[189] And to some extent for manuscripts of religious works as well. This archaic form of letter was also used by Sweynheim and Pannartz and other prototypographers at Subiaco and in Rome; hence it got the name of _Roman_ as opposed to _Gothic_ letter. [190] One of the finest examples of this style of illumination is in a volume of the Italian translation of Pliny's _Natural History_, printed on vellum by Nicolas Jenson in Venice in 1476; now in the Bodleian at Oxford. [191] See Wattenbach, _Schriftwesen_, Ed. 2, pp. 411 and 469; and Romer, _Les Manuscrits de la Bibl. Corvinienne_, in _l'Art_, Vol. X. 1877. [192] See Vasari's life of Fra Giovanni da Fiesole, Ed. Milanesi, Vol. II. p. 522 seq. [193] The National Gallery in London possesses (No. 748 in the Catalogue) a good example of Girolamo's work, a Madonna altar-piece, signed _Hieronymus a libris f._ No. 1134 in the same collection is an example of a panel picture by Liberale da Verona. The Bodleian contains an exquisite _Book of Hours_ illuminated by Girolamo dai Libri for the Duke of Urbino. [194] The _Antiphonals_ which Liberale illuminated at Monte Oliveto are now preserved in the Chapter library at Chiusi. Those which he painted at Siena are now in the Cathedral library. Records of money paid to Liberale for these choir-books are published by Milanesi, _Documenti per la Storia dell' Arte Sanese_, Vol. II. pp. 384-386; and Milanesi's edition of Vasari, Vol. V. pp. 326-334. [195] Examples of Attavante's and Liberale's miniatures are illustrated by Eug. Müntz, _La Renaissance en Italie et en France_, Paris, 1885, p. 188 seq. [196] See page 200, and compare pages 163 and 175 for examples of similar influence due to the manuscript illuminators of Germany and Italy. [197] For examples of this see above, page 175. [198] Each of these painters (in some pictures) also signs himself _Alamanus_, meaning not necessarily that they were Germans, but possibly natives of Lombardy, who were often called _Alamani_ by their Italian neighbours. [199] Especially in his magnificently decorative altar-piece of the Adoration of the Magi in the Florentine Academy, dated 1423. [200] Clovio is the Italianized form of a harsh Croatian name; the artist adopted the name Giulio as a compliment to his friend and teacher Giulio Romano, Raphael's favourite pupil. J. W. Bradley, _Life of Giulio Clovio_, London, 1891, gives an interesting account of him and of his times; see also Vasari, Ed. Milanesi, Vol. VII. p. 557.