as we may presume, by the artists of the early centuries. It seems that the background of the scene was first painted in full, covering the whole surface of the page; then, over this background were painted the larger figures and objects; and over these again the smaller details in front of them were superimposed. (The painter's algorithm.) Again, for the purpose of securing something like perspective, an arrangement of horizontal zones was adopted, the upper ones containing figures on a smaller scale than those below. It was reserved for the Byzantine school to break away more decidedly from the natural presentment of things and to develop artistic conventions. Yet in the best early examples of this school the classical sentiment still lingers, as the relics of the miniatures of the Cotton Genesis, and the best of the miniatures of the Vienna Dioscurides testify; and in the miniatures of the later Byzantine manuscripts, which were copied from earlier examples, the reproduction of the models is faithful. But on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open air into the cloister. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped and conventional. The tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor. Here we first find the technical treatment of flesh-painting which afterwards became the special practice of Italian miniaturists, namely the laying on of the actual flesh-tints over a ground of olive, green or other dark hue. Landscape, such as it was, soon became quite conventional, setting the example for that remarkable absence of the true representation of nature which is such a striking attribute of the miniatures of the Middle Ages. And yet, while the ascetic treatment of the miniatures obtained so strongly in Byzantine art, at the same time the Oriental sense of splendour shows itself in the brilliancy of much of the coloring and in the lavish employment of gold. In the miniatures of Byzantine manuscripts are first seen those backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting. The influence of Byzantine art on that of medieval Italy is obvious. The early mosaics in the churches of Italy, such