pale greenish ochre tint. One other of the illuminations of this exceedingly interesting MS. may be mentioned, viz. the David playing his harp. He also wears three garments--a tunic of white shaded with pale blue, then another of lavender or lilac and having rich brocaded borders, and, lastly, a pallium or robe of pale chocolate lined with ermine; orange-coloured hose. The throne, like the previous one, is of several colours--slate-blue, green, orange, and white, with a buff cushion. Here is a back to the throne of a deep blue, with a background, as before, of bright flat gold. The white moulding is shaded with pale green, with bluish slate corners. The outer border is of the pale red ochre or pink, so common in later work in contrast with deep blue. An outer frame or edging of green completes the page. The harp is not gilded, but of a drab hue, with two quatrefoil studs or orifices in the frame, relieved as usual with fine edges of white. Compare this MS. with one in the Library at Lambeth. The English illumination of the thirteenth century is so like that of France that it is often difficult to determine its real nationality. There is occasionally some feature which we know from other sources to be English, or some circumstance in the history of the MS. which fixes its origin, as, for example, in the Additional MS. 24686, known as the Tenison Psalter. Sir E.M. Thompson also describes this MS. in the _Bibliographica_, i. 397. But it was previously described at some length by Sir Edward Bond in the Fine Arts _Quarterly Review_. The Psalter, which has had a somewhat eventful history, is one of the best examples of English thirteenth-century illumination. At least, this may be said of the early portion of it, for while it is illuminated throughout, only the first gathering is in the earlier manner. The peculiar value to the student lies in the fact that although quite in the same style as contemporary French work, it is the work of an English illuminator. The colouring, however, is not confined, as in somewhat earlier examples, to blue and dull pale rose or paled red ochre and gold. It gives us scarlet, crimson-lake, green, and brown, besides the blue and pink and bright gold which suggests some German influences. The line fillings are somewhat peculiar as having silver tracery, on the blue, side by side with golden tracery on the crimson. The full ivy leaf appears in the long branch work of the borders, and some of the initials still retain the bird or dragon forms in their construction. The compound bar-frame, gold and traceried colour side by side, is however already taking the place of the mere sweeping tail or branch. But perhaps the best indication of English design is the presence of a number of grotesque animals, with birds and occasional humorous scenes disposed, not in framed miniatures, but simply among the stems and coils of the foliage. This is a form of illustration much appreciated by English illuminators