Like that of the French and Flemish schools, Italian illumination survived into the 16th century, and for a time showed vigour. Very elaborate borders of the classical type and of good design were still produced. But, as in other countries, it was then a dying art. The attempt to graft illumination on to books produced by the printing press, which were now displacing the hand-written volumes with which the art had always been associated, proved, except in a few rare instances, a failure. The experiment did not succeed; and the art was dead. Spain. It remains to say a few words respecting the book ornamentation of the Peninsula. In the earlier centuries of the middle ages there appears to have been scarcely anything worthy of note. The Mozarabic liturgies and biblical MSS. of the 9th to 12th centuries are adorned with initial letters closely allied to the primitive specimens of the Merovingian and Franco-Lombardic pattern, and coloured with the same crude tints; the larger letters also being partly composed of interlaced designs. But the style is barbaric. Such illustrative drawings as are to be found are also of a most primitive character. Moorish influence is apparent in the colours, particularly in the yellows, reds and blacks. In the later middle ages no national school of illumination was developed, owing to political conditions. When in the 15th century a demand arose for illuminated MSS., recourse was had to foreign artists. Flemish art naturally was imported, and French art on the one side and Italian art on the other accompanied it. In the breviary executed for Queen Isabella of Spain about the year 1497 (Brit. Mus., Add. MS. 18,851) we find a curious random association of miniatures and borders in both the French and the Flemish styles, the national taste for black, however, asserting itself in the borders where, in many instances, the usual coloured designs are replaced by black-tinted foliage and scrolls. In other outlying countries of Europe the art of illumination can scarcely be said to have existed. In Slavonic countries a recollection of the Byzantine school lingered in book ornamentation, but chiefly in a degraded and extravagant system of fantastic interlacings. In the 16th century there was a revival in Russia of the Byzantine style, and the head-pieces and other ornamental details of the 11th and 12th centuries were successfully imitated. The consideration of oriental art does not come within the scope of this article. It may, however, be noted that in Arabic and Persian MSS. of the 13th to 16th centuries there are many examples of exquisitely drawn title-pages and other ornament of intricate detail, resplendent with colour and gold, which may be ranked with western illuminations.