It may be interesting to note, as a means of distinguishing these Burgundian princes or their MSS., that the arms of Philip II. the Good differ from those of his father, during the latter's lifetime, by having in chief a label of three points, and from those of his grandfather, Philip the Bold, by having an inescutcheon of pretence on the centre of the arms of Margaret de Maele, first assumed by his father, John the Fearless, that is, "or, a lion rpt. sa; for Flanders." As we have just said, many of the MSS. claimed as Netherlandish may be classed as Burgundian. The difference lies mainly in the miniatures. Where the latter are manifestly French with the mixed Brugeois borders, they may pass as Burgundian; but with similar borders yet distinguishably Netherlandish, that is, broad-nosed, square-jawed, and excited faces as compared with the finer features and placid expression of the French artists, the work may still be Burgundian, but it will be also Netherlandish. The individuality of Netherlandish illumination above every other quality establishes its identity. Look at the expression of the onlookers in a Crucifixion, or a Christ before Pilate, or a Stoning of St. Stephen--the diabolical ferocity, the fiendish earnestness, the downright intentional ugliness put on some of the characters are in direct contrast to the sweet indifference, the calm complaisance, and blank unconcern of a crowd as shown in similar scenes by French illuminators. [Illustration: HORÆ 15TH CENT. (LATE) _Brit. Mus. Add. MS. 17280. fol. 21_] [Illustration: VALERE MAXIME, TRAD. PAR SIMON DE HESDIN 15TH CENT. (LATE) _Brit. Mus. Harl. MS. 4375, fol. 68_] We have seen something of the earlier kind of Netherlandish MSS. in those already referred to. It now remains to take a rapid glance at a few of the later ones, and here the difficulty is that of selection.