The "Chronica do descobrimento e conquista de Guiné," now at Torre do Tombo, is clearly a Flemish work. It was begun about 1440, and finished in 1453. The portrait of the Enfante Don Henrique, called the Navigator, is set in a border evidently by a pupil or imitator of J. Van Eyck. The calligraphy of the MS. is most beautiful. This influence of the Netherlands on Portuguese art is, indeed, confirmed by the political diplomatic relations of the fifteenth century, and is of some importance in the history of art. We shall refer again to this matter when dealing with another MS. Among all the calligraphic monuments of Portugal it is claimed that the most splendid is the "Bible of the Hieronymites." (See _Revista universal Lisbonense_, 1848, pp. 24-8.) This work, it is said, was a present from the Court of Rome to Emanuel, successor of John II., in remembrance of the homage made to the Holy See, of the first gold brought from the Indies, but the story is very doubtful. The King, in bequeathing the seven volumes to the convent of Belem, says nothing about such an origin. They are manifestly in great part the work of foreign artists. One well-known miniaturist, Antonio de Holanda, the father of the better-known Francesco, took part in the work, and having a good conceit of his own abilities (we shall probably hear of him again), reserved an entire volume to himself in order to give proof of them. The seven volumes which then were covered with crimson velvet and silver bosses and enamels, are now simply bound in red morocco. In the middle of each cover are the arms of Emanuel King of Portugal. Vols. v. and vii. have those of Dona Isabel, his Spanish wife.