Monastic scribes; the great beauty of their work, and the reasons for it; their quiet, monotonous life; examples of monastic humour; no long spells of work in a monastery; care in the preparation of pigments; variety of the schemes of decoration; the _scriptoria_ of Benedictine monasteries; their arrangement in one alley of the cloister; the row of _armaria_; the row of _carrels_; the _carrels_ in the Durham cloister described in _the Rites of Durham_; the scribes of other regular Orders. Secular scribes; the growth of the craft-guilds; the guilds of Bruges; their rules, and advantages to both buyer and seller; the production of cheap _Horae_; wealthy patrons who paid for costly manuscripts; women illuminators, such as the wife of Gérard David; the high estimation of fine manuscripts. Extract from the fourteenth century accounts of St George's at Windsor showing the cost of six manuscripts. Similar extract from the Parish books of St Ewen's at Bristol in the fifteenth century, giving the cost of a _Lectionary_. CHAPTER XIV. Page 224 to 238. THE MATERIALS AND TECHNICAL PROCESSES OF THE ILLUMINATOR. The vellum used by scribes, its cost and various qualities; paper made of cotton, of wool and of linen; the dates and places of its manufacture; its fine quality. The metals and pigments used in illuminated manuscripts; fluid gold and silver; leaf gold, silver and tin; the highly burnished gold; leaf beaten out of gold coins; the goldsmith's art practised by many great artists; the _mordant_ on which the gold leaf was laid; how it was applied; a slow, difficult process; laborious use of the burnisher; old receipts for the mordant: the _media_ or vehicles used with it; tooled and stamped patterns on the gold leaf; the use of tin instead of silver; a cheap method of applying gold described by Cennino Cennini. CHAPTER XV. Page 239 to 256. THE MATERIALS AND TECHNICAL PROCESSES OF THE ILLUMINATOR (_continued_).