seen that the miniature appears in two forms. First, there is the truly conventional miniature following the Byzantine model, the subjects being generally the portraits of the Four Evangelists, or portraits of the emperors themselves: the figures formal; the pages brilliantly colored and gilded, generally set in architectural surroundings of a fixed type, and devoid of landscape in the real sense of the word. Accompanied as it was with profuse decoration in border and initial, it set the pattern for the later Continental schools of the West. On the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is more freedom; and we trace the classical style which copies Roman, as distinguished from Byzantine, models. The influence which the Carolingian school exercised on the miniatures of the southern Anglo-Saxon artists shows itself in the extended use of body-color and in the more elaborate employment of gold in the decoration. Such a manuscript as the Benedictional of St. Æthelwold, bishop of Winchester, 963 to 984, with its series of miniatures drawn in the native style but painted in opaque pigments, exhibits the influence of the foreign art. But the actual drawing remained essentially national, marked by its own treatment of the human figure and by the disposition of the drapery with fluttering folds. The style was refined, tending to exaggeration and disproportion of the limbs. With the Norman Conquest this remarkable native school died. With the awakening of art in the 12th century the decoration of manuscripts received a powerful impulse. The artists of the time excelled in the border and the initial, but in the miniature also there was vigorous drawing, with bold sweeping lines and careful study of the draperies. The artists grew more practiced in figure-drawing, and while there was still the tendency to repeat the same subjects in the same conventional manner, individual effort produced in this century many miniatures of a very noble character. The Norman Conquest had brought England directly within the fold of Continental art; and now began that grouping of the French and the English and the Flemish schools, which, fostered by growing intercourse and moved by common impulses, resulted in the magnificent productions of the illuminators of north-western Europe from the latter part of the 12th century onwards. But of natural landscape there is