A little volume (Harl. 2936) contains exquisitely drawn Brugeois scrolls in monochrome on grounds of the same colour or plain gold or black. Lastly we may mention "Les Heures de la Dame de Saluces," otherwise called the "Yemeniz Hours," in the British Museum (Add. 27967), a large octavo, as an example of transitional Burgundian. Here the secondary borders have mostly the penwork ivy leaf with Brugeois corners and with strawberries, etc., in the midst of the sprays. Among the foliages grotesque figures frequently appear. The principal pages, however, are more like Harl. 4431, yet without the ivy-leaf tendrils. The miniatures are still Gothic, but richer and deeper in colour than ordinary French work. It would appear that two different artists were employed--one decidedly French, the other Netherlandish, and of a more individual character, still with French accessories. Every page has a border of some kind. Among the flowers the thistle is peculiar in having a golden cup next the down. The work generally resembles, in some parts, 4431 Harl.; in others, and perhaps more strongly, 15 E. 6. The colours are chiefly blue, scarlet, rose-pink, green, and gold. We have now pretty nearly worked our way into Flemish illumination. The after-history of French as developed through the influence of Italy on the schools of Paris and Tours must have a chapter to itself. CHAPTER IV ENGLISH ILLUMINATION FROM THE TENTH TO THE FIFTEENTH CENTURY Organisation of the Monastic _scriptoria_--Professional outsiders: lay artists--The whole sometimes the work of the same practitioner--The Winchester Abbeys of St. Swithun's and Hyde--Their vicissitudes--St. Alban's--Westminster--Royal MS. 2 A. 22--Description of style--The Tenison Psalter--Features of this period--The Arundel Psalter--Hunting and shooting scenes, and games--Characteristic pictures, grotesques, and caricatures--Queen Mary's Psalter--Rapid changes under Richard II.--Royal MS. 1 E. 9--Their cause. In a former chapter we left our native schools of illumination at work on such MSS. as the Devonshire and Rouen Benedictionals, and with the reputation of being the best schools of the kind in Christendom. Mention also is made elsewhere in dealing with monastic art of the usages of the _scriptoria_. Such usages, of course, could only obtain in houses where scribes themselves were to be had. Hence we should discover, were it not otherwise known, that writing and illumination, even in the monastic age, were not confined absolutely to the cloister.