and initials are rather heavy and commonplace. Now and then a border surrounds the text completely, where flowers or fruits are scattered--somewhat recklessly at times, but usually with good design--over a ground of plain gold, on which the branches, etc., cast heavy shadows. This part of the design is certainly Flemish. Where "histories" occur the border is a plain brown gilt frame within a black border. Undoubtedly the "Hours of Anne of Brittany" is a very precious volume. The figure subjects are of various degrees of excellence. The four evangelists are vivid, and recall the portraits of Ghirlandaio, and it is to Italy also that the illuminator is indebted for his architectural and sculptural details. Yet Bourdichon is inferior to Fouquet in colouring, as the latter is to the Italians in design and composition. Perhaps he is most successful in his flowers and insects. "Nothing," said Muntz, "is less like the elegant foliages of Ghirlandaio and Attavante, and nothing is more worthy of being put in comparison with them."[60] [60] _La Renaissance en Italie, etc_., 547-8. An illuminator of the name of Jehan Poyet is said to have assisted in the "Hours," thus while Bourdichon painted the miniatures, Poyet put in the flowers and fruit, etc.; but this share of work is by some believed to belong to a smaller Book of Hours executed for the Queen. Flowers and fruit are said to have been Poyet's speciality, and it is quite possible that he may have had the painting of the borders of the "Grandes Heures," while Bourdichon did the rest. The writer of the MS. was another native of Tours, named Jehan Riveron. During the reign of Francis I. the school of Tours was removed to Paris because the Court had settled there. Louis XII. had died in the Hôtel des Tournelles, and Francis, though full of plans for _plaisances_ elsewhere, lived mostly in Paris. Fontainebleau is the dream of the near future. Il Rosso, the Italian architect, painter, poet, and musician, was busy there amid a crowd of other artists from Florence and Rome--the refuse of a once brilliant sodality. It was the frivolous, pretty, graceful side of Italian art that came northward in that great migration--the graver and more dignified elements were left behind. To see what Italian art became in France, we have only to enter the Grand Gallery at Fontainebleau, and we see it at its best in architecture, sculpture, and painting. And we cannot help admiring it, for it is amazingly beautiful. Yet it is not Italian--the Italian of the Medici and Farnese palaces. Il Rosso was neither a Michelangelo nor a Carracci; but he set a fashion. He changed the face of art for France. Nor was it in painting and sculpture only. The Italian passion for devises, anagrams, emblems, and mottoes became the rage in Paris. It first came in with the return of Charles VIII. from his Neapolitan campaign. Louis XII. adopted the hedgehog or porcupine, with the motto "Cominus et eminus." His Queen Claude's motto