the end of the 15th century the _Imitation_ circulated under the names of the first two; but Gerson is an impossible author, and his claims have never found defenders except in France, where they are no longer urged. The Benedictine abbot Gersen is an absolutely mythical personage, a mere "double" of the chancellor. Consequently at the present day the question is narrowed to the issue: Thomas à Kempis, or an unknown author.

The following is a statement of the facts that may be received as certain:--

1. The earliest-known dated MS. of the _Imitation_ is of 1424--it contains only Bk. I.; the earliest MSS. of the whole work of certain date are of 1427. Probably some of the undated MSS. are older; but it is the verdict of the most competent modern expert opinion that there is no palaeographical reason for suspecting that any known MS. is earlier than the first quarter of the 15th century.

2. A Latin letter of a Dutch canon regular, named Johann van Schoonhoven, exhibits such a close connexion with Bk. I. that plagiarism on the one side or the other is the only possible explanation. It is capable of demonstration that the author of the _Imitation_ was the borrower, and that the opposite hypothesis is inadmissible. Now, this letter can be shown to have been written after 1382. Therefore Bk. I. was beyond controversy written between the years 1382 and 1424.

3. It is not here assumed that the four treatises formed a single work, or even that they are all by the same author; and the date of the other three books cannot be fixed with the same certainty. But, on the one hand, before the beginning of the 15th century there is no trace whatever of their existence--a strong argument that they did not yet exist; and on the other hand, after 1424 nearly each year produces its quota of MSS. and other signs of the existence of these books become frequent. Moreover, as a matter of fact, the four treatises did commonly circulate together. The presumption is strong that Bks. II., III., IV., like Bk. I., were composed shortly before they were put into circulation.

It may then be taken as proved that the _Imitation_ was composed between 1380 and 1425, and probably towards the end rather than the beginning of that period. Having ascertained the date, we must consider the birthplace.

4. A number of idioms and turns of expression throughout the book show that its author belonged to some branch of the Teutonic race. Further than this the argument does not lead; for when the dialects of the early 15th century are considered it cannot be said that the expressions in question are Netherlandic rather than German--as a matter of fact, they have all been paralleled out of High German dialects.

5. Of the 400 MSS. of the _Imitation_ 340 come from the Teutonic countries--another argument in favour of its Teutonic origin. Again, 100 of them, including the earliest, come from the Netherlands. This number is quite disproportionate to the relative size of the Netherlands, and so points to Holland as the country in which the _Imitation_ was first most widely circulated and presumably composed.

6. There is a considerable body of early evidence, traceable before 1450, that the author was a canon regular.

7. Several of the MSS. were written in houses belonging to the Windesheim Congregation of canons regular, or, in close touch with it. Moreover there is a specially intimate literary and spiritual relationship between the _Imitation_ and writings that emanated from what has been called the "Windesheim Circle."

To sum up: the indirect evidence points clearly to the conclusion that the _Imitation_ was written by a Teutonic canon regular, probably a Dutch canon regular of the Windesheim Congregation, in the first quarter of the 15th century. These data are satisfied by Thomas à Kempis.

We pass to the direct evidence, neglecting that of witnesses who had no special sources of information.

8. There can be no question that in the Windesheim Congregation itself there was already, during Thomas à Kempis's lifetime, a fixed tradition that he was the author of the _Imitation_. The most important witness to this tradition is Johann Busch. It is true that the crucial words are missing in one copy of his "Chronicle"; but it is clear there were two redactions of the work, and there are no grounds whatever for doubting that the second with its various enlargements came from the hands of Busch himself--a copy of it containing the passage exists written in 1464, while both Busch and Thomas à Kempis were still alive. Busch passed a great part of his life in Windesheim, only a few miles from Mount St Agnes where Thomas lived. It would be hard to find a more authentic witness. Another witness is Hermann Rhyd, a German member of the Windesheim Congregation, who also had personally known Thomas. Besides, two or three MSS. originating in the Windesheim Congregation state or imply the same tradition.

