The coil and spiral are freely used as the groundwork, and the colours alternated as the coils or spirals change from front to back of the leaf. [39] The Lovell Psalter. [Illustration: MISSALE (SARUM USE) 14TH CENT. (LATE) _Brit. Mus. Harl. MS. 2785, fol. 194 v._] [Illustration: HORÆ E. MAR. VIESIS. 15TH CENT. (EARLY) _Brit. Mus. Roy. Ms. 2, A. xviii, fol. 55_] Backgrounds of miniature histories are treated as in the Bohemian MSS.--Wilhelm v. Oransse, for example--that is, with fine golden tracery-patterns on deep, rich colours. The figure-painting is vastly improved--the features now being actually painted and modelled as in modern portrait painting, not merely indicated by pen strokes. The flesh-tints as previously noticed are bright and ruddy. The principal colours used on the foliages are blue, crimson, of various depths, and bright vermilion, with occasional admission of bright green and paled red ochre. Very similar to 1 E. 9 is Harl. 1892, and among other MSS. that may be studied with this one is 2 A. 18--a book of Offices, very sweetly illuminated, and full of typical examples of treatment both of architectural design and treillages of foliage. The Gothic pilasters are filled with the same kind of coiling and spiral leaves and ribbons that are used in 1 E. 9 and Harl. 1892, the backgrounds of the miniatures enriched with fine gold patterns. The furniture and costumes indicate the later years of the reign of Richard II., being similar to those shown in the miniatures of Harl. 1319, which relates the story of Richard's misfortunes. A few miniatures of saints accompany the prayers to them. One of the saints is peculiar, being the Prior of Bridlington, perhaps the "Robertus scriba" who copied certain theological treatises for the library, and who lived in the time of Stephen or Henry II.