Sic et liber utilis Tibi delectabilis Et non cesses volvere Hanc in tuo pectore." In the Netherlands, which mostly at this time lay within the boundary of Lotharingia or Lorraine, the style of illumination was much the same as in other German districts. Gospel-books and Psalters, however, exhibit features somewhat akin to English work. In the eleventh and twelfth centuries the continental methods prevail in more solid painting and less penwork. Of the twelfth-century work of Germany examples are exceedingly numerous, stretching over every province from West to East, as Westphalia, the Palatinate, Burgundy, Switzerland and Bavaria, extending even into Bohemia. An Evangeliary in the University Library at Prag agrees altogether with those of Germany. Towards the middle of the twelfth century, with the accession of the House of Hohenstaufen (1138, etc.), arose a new style, since called Romanesque, of which many examples are to be found in various libraries. It is not very easy to select the most typical examples, but one good and typical MS. is found in a Gospel-book at Carlsruhe, which contains some capital miniatures of this most thoroughly German style. Under Frederick Barbarossa, as under the Caroling Emperors and the Othos, we may note a wave of new life, especially in Saxony. A contrast as regards artistic ability to the "Hortus Deliciarum" is the Gospel-book executed for Henry the Lion at the convent of Helmershausen, once in the Cathedral Library at Prag, and bought by King George of Hanover.[29] In the page of the Eusebian Canons we see features which take us across the plains of Lombardy to the doors of S. Michele of Pavia, and to the churches of Venice. The columns rest on crouching animals. Allegorical figures are introduced striving with each other as in the later Gothic illuminations. A half-nude figure of Faith vanquishes the champion of Paganism. On the dedication page sits the Madonna with SS. John Baptist and Bartholomew, and below them the patron saints of Brunswick, Blaize, and Egidius leading forth the Duke and his wife, Mathilda. It may indeed be called a splendid book. Among the rest of the pictures, some of them within richly decorated borders, occurs the usual representation of the Duke and his Duchess receiving crowns. The figures are well drawn, even elegant, the draperies good, and the colouring skilful. [29] See F. Culemann in _Neue hannov. Zeitung_, 1861, Nos. 22-4.