With regard to Portugal, very little is recorded that does not in some way connect itself with Spain. So we find that Antonio and Francesco de Holanda, seemingly of Netherlandish origin, are mentioned in relation to the books illuminated for the Royal Monastery of Thomar; Francesco also worked for the monastery of Belem. Francesco de Holanda was a great admirer and imitator of Clovio, but he always insisted that his father Antonio was the inventor of the method of "stippling," as the finishing with minute points of colour is technically called, which was brought to such perfection by Clovio and his scholars and imitators. Taken altogether, the work of the Spanish illuminators at the Escorial and those of Toledo and Seville is really the same, with just the variations we might expect from pupils and imitators, as that of their masters in Genoa, Rome, Venice, or Bruges. Examples of it may be seen occasionally in diplomas, such as are found in the British Museum and other public libraries, as, _e.g._ Claud. B. x. Lansd. 189, Add. 12214, 18191, 27231, etc. In 1572, the same year in which Luiz de Camoens published his Lusiades, an accomplished calligrapher, Miguel Barata, published an elaborate treatise on his own art, then in high repute. In the fourteenth century the Cancioniero of Don Pedro Affonso Ct. de Barcellos affords an example of the calligraphy (for which Spain and Portugal have always been famous) and illumination which is precious for the student. It is still in existence in the Palace of Ajuda. Its date is 1320-40. And there are MSS. in the Torre do Tombo of Lisbon that are richly illuminated. Again, in Seville there is the "Juego de las Tablas," executed under Alphonso the Wise in 1283, with its Gothic arcades and ornaments. M. Joaquin de Vasconcellas has made a study of this MS. The miniatures of the Torre do Tombo of the thirteenth and fourteenth centuries are mostly of the French school. About 1428 33 was executed a splendid MS. entitled "Leal Conselheiro," which is attributed to a famous miniaturist in his time named Vasco. It is, however, simply a monument of penmanship, as it contains no miniatures. The MS. has been edited by L'Abbé Roquete in 1842. The Portuguese MSS. of the fifteenth century betray a decided Flemish influence, as well they may, for probably the producers of them were Flemings. Constant intercourse with the Court of Burgundy had something to do with this.