Fig. 14 shows a miniature from a manuscript of the _Gospels_ in the Paris library representing King Lothair enthroned between two guards. This manuscript was written about the year 845 in the monastery of St Martin at Metz. In this picture a strong classical influence is apparent; the illuminator must have been familiar with manuscripts written in Rome or elsewhere in Italy. _Celtic influence._ Some of the finest manuscripts of this period show a strongly marked Northern influence, imitated from the old Celtic illuminations of Ireland and Lindisfarne. Less gold is used in this class of manuscripts; and the intricate interlaced patterns of the Celtic monks are used with much skill and great beauty of effect. The figures of Christ and the Evangelists are sometimes hardly human in form, but are worked up into a kind of conventional scroll-pattern, just as they are in the older Celtic illuminations. The Paris library possesses two manuscripts of the _Gospels_, which are good examples of this revived Celtic style (_Bibl. Nat. Lat._ Nos. 257 and 8849). The borders and initial letters in these manuscripts are remarkable for their intricate delicacy of design, and for their rich colour, tastefully arranged; while the figure drawing is of the purely ornamental scroll type. [Illustration: Fig. 14. King Lothair enthroned; a miniature from a manuscript of about the year 845 A.D.] _Classical school of St Gall._ In the ninth century the Benedictine monastery of St Gallen in Switzerland, which had formerly produced manuscripts of a purely Celtic type, now developed a very strange school of miniature art[52]. The pictures in these St Gallen manuscripts have figure subjects drawn in outline and then faintly coloured with transparent washes, very like the Anglo-Saxon (classical) style of illumination during the ninth and tenth centuries. These rather weak drawings, which have but little decorative value, show the influence of the Roman school of illuminators, who still mainly adhered to the old debased form of classical art, modified by some observation and even careful study of the actual life and movement which the painters saw around them. In this curious class of manuscripts, though the figure subjects are devoid of much vigour and artistic force, yet the decorative details of the initials and borders are extremely fine, full of invention and delicacy of detail. Fig. 15 shows a pen drawing from a St Gallen manuscript of the ninth century, the magnificent _Psalterium aureum_[53]; it represents David going forth to battle. _Studies from life._