One of the many characteristic MSS. of this period to be seen in continental libraries is the "Mater Verborum" of the monk Conrad, of Scheyern in Bavaria, a noted scribe, illuminator, goldsmith, and grammarian. The subject is one that scarcely gives promise of lending itself to pictorial illustration, but after the successful attempts of Theodulf we may be prepared for anything in the way of diagram and symbol. Imagine a dictionary in which not only actual objects are pictorially represented, but also abstract terms. Music, philosophy, virtues and vices illustrated by historical instances--sacred subjects treated in the manner of the glass painters which is so commonly found in German and French work of this period. Of twelfth-century illumination in general it may be said that it shows a marked effort towards true artistic design and subtle beauty of linear outline. Some of the noblest curve-drawing, with rich and massive grouping of foliages, is to be found in the ornamental initials and dignified border designs presented on the later examples of the century, and it is very interesting to observe the rapid pace at which the climax is reached in mere calligraphic ornament after the opening of the Gothic period. Initials become smaller but exquisitely drawn, and reasonable expression takes the place of the senseless stare or grotesque exaggeration of attitude and feature which detract from the artistic value of all preceding efforts. To conclude our list of German illuminations of purely monastic production, we will bring forward one more example of women's work, which whether as regards its curious illustrations of symbolism, or its richly foliaged geometrical backgrounds and borders, is one of the most interesting MSS. in any collection. It is the Evangeliary of the Abbess Uota, or perhaps, rather, Tuota of Niedermünster, a lady of the House of the Counts of Falckenstein (1177-80); or of Utta, abbess from 1009 to 1012, but more probably the former. Another, Tutta, ruled the abbey from 920 to 934, and still another 1239-42. This precious MS., which Cahier has very fully described as the "Manuscrit du Niedermuenster de Ratisbonne," is now in the Royal Library at Munich (Cimel. 35). Some writers, in speaking of it, have classed it among the MSS. of the eleventh century, but it is too refined and too well done for that period, and, indeed, that it belongs to the _latter part_ of the twelfth is almost proved from the work itself. Perhaps it was the profusion of inscriptions or legends placed all over the miniatures that gave the idea of its belonging to the eleventh century. In this respect the MS. certainly resembles the Evangeliary of Luxeuil already described. The miniature of the Crucifixion is very remarkable. Besides the figure of Christ showing a return to the primitive Syriac idea,[30] instead of the figures as usual of Mary and John, here are given allegorical figures _of_ Life and Death. (Cf. Fest. in exaltatione sce crucis.