But, besides the brilliantly coloured style of Flemish illumination which has been described, there was another which was practised with great effect in the 15th century. This was the simpler style of drawing in white delicately shaded to indicate the contour of figures and the folds of drapery, &c., known as _grisaille_ or _camaïeu gris_. It was not indeed confined to the Flemish schools, but was practised also to some extent and to good effect in northern France, and also in Holland and other countries; but the centre of its activity appears to have been in the Low Countries. The excellence to which it attained may be seen in the MSS. of the _Miracles de Nostre Dame_ now in Paris and the Bodleian Library, which were executed for Philip the Good, duke of Burgundy, in the middle of the 15th century. Of the Dutch school of illumination, which was connected with that of Flanders, there is little to be said. Judging from existing examples, the art was generally of a more rustic and coarser type. There are, however, exceptions. A MS. in the British Museum (King's MS. 5) of the beginning of the 15th century contains scenes from the life of Christ in which the features are carefully modelled, very much after the style of English work of the same time; and some of the specimens of Dutch work in _camaïeu gris_ are excellent. German illumination in the 15th century appears to have largely copied the Flemish style; but it lost the finer qualities of its pattern, and in decoration it inclined to extravagance. Where the Flemish artist was content with single flowers gracefully placed, the German filled his borders with straggling plants and foliage and with large flourished scrolls.