the labyrinthine patterns in blue or vermilion being filled in with circlets, loops, and other designs with infinite patience and excellent effect. Some of the border scrolls are exceedingly pretty, and the borders differ from Flemish in mixing natural flowers painted in thin water-colours with the more conventional flowers painted with a different medium, not in the later Flemish manner where the flowers are frankly direct imitations of nature, and painted in the same medium as the rest of the illumination. [52] See _Messager des Sciences_, etc., 110, 1858, and Deshaines, _L'Art Chrétien en Flandre_, 34 (Douai, 1860, 8°). After the Maas-Eyck Evangeliary the work of these northern foundations may well reckon either with the French or German schools until the fifteenth century. Where otherwise they are not distinguishable, the Netherlandish miniatures are usually such as prefer plain burnished gold backgrounds to diapered ones, or have a plain deep blue paled towards the horizon, and lastly replace the background by a natural, or what was intended to be a natural, landscape. As a test between French or German influence generally, the use of green shows the latter, that of blue the former. Not that this was any æsthetic point of difference in taste, but somehow the Germans had the green paint when the French had not, and so they used it. It is an open question whether Flanders or Italy first introduced the landscape background, but Flemish artists were so numerous, so ubiquitous, that we can hardly say where they were not at work--in France, Italy, or Spain. Plenty of so-called Spanish illumination is really the work of Flemish craftsmen. This was largely owing to the political conditions of the times. The Dukes of Burgundy and the Austrian Archdukes both ruled over Flemish municipalities, and employed the gildmen as their household "enlumineurs." And, of course, the success of the Van Eycks, Rogier van der Weide (de la Pasture), Derrick Bonts, and Hans Memling, stirred up the spirit of rivalry among the illuminators. They all worked in the same minutely, careful manner, and one could almost take a corporal oath on the identity of illuminations and panels which are really the work of different artists. Even yet the illuminations of the Grimani Breviary are attributed in part to Hans Memling--and no wonder! Only the best qualified judges can distinguish them. It is known that Gerard David of Oudewater, in Holland, a master painter, belonged also to the gild of miniaturists. But no miniatures are known to be from the hands of either Ian, or Hubert, or Marguerite van Eyck, or Hans Memling. The supposed identifications are merely guesses. But while this is so there is still no lack of illuminators, not to mention the illustrious few who were employed by the brothers of Charles V., King of France; and when we come to the days of his grandson, Philip of Burgundy (1419-67), we might name quite a crowd of distinguished illuminators.