I am not ignoring the possibility of a certain division of labour in the illuminated MS. The work of the scribe, the illuminator, and the miniaturist are distinct enough, while equally important to the result. Mr. J. W. Bradley, who has compiled a Dictionary of Miniaturists, speaking of calligrapher, illuminator, and miniaturist, says:--"Each of these occupations is at times conjoined with either or both of the others," and when that is so, in giving the craftsman his title, he decides by the period of his work. For instance, from the seventh to the tenth centuries he would call him calligrapher; eleventh to fifteenth centuries, illuminator; fifteenth to sixteenth centuries, miniaturist. Transcription he puts in another category as the work of the copyist scribe. But whatever division of labour there may or may not have been, there was no division in the harmony and unity of the effect. If in some cases the more purely ornamental parts, such as the floral borders and initials, were the work of one artist, the text of another, and the miniatures of another, all I can say is, that each worked together as brethren in unity, contributing to the beauty of a harmonious and organic whole; and if such division of labour can be ascertained to have been a fact, it goes to prove the importance of some co-operation in a work of art, and its magnificent possibilities. The illuminated MS. books have this great distinction and advantage in respect of harmony of text and decoration, the text of the calligrapher always harmonizing with the designs of the illuminator, it being in like manner all through the Middle Ages a thing of growth and development, acquiring new characteristics and undergoing processes of transformation less obvious perhaps, but not less actual, than the changes in the style and characters of the devices and inventions which accompanied it. The mere fact that every part of the work was due to the hand, that manual skill and dexterity alone has produced the whole, gives a distinction and a character to these MS. books which no press could possibly rival. The difficulty which besets the modern book decorator, illustrator, or designer of printers' ornaments, of getting type which will harmonize properly with his designs, did not exist with the mediæval illuminator, who must always have been sure of balancing his designs by a body of text not only beautiful in the form of its individual letters, but beautiful and rich in the effect of its mass on the page, which was only enhanced when the initials were relieved with colour on gold, or beautiful pen work which grew out of them like the mistletoe from the solid oak stem.