n at this time. The value of the creamy
surface of the vellum was recognized as part of the colour scheme.
With the high polish of the gold it was necessary to use always
the strong crude colours, as the duller tints would appear faded
by contrast. In the later stages of the art, when a greater realism
was attempted, and better drawing had made it necessary to use
quieter tones, gold paint was generally adopted instead of leaf, as
being less conspicuous and more in harmony with the general scheme;
and one of the chief glories of book decoration died in this change.

[Illustration: MEDIAEVAL ILLUMINATION]

The divergences of style in the work of various countries are well
indicated by Walter de Gray Birch, who says: "The English are famous
for clearness and breadth; the French for delicate fineness and
harmoniously assorted colours, the Flemish for minutely stippled
details, and the Italian for the gorgeous yet calm dignity apparent
in their best manuscripts." Individuality of facial expression,
although these faces are generally ugly, is a characteristic of
Flemish work, while the faces in French miniatures are uniform
and pretty.

One marked feature in the English thirteenth and fourteenth century
books, is the introduction of many small grotesques in the borders,
and these little creatures, partly animal and partly human, show
a keen sense of humour, which had to display itself, even though
inappropriately, but always with a true spirit of wit. One might
suppose on first looking at these grotesques, that the droll expression
is unintentional: that the monks could draw no better, and that
their sketches are funny only because of their inability to portray
more exactly the thing represented. But a closer examination will
convince one that the wit was deliberate, and that the very subtlety
and reserve of their expression of humour is an indication of its
depth. To-day an artist with the sense of caricature expresses
himself in the illustrated papers and other public channels provided
for the overflow of high spirits; but the cloistered author of the
Middle Ages had only the sculptured details and the books belonging
to the church as vehicles for his satire. The carvings on the
miserere seats in choirs of many cathedrals were executed by the
monks, and abound in witty representations of such subjects as
Reynard the Fox, cats catching rats, etc.; inspired generally by
the knowledge of some of the inconsistencies in the