Another rich example of German as distinct from French or Italian work of this period is the grand Salzburg Missal now at Munich (Lat. 15710). When we reach the fifteenth century German illumination begins to grow gaudy, especially in the revived taste for parti-coloured border-frames, in which green and scarlet are often to be seen. The Kuttenberg Gradual at Vienna (Imp. Lib., 15501) is of the Bohemian type. Now and then a MS. will show the influence of Westphalian treatment of foliage--and, again, of the school of Cologne or Nuremberg or Augsburg. These all differ, whilst still keeping an unmistakable German character. The Hildesheimer Prayer-book at Berlin points to Cologne. The Frankendorfer Evangeliary at Nuremberg is characteristic of that city. The Choir-book of St. Ulrich and Afra in their abbey at Augsburg is typical of its locality. The Missal of Sbinco, Archbishop of Prag, inclines to Nuremberg rather than Prag (Imp. Lib., Vienna, No. 1844). It is eighty years earlier than the Augsburg and Hildesheim MSS. Passing actively onwards, we find illumination still in vogue in the sixteenth century, notwithstanding that Germany was the cradle of the printing press. In fact, it seems to wax more and more sumptuous--the books more profusely ornamented than ever. The Missal and Prayer-book of Albert of Brandenburg, Archbishop of Mainz, once at Aschaffenburg, executed about 1524 are among the finest productions of the illuminator's art. While perhaps we may complain that design has given way to profusion and the border flowers and insects--a contemporary characteristic of Netherlandish art also--are neither more nor less than portraiture applied to flowers, fruits, and the insect world. The larger miniatures are modern paintings, including portraits, differing in nothing but dimensions from the works of the greatest masters of the schools of painting. In ignorance of the strict rules of the gilds, some writers have gone so far as to say that miniatures also such as these were the work of the Van Eycks, the Memlings, and the Lucas van Leydens of our public galleries. This particular MS. was the work of a famous Nuremberg miniaturist, one of a distinguished family of artists--Nicolas Glockendon. A very similar, but perhaps still richer, MS., is the Prayer-book of William of Bavaria, still kept in the Imperial Library at Vienna (No. 1880), painted by Albert Glockendon. It is one of the most exquisite volumes possibly to be met with. A Prayer-book in the British Museum (Add. 17525), though far inferior, may give some idea of the sumptuous character of the Glockendon work.