Anglo-Saxon School of Manuscripts.

The Danish invasions; revival of art under king Alfred; the Benedictional of Aethelwold; signs of Carolingian influence; the Winchester school; St Dunstan as an illuminator; Anglo-Saxon drawings in coloured ink; Roll of St Guthlac; the great beauty of its drawings; Canute as a patron of art; the Norman Conquest.

CHAPTER VIII. Page 106 to 125.

The Anglo-Norman School.

The Norman invasion; development of architecture and other arts; creation of the Anglo-Norman school; magnificent Psalters; the Angevin kingdom; the highest development of English art in the thirteenth century; Henry III. as an art patron; the rebuilding and decorating of the Church and Palace of Westminster; paintings copied from manuscripts; the Painted Chamber; English sculpture; the Fitz-Othos and William Torell; English needlework (opus Anglicanum); the Lateran and Pienza copes; Anglo-Norman manuscripts of the Vulgate; the style of their illuminations; manuscripts produced in Benedictine monasteries; unity of style; various kinds of background in miniatures; magnificent manuscripts of the Psalter; the Tenison Psalter; manuscripts of the Apocalypse; their extraordinary beauty; their contrast to machine-made art; English manuscripts of the fourteenth and fifteenth centuries; the results of the Black Death; the Poyntz Horae; the Lectionary of Lord Lovel; the characteristics of English ornament; the introduction of portrait figures; the Shrewsbury manuscript; "Queen Mary's Prayer-book;" the works of Dan Lydgate; specially English subjects; manuscripts of Chronicles and Histories.

CHAPTER IX. Page 126 to 146.

French Manuscripts.

The age of Saint Louis; archaism of costume in miniatures; French manuscripts of the fourteenth and fifteenth centuries; historiated Bibles; the ivy-pattern; the Horae of the Duc de Berri; the treasure-book of Origny Abbey; the Anjou Horae; costly and magnificent French Horae; their beautiful decorations; their numerous miniatures; the Bedford Breviary; the Bedford Missal; various styles in the same manuscript; manuscripts in Grisaille; manuscripts of secular works; Cristina of Pisa; Chronicles and Travels; Romances and Poems; Italian influence in the south of France; the growth of secular illuminators; the inferiority of their work; cheap and coarsely illuminated Horae; manuscripts of the finest style; use of flowers and fruit in borders and initials; influence of the Italian Renaissance; the Horae of Jehan Foucquet of Tours.

CHAPTER X. Page 147 to 153.

Printed Books with painted Illuminations.

Horae printed on vellum in Paris; their woodcut decorations; the productions of the earliest printers; the Mazarine Bible; the Mentz Psalter; illuminators becoming printers; Italian printed books with rich illuminations; the colophons of the early printers; the books of Aldus Manutius; invention of Italic type; manuscripts illustrated with woodcuts; block-books; the long union of the illuminators' and the printers' art.

CHAPTER XI. Page 154 to 182.

Illuminated Manuscripts of the Teutonic School after the Tenth Century.

Revival of art in Germany in the eleventh century; the Missal of the Emperor Henry II.; the designs used for stained glass; the advance of manuscript art under Frederic Barbarossa; grotesque monsters; examples of fine German illuminations of the twelfth century; their resemblance to mural paintings; the school of the Van Eycks; the Grimani Breviary; Gérard David of Bruges; examples of Flemish miniatures; the use of gold; grotesque figures; the influence of manuscript art on the painters of altar-pieces; the school of Cologne; triptych by the elder Holbein; book illuminated by Albert Dürer; Dutch fifteenth century manuscripts; their decorative beauty; their realistic details; illumination in pen outlines in blue and red.

CHAPTER XII. Page 183 to 205.

The Illuminated Manuscripts of Italy and Spain.

Italian art slow to advance; its degraded state in the twelfth century; illuminators mentioned by Dante; Missal in the Chapter library of Saint Peter's; the monk Don Silvestro in the middle of the fourteenth century; his style of illumination; the monk Don Lorenzo; Fra Angelico as an illuminator; Italian Pontifical in the Fitzwilliam library; manuscripts of the works of Dante and Petrarch; motives of decoration; Italian manuscripts after 1453; introduction of the "Roman" hand; great perfection of writing, and finest quality of vellum; the illuminators Attavante, Girolamo dai Libri, and Liberale of Verona; manuscripts of northern Italy; their influence on painting generally; Italian manuscripts of the sixteenth century, a period of rapid decadence; Giulio Clovio a typical miniaturist of his time; the library of the Vatican; its records of the cost of illuminating manuscripts. The manuscripts of Spain and Portugal; the manuscripts of Moslem countries, especially Persia.

CHAPTER XIII. Page 206 to 223.

The Writers of Illuminated Manuscripts.

Monastic scribes; the great beauty of their work, and the reasons for it; their quiet, monotonous life; examples of monastic humour; no long spells of work in a monastery; care in the preparation of pigments; variety of the schemes of decoration; the scriptoria of Benedictine monasteries; their arrangement in one alley of the cloister; the row of armaria; the row of carrels; the carrels in the Durham cloister described in the Rites of Durham; the scribes of other regular Orders. Secular scribes; the growth of the