9. More than this: the tradition existed in Thomas à Kempis's own monastery shortly after his death. For John Mauburne became a canon in Mount St Agnes within a few years of Thomas's death, and he states more than once that Thomas wrote the _Imitation_.

10. The earliest biographer of Thomas à Kempis was an anonymous contemporary: the _Life_ was printed in 1494, but it exists in a MS. of 1488. The biographer says he got his information from the brethren at Mount St Agnes, and he states in passing that Bk. III. was written by Thomas. Moreover, he appends a list of Thomas's writings, 38 in number, and 5-8 are the four books of the _Imitation_.

It is needless to point out that such a list must be of vastly greater authority than those given by St Jerome or Gennadius in their _De Viris Illustribus_, and its rejection must, in consistency, involve methods of criticism that would work havoc in the history of early literature of what king soever. The domestic tradition in the Windesheim Congregation, and in Mount St Agnes itself, has a weight that cannot be legitimately avoided or evaded. Indeed the external authority for Thomas's authorship is stronger than that for the authorship of most really anonymous books--such, that is, as neither themselves claim to be by a given author, nor have been claimed by any one as his own. A large proportion of ancient writings, both ecclesiastical and secular, are unquestioningly assigned to writers on far less evidence than that for Thomas's authorship of the _Imitation_.

Internal arguments have been urged against Thomas's authorship. It has been said that his certainly authentic writings are so inferior that the _Imitation_ could not have been written by the same author. But only if they were of the most certain and peremptory nature could such internal arguments be allowed to weigh against the clear array of facts that make up the external argument in favour of à Kempis. And it cannot be said that the internal difficulties are such as this. Let it be granted that Thomas was a prolific writer and that his writings vary very much in quality; let it be granted also that the _Imitation_ surpasses all the rest, and that some are on a level very far below it; still, when at their best, some of the other works are not unworthy of the author of the _Imitation_.

In conclusion, it is the belief of the present writer that the "Contestation" is over, and that Thomas à Kempis's claims to the authorship of the _Imitation_ have been solidly established.

The best account in English of the Controversy is that given by F. R. Cruise in his _Thomas à Kempis_ (1887). Works produced before 1880 are in general, with the exception of those of Eusebius Amort, superannuated, and deal in large measure with points no longer of any living interest. A pamphlet by Cruise, _Who was the Author of the Imitation?_ (1898) contains sufficient information on the subject for all ordinary needs; it has been translated into French and German, and may be regarded as the standard handbook.

It has been said that the _Imitation of Christ_ has had a wider religious influence than any book except the Bible, and if the statement be limited to Christendom, it is probably true. The _Imitation_ has been translated into over fifty languages, and is said to have run through more than 6000 editions. The other statement, often made, that it sums up all that is best of earlier Western mysticism--that in it "was gathered and concentered all that was elevating, passionate, profoundly pious in all the older mystics" (Milman) is an exaggeration that is but partially true, for it depreciates unduly the elder mystics and fails to do justice to the originality of the _Imitation_. For its spiritual teaching is something quite different from the mysticism of Augustine in the _Confessions_, or of Bernard in the _Sermons on the Song of Songs_; it is different from the scholastic mysticism of the St Victors or Bonaventure; above all, it is different from the obscure mysticism, saturated with the pseudo-Dionysian Neoplatonism of the German school of Eckhart, Suso, Tauler and Ruysbroek. Again, it is quite different from the later school of St Teresa and St John of the Cross, and from the introspective methods of what may be called the modern school of spirituality. The _Imitation_ stands apart, unique, as the principal and most representative utterance of a special phase of religious thought--non-scholastic, non-platonic, positive and merely religious in its scope--herein reflecting faithfully the spirit of the movement initiated by Gerhard Groot (q.v.), and carried forward by the circles in which Thomas à Kempis lived. In contrast with more mystical writings it is of limpid clearness, every sentence being easily understandable by all whose spiritual sense is in any degree awakened. No doubt it owes its universal power to this simplicity, to its freedom from intellectualism and its direct appeal to the religious sense and to the extraordinary religious genius of its author. Professor Harnack in his book _What is Christianity?_ counts the _Imitation_ as one of the chief spiritual forces in Catholicism: it "kindles independent religious life, and a fire which burns with a flame of its own" (p. 266).

The best Latin edition of the _Imitation_ is that of Hirsche (1874), which follows closely the autograph of 1441 and reproduces the rhythmical character of the book. Of English translations the most interesting is that by John Wesley, under the title _The Christian's Pattern_ (1735). (E. C. B.)

IMMACULATE CONCEPTION, THE. This dogma of the Roman Catholic Church was defined, as "of faith" by Pope Pius IX. on the 8th of December 1854 in the following terms: "The doctrine which holds that the Blessed Virgin Mary, from the first instant of her conception, was, by a most singular grace and privilege of Almighty God, in view of the merits of Jesus Christ, the Redeemer of the human race, preserved from all stain of Original Sin, is a doctrine revealed, by God, and therefore to be firmly and steadfastly believed by all the faithful."[1] These words presuppose the distinction between original, or racial, and actual, or personally incurred sin. There is no dispute that the Church has always held the Blessed Virgin to be sinless, in the sense of actual or personal sin. The question of the Immaculate Conception regards original or racial sin only. It is admitted that the doctrine as defined by Pius IX. was not explicitly mooted before the 12th century. But it is claimed that it is implicitly contained in the teaching of the Fathers. Their expressions on the subject of the sinlessness of Mary are, it is pointed out, so ample and so absolute that they must be taken to include original sin as well as actual. Thus we have in the first five centuries such epithets applied to her as "in every respect holy," "in all things unstained," "super-innocent" and "singularly holy"; she is compared to Eve before the fall, as ancestress of a redeemed people; she is "the earth before it was accursed."[2] The well-known words of St Augustine (d. 430) may be cited: "As regards the mother of God," he says, "I will not allow any question whatever of sin."[3] It is true that he is here speaking directly of actual or personal sin. But his argument is that all men are sinners; that they are so through original depravity; that this original depravity may be overcome by the grace of God, and he adds that he does not know but that Mary may have had sufficient grace to overcome sin "of every sort" (_omni ex parte_).

It seems to have been St Bernard who, in the 12th century, explicitly raised the question of the Immaculate Conception. A feast of the Conception of the Blessed Virgin had already begun to be celebrated in some churches of the West. St Bernard blames the canons of the metropolitan church of Lyons for instituting such a festival without the permission of the Holy See. In doing so, he takes occasion to repudiate altogether the view that the Conception of Mary was sinless. It is doubtful, however, whether he was using the term "Conception" in the same sense in which it is used in the definition of Pius IX. In speaking of conception one of three things may be meant: (1) the mother's co-operation; (2) the formation of the body, or (3) the completion of the human being by the infusion of the rational or spiritual soul. In early times conception was very commonly used in the first sense--"active" conception as it was called. But it is in the second, or rather the third, sense that the word is employed in modern usage, and in the definition of Pope Pius IX. But St Bernard would seem to have been speaking of conception in the first sense, for in his argument he says, "How can there be absence of sin where there is concupiscence (_libido_)?" and stronger expressions follow, showing that he is speaking of the mother and not of the child.[4]

St Thomas Aquinas, the greatest of the medieval scholastics, refused to admit the Immaculate Conception, on the ground that, unless the Blessed Virgin had at one time or other been one of the sinful, she could not justly be said to have been redeemed by Christ.[5] St Bonaventura (d. 1274), second only to St Thomas in his influence on the Christian schools of his age, hesitated to accept it for a similar reason.[6] The celebrated John Duns Scotus (d. 1308), a Franciscan like St Bonaventura, argued, on the contrary, that from a rational point of view it was certainly as little derogatory to the merits of Christ to assert that Mary was by him preserved from all taint of sin, as to say that she first contracted it and then was delivered.[7] His arguments, combined with a better acquaintance with the language of the early Fathers, gradually prevailed in the schools of the Western Church. In 1387 the university of Paris strongly condemned the opposite view. In 1483 Pope Sixtus IV., who had already (1476) emphatically approved of the feast of the Conception, condemned those who ventured to assert that the doctrine of the Immaculate Conception was heretical, and forbade either side to claim a decisive victory until further action on the part of the Holy See. The council of Trent, after declaring that in its decrees on the subject of original sin it did not include "the blessed and immaculate Virgin Mary, Mother of God," renewed this prohibition.[8] Pope Paul V. (d. 1651) ordered that no one, under severe penalties, should dare to assent in public "acts" or disputations that the Blessed Virgin was conceived in original sin. Pope Gregory XV., shortly afterwards, extended this prohibition to private discussions, allowing, however, the Dominicans to argue on the subjects among themselves. Clement XI., in 1708, extended the feast of the Conception to the whole Church as a holy day of obligation. Long before the middle of the 19th century the doctrine was universally taught in the Roman Catholic Church. During the reign of Gregory XVI. the bishops in various countries began to press for a definition. Pius IX., at the beginning of his pontificate, and again after 1851, appointed commissions to investigate the whole subject, and he was advised that the doctrine was one which could be defined and that the time for a definition was opportune. On the 8th of December 1854 in a great assembly of bishops, in the basilica of St Peter's at Rome, he promulgated the Bull _Ineffabilis Deus_, in which the history of the doctrine is summarily traced, and which contains the definition as given above.

The festival of the Conception of the Blessed Virgin, as distinct from her Nativity, was certainly celebrated in the Greek Church in the 7th century, as we learn from one of the canons of St Andrew of Crete (or of Jerusalem) who died about A.D. 700.[9] There is some evidence that it was kept in Spain in the time of St Ildefonsus of Toledo (d. 667) and in southern Italy before A.D. 1000. In England it was known in the 12th century; a council of the province of Canterbury, in 1328, ascribes its introduction to St Anselm. It spread to France and Germany in the same century. It was extended to the whole church, as stated above, in 1708. It is kept, in the Western Church, on the 8th of December; the Greeks have always kept it one day later.

The chief répertoire of Patristic passages, both on the doctrine and on the festival, is Father Charles Passaglia's great collection, entitled _De immaculato Deiparae semper Virginis conceptu Caroli Passaglia sac. S.J. commentarius_ (3 vols., Romae, 1854-1855).

A useful statement of the doctrine with numerous references to the Fathers and scholastics is found in Hürter's _Theologia Dogmatica_ (5th ed.), tom. i. tract. vii. cap. 6, p. 438.

The state of Catholic belief in the middle of the 19th century is well brought out in _La Croyance générale el constante de l'Église touchant l'immaculée conception de la bienheureuse Vierge Marie_, published in 1855 by Thomas M. J. Gousset (1792-1866), professor of moral theology at the grand seminary of Besançon, and successively archbishop of Besançon and cardinal archbishop of Reims.

For English readers the doctrine, and the history of its definition, is clearly stated by Archbishop Ullathorne in _The Immaculate Conception of the Mother of God_ (2nd ed., London, 1904). Dr F. G. Lee, in _The Sinless Conception of the Mother of God; a Theological Essay_ (London, 1891) argued that the doctrine of the Immaculate Conception is a legitimate development of early church teaching. (+J. C. H.)

FOOTNOTES:

[1] From the Bull _Ineffabilis Deus._

[2] See Passaglia's work, referred to below.

[3] _De natura et gratia_, cap. xxxvi.

[4] S. Bernardi Epist. clxxiv. 7.

[5] _Summa theologia_,