It commences with a large mirror-like oval tablet, containing the title, set between two pillars of pink-veined marble with bronze-gold capitals and bases. The tablet is crimson with a violet-slate frame moulding of egg and dart pattern. At foot are two Roman legionaries, one seated as supporting the tablet, on each side. On folio 3 is the index in a rose-wood panel and pale green frame. The peculiar forms of the frames and the scroll-work on them are of the fantastic kind, differing from Italian, which is characteristic both of Spanish and Portuguese ornament. The chief colours are a bright emerald green and blue, with ochre, gold, and crimson. The initials are still more fantastic--partly human, partly plant or fish-form, sometimes sculptured ornament and plant-forms combined--but all so sweetly painted and so delicately finished as to be most attractive. The text is a fine and elegant Roman minuscule interspersed with italic. Here and there are exquisite little drawings of ecclesiastical utensils, etc., but the everlasting variety among the quaint and fanciful initials provides an unwearying fund of interest. Tiny birds of the loveliest plumage sit among and beneath the limbs of the letters, or elegant scrolls of pencilled gold cover the little coloured panels on which the plain gold Roman initials are placed. Some of the larger initials are very finely executed and contain full-length figures of saints, bishops, or queens. One lovely initial B has a graceful girl simply clad in blue tunic and pale yellow skirt with a silken coil of pale rose forming the upper loop of the letter, the lower being formed of the curved body of a green dragon. Her left hand lifts the silk-work, her right, hanging by her side, holds a little golden pitcher. The whole is painted on a panel of bright gold. Another (L) shows a peasant rushing laughingly, with a hare slung over his shoulder, past the figure of a guardian terminus of bronze. But the Missal should be seen to be properly understood, for though in a general way it has a look of Italian influence, its originality is beyond question. CHAPTER XI ILLUMINATION SINCE THE INVENTION OF PRINTING The invention of printing--Its very slight effect on illuminating--Preference by rich patrons for written books--Work produced in various cities in the sixteenth century--Examples in German, Italian, and other cities, and in various public libraries up to the present time.