{70}Special German saints are Gotthard, Lambert (not always), Adelbert, Bernward, Sebald, Swibert, Cunegund, Hermenegild, Willibald, Kilian, Hedwig, Wolfgang, Irmin. Among the saints of the Spanish calendar are Isidore, Ildefonsus, