it was slovenly, and had neither beauty nor distinction. When he took up the art of illumination in 1870, he began to study handwriting as a fine art. By practice he soon mastered it; and the texts of his painted books show a steady advance in skill of execution. The reaction on his own cursive hand was marked and immediate. The beautiful handwriting familiar to his friends for the last five and twenty years was directly due to his study and practice of the art in the period of his work as an illuminator. In the decoration of his painted books—as in everything which had to do with pattern and colour—there is also an advance in splendour of colouring and breadth of design, but the earliest are in their simpler treatment as faultless as the latest: the art of decoration seems to have been born in him and to come from his hands full-grown.
The "Book of Verses," a selection of his own lyrical poems, completed on the 26th of August, 1870, and given by him to Mrs. Burne-Jones, is the first, and though not the finest, perhaps on the whole the most beautiful, of all his painted books. In this book he broke completely away from the mediæval method. That method reappears, transformed through his own original genius, in the colour and design of the great manuscript Virgil, in which his art both as scribe and as illuminator culminates. But here there is a modernness which owes nothing to any tradition: and a freshness, a direct appeal to first principles and instincts, which (as in the case of his earliest wall-papers) charms by its simplicity and fitness even more than the later and technically finer work. If, as has been sometimes thought possible, ornamented handwriting should again take its place among the popular arts, it is in the direction indicated by this beautiful volume that its most hopeful way would seem to lie.
