In 1484 Gerard David appears on the list of illuminators of Bruges,[54] and it appears that he, and not Hans Memling, was the painter of those marvellous miniatures in the Grimani Breviary at Venice usually attributed to the latter, and therefore may be considered as one of the founders of the school of Bruges, or at least of the later style that may be referred to the Grimani Breviary as its most perfect example. Executed in much the same manner is a Book of Offices in the British Museum, containing portraits of Philip the Fair and his wife, the unhappy Juana _la Loca_, son and daughter-in-law of the Emperor Maximilian. Similar, again, are the "Offices of the Elector, Albert of Brandenburg," possibly the work of the same artists who produced the Grimani Breviary. There are also some fragments in a guard-book in the British Museum (Add. 24098), which may compare with any of the preceding examples. But perhaps to many book-lovers no better specimen of the highest class of Netherlandish art could be more welcome or more interesting than the celebrated copy of the "Roman de la Rose," also in our great national collection (Harl. 4425). This justly famous MS. is a real masterpiece in every department, whether we consider the expression in its miniatures or the consummate technical skill displayed in the drawing and colour of the borders. These secondary embellishments consist of fruit, flowers, birds, beetles, and butterflies. But, of course, the great interest of this book lies in its miniatures, scenes from the poet's allegory, and in the little statuesque figures of the various characters in the poem. [54] Cf. his "Judgement of Cambyses" in the museum at Bruges. Two marvellous little volumes there are in the National Museum at Munich (861-2) which are surely unapproachable. One of the borders in 861 consists of the eyes of peacock feathers so absolutely perfect that we can only wonder at its rainbow hues and pearly sheen of colour. Something similar to it exists in a fragment (No. 4461) in the Victoria and Albert Museum at South Kensington. The "Isabella Breviary" of the British Museum (Add. 18851) ought not to pass unmentioned, but space forbids us to add more on this inexhaustible topic. There is, however, the class of work alluded to early in the chapter, and in that on French work, which must be at least mentioned. We refer to what the Italians call _chiaroscuro_ and the French _grisaille_; _i.e._ painting executed in tones of grey, in which the lights are given in white or gold and the backgrounds in rich blue. Occasionally the draperies and ornaments also are touched with gold, and the flesh tints as in life. Grisaille is not limited to Netherlandish illuminations. We find it both in French and Italian, but perhaps it is among the Netherlandish books we meet with it most frequently. Several examples are to be seen in the Royal Library at Brussels, and there is at least one in the British Museum (Add. 24189). CHAPTER IX