The Danish invasions; revival of art under king Alfred; the _Benedictional_ of Aethelwold; signs of Carolingian influence; the Winchester school; St Dunstan as an illuminator; Anglo-Saxon drawings in coloured ink; Roll of St Guthlac; the great beauty of its drawings; Canute as a patron of art; the Norman Conquest. CHAPTER VIII. Page 106 to 125. THE ANGLO-NORMAN SCHOOL. The Norman invasion; development of architecture and other arts; creation of the Anglo-Norman school; magnificent _Psalters_; the Angevin kingdom; the highest development of English art in the thirteenth century; Henry III. as an art patron; the rebuilding and decorating of the Church and Palace of Westminster; paintings copied from manuscripts; the Painted Chamber; English sculpture; the Fitz-Othos and William Torell; English needlework (_opus Anglicanum_); the Lateran and Pienza copes; Anglo-Norman manuscripts of the _Vulgate_; the style of their illuminations; manuscripts produced in Benedictine monasteries; unity of style; various kinds of background in miniatures; magnificent manuscripts of the _Psalter_; the Tenison _Psalter_; manuscripts of the _Apocalypse_; their extraordinary beauty; their contrast to machine-made art; English manuscripts of the fourteenth and fifteenth centuries; the results of the Black Death; the Poyntz _Horae_; the _Lectionary_ of Lord Lovel; the characteristics of English ornament; the introduction of portrait figures; the Shrewsbury manuscript; "Queen Mary's Prayer-book;" the works of Dan Lydgate; specially English subjects; manuscripts of _Chronicles_ and _Histories_. CHAPTER IX. Page 126 to 146. FRENCH MANUSCRIPTS. The age of Saint Louis; archaism of costume in miniatures; French manuscripts of the fourteenth and fifteenth centuries; historiated Bibles; the ivy-pattern; the _Horae_ of the Duc de Berri; the _treasure-book_ of Origny Abbey; the Anjou _Horae_; costly and magnificent French _Horae_; their beautiful decorations; their numerous miniatures; the Bedford _Breviary_; the Bedford _Missal_; various styles in the same manuscript; manuscripts in _Grisaille_; manuscripts of secular works; Cristina of Pisa; _Chronicles_ and _Travels_; _Romances_ and _Poems_; Italian influence in the south of France; the growth of secular illuminators; the inferiority of their work; cheap and coarsely illuminated _Horae_; manuscripts of the finest style; use of flowers and fruit in borders and initials; influence of the Italian Renaissance; the _Horae_ of Jehan Foucquet of Tours. CHAPTER X. Page 147 to 153. PRINTED BOOKS WITH PAINTED ILLUMINATIONS.