Exquisite manuscripts were collected both in the monasteries and in the royal court, and in addition to the clergy, manuscripts were ordered by members of the royal court and the councilors. The ritual-church significance of the manuscripts diminished, they were often ordered for personal use, to satisfy the refined taste of the councilors ad their religious feelings. The size of the books decreased, the miniature painters turned more to the depiction of reality and of the neighboring countries (Byzantium և European countries). Famous miniature painters Grigor Mlichetsi, Toros Roslin, Sargis Pitsak and others appeared creating elegant royal manuscripts ("King Hetum II's dinner", "Gospel of Queen Keran"). A relatively stable political situation in some regions of Greater Armenia contributed to the development of miniature painting. While the representatives of the Gladzor School of Miniature Painting stand out with stressed personalities, the artists of Vaspurakan (Simeon Artchishetsi, Zakaria Akhtamartsi, Rstakes, Kirakos Aghbaketsi and others) moved back to more unified painting traditions. The famous center of miniature painting was the Tatev School of Miniature Painting headed by Grigor Tatevatsi, after whom Armenian miniature art was continued in the colonies of the Crimea, New Julfa, Constantinople and elsewhere. In the 17th-18th centuries, Armenian book miniature painting gradually gave way to the printing art of book illustration. Europe, 8th–12th centuries In the native schools of illumination of Western Europe, decoration only was the leading motive. In the manuscripts of the Merovingian period, in the school which connected Frankland and northern Italy, and which is known as Lombardic or Franco-Lombardic, in the manuscripts of Spain, in the productions of the Insular art of the British Isles, figure-drawing was scarcely known, serving rather as a feature of decoration than as a representation of the human form. The Anglo-Saxon school, developed especially at Canterbury and Winchester, which probably derived its characteristic free-hand drawing from classical Roman models, scarcely influenced by the Byzantine element. The highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the general line of development of the western medieval miniature. Under the Carolingian monarchs there developed a school of painting derived from classical models, chiefly of the Byzantine type. In this school, which owed its origin to the encouragement of Charlemagne, it is