[166] The National Gallery in London possesses a magnificent panel by Gérard David, a kneeling Canon with three standing figures of Saints, and an exquisitely painted landscape background. This is one wing of an altar triptych which was painted for St Donatian at Bruges. It is numbered 1045 in the Catalogue. Paintings by Gérard David's wife are mentioned below, see page 218. [167] The whole of this gorgeous manuscript was published in fairly good "facsimile" by Curmer, _Le livre d'Heures de la Reine Anne de Bretagne_, 2 Vols. Imp. 410., Paris, 1861; see also Laborde, _Ducs de Bourgogne_, Vol. 1. p. xxiv. [168] A very interesting account of the Flemish illuminators of the fifteenth and sixteenth centuries is given by Weale, _Le Beffroi_, Vol. iv. 1873, in which he publishes the accounts of the Guild of St John and St Luke between the years 1454 and 1500. [169] Gérard David of Bruges was a notable example of skill in both branches of art; see above, page 165. Gérard's wife also practised both these arts, and produced manuscript illuminations and panel paintings of almost equal beauty to those of her husband; see below, page 218. [170] Maximilian's Prayer-book has been described (with copies of the borders) by Stoeger, _Vignettes d'Albert Dürer_; Munich, 1850. [171] These minutely rendered ecclesiastical scenes occur frequently in other classes of Teutonic illumination. [172] The Fitzwilliam Library possesses a beautiful example of this class of pen illumination in a large folio volume of the _Summa_ of Aquinas printed by Mentelin about 1465 or 1466. Mentelin in his youth was an illuminator of manuscripts in Paris at the same time that he was a student in the University; see page 150. [173] Such work as the Pisan Baptistery pulpit of Niccola Pisano, executed in about 1260, was an almost isolated phenomenon, and it was not till about half a century later that Giotto and his pupils produced paintings of equal merit to those of France and England during the second half of the thirteenth century. [174] See _Mon. Germ. Hist._ XII. p. 348 seq.; and Agincourt, _Hist. d'Art_, Pl. 66. [175] Partly owing to the necessarily decorative beauty of the glass _tesserae_, Byzantine mosaics, even of a degraded period, are usually fine and rich in effect. [176] See Vasari, _Vite dei pittori_, Edition of 1568, Parte I. p. 229 seq.; and _ib._ Milanesi's edition, 1878, Vol. II. pp. 17 to 29. [177] This enshrined hand, and another, said to be that of a later _miniatore_ of the same Monastery, Don Lorenzo, still exist in the Sacristy of the church of Santa Maria degli Angeli.