At the foot of the page is written "Eduardus Caldiera Vlisspone scripsit, Anno Dni MDCXII." This magnificent MS., which measures forty-six by thirty centimetres, is numbered in the Catalogue of the National Library as 10015. A grand frontispiece, formed of two columns of the Composite Order, occupies the first page, representing a king in royal robes and crown arresting the wheel of Fortune. Two lions accompany the scene, and the motto of the picture is "Virtute duce non comite Fortuna." Page 2 contains the various escutcheons of the family of the Count of Lerma, for whom the book was written. It contains a great number of portraits. A final instance of the influence, or rather the inroad, of Flemish art in Portugal in the fifteenth century may be shown in the MS. called the Portuguese Genealogies in the British Museum. The work consists of eleven large folio sheets separately mounted and measuring eighteen by ten inches. It commences with a prologue, with the arms of Portugal supported by two savages, having clubs and shields. Outside the inner frame are three scenes: (1) wild animals in combat; (2) a sea-nymph being rescued; (3) a fight among sylvan savages. Next comes a series of portraits painted in the most finished and life-like style, beginning with Dom Garcia F° del rey Abarca and Dona Constancia on a fruitful tree with foliage, fruits, and birds, a cat, and other things. The tree is an oak, beside it are apple and cherry trees. On the oak are green acorns. The birds are very beautiful, the cat simply perfect. These details recall the highly finished and lovely work of Georg Hoefnagel on the great Missal at Vienna. Gothic brown-gold architecture and three battle scenes complete the page. Then follow the genealogical tables, and more portraits, the whole showing the most patient and careful work. Letters on the borders of the robes recall the same kind of ornament in the Grimani Breviary at Venice. No one has been able to explain these curious inscriptions. In the Grimani Breviary they were thought to be either Croatian or merely ornament. Here they cannot well mean anything but decoration. The portraits are fanciful but interesting mementoes of the period, and include several personages noted in history. The last MS. to be mentioned in this hasty sketch is one in the British Museum (Stowe 597). It is a "Missale Romanum," and is said to have been illuminated for John III. in 1557. It was once the property of the Abbé Gamier, chaplain for near thirty years, of the French factory at Lisbon. The binding is red morocco, and once had silver clasps.