Meanwhile German illumination, which in the large MSS. of the 12th century had given high promise, in the following centuries falls away and becomes detached from the western schools, and is, as a general rule, of inferior quality, although in the 13th century fine examples are still to be met with. Dark outlines and backgrounds of highly-burnished gold are in favour. At present, however, there is not sufficient published material to enable us to pass a definite judgment on the value of German illumination in the later middle ages. But the researches of scholars are beginning to localize particular styles in certain centres. For example, in Bohemia there was a school of illumination of a higher class, which seems later to have had an influence on English art, as will be noticed presently. Italian. We must now turn to Italy, which has been left on one side during our examination of the art of the more western countries. In attempting to bridge the gap which severs the later classical style of Rome from the medieval art of Italy, much must be left to conjecture. That a debased classical style of drawing was employed in the earlier centuries of the middle ages we cannot doubt. Such a MS. as the Ashburnham Genesis of the 7th century, which contains pictures of a somewhat rude character but based apparently upon a recollection of the classical drawing of earlier times, and which appears to be of Italian origin, serves as a link, however slight. Coming down to a later period, the primitive native art of the Frankish empire, as we have seen, extended into northern Italy under the name of Franco-Lombardic ornamentation; and we have also seen how the art of the Byzantine school reacted on the art of the southern portion of the country. Hence, in the middle ages, the ornamentation of Italian MSS. appears to move on two leading lines. The first, which we owe to the Byzantine influence, in which figure-drawing is the leading idea, follows the old classical method and, showing a distinctly Greek impress, leads to the style which we recognize as Italian _par excellence_, and which is seen most effectively manifested in the works of Cimabue and Giotto and of allied schools. In this style the colouring is generally opaque: the flesh tints being laid over a foundation of deep olive green, which imparts a swarthy complexion to the features--a practice also common in Byzantine art. The other line is that of the Lombardic style which, like the Celtic school of the British Isles, was an art almost exclusively of pure ornament, of intricate interlacings of arabesques and animal forms, with bright colouring and ample use of gold. The Lombardic style was employed in certain centres, as, for example, at Monte Cassino, where in the 11th, 12th and 13th centuries brilliant examples were produced. But it was not destined to stand before the other, stronger and inherently more artistic, style which was to become national. Still, its scheme of brighter colouring