elongated, the shoulders humped--all characteristic features which are repeated in the later Anglo-Saxon work. The drawings of the _Utrecht Psalter_ are clearly typical examples of a style which, founded on Roman models, must at one time have been widely practised in western Europe. For instance, there are traces of it in such a centre as St Gallen in Switzerland, and there are extant MSS. of the _Psychomachia_ of Prudentius (a favourite work) with drawings of this character which were executed in France in the 10th century. But the style does not appear to have taken much hold on the fancy of continental artists. It was reserved for England to welcome and to make this free drawing her own, and to develop it especially in the great school of illumination at Winchester. Introduced probably in such examples as the _Utrecht Psalter_ and copies of the _Psychomachia_, this free drawing of semi-classical origin had fully established itself here in the course of the 10th century, and by that time had assumed a national character. A fair number of MSS. of the 10th and 11th centuries which issued from the Winchester school are still to be seen among the collections of the British museum, in most of which the light style of outline drawing with the characteristic fluttering drapery is more or less predominant, although body colours were also freely employed in many examples. But the most elaborate specimen of Anglo-Saxon illumination of the 10th century is one belonging to the duke of Devonshire: the _Benedictional_ of the see of Winchester, executed under the direction of Æthelwold, bishop from 963 to 984, which contains a series of miniatures, in this instance in body colours, but drawn in the unmistakable style of the new school. In the scheme of decoration, however, another influence is at work. As England had sent forth its early Celtic designs to modify the art of the Frankish empire, so the Carolingian style of ornament now, in its turn, makes its way into this country, and appears in the purely ornamental details of the Anglo-Saxon illuminated volumes. The frames of the miniatures are chiefly composed of conventional foliage, and the same architectural leaf-mouldings of classical origin which are seen in the foreign MSS. are here repeated. Profuse gilding also, which is frequently applied, sometimes with silver, is due to foreign influence. But this character of decoration soon assumed a national cast. Under the hands of the Anglo-Saxon artist the conventional foliage flourished with greater freedom; and the colouring which he applied was generally softer and more harmonious than that which was employed abroad. Examples of outline drawing of the best type exist in the Harleian _Psalter_ (No. 2904), of the same period as the Æthelwold _Benedictional_; in the register of New Minster (Stowe MS. 944), A.D. 1016-1020; and in the Prudentius (Cotton MS. Cleop. C. viii.), executed early in the 11th century. Norman.