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.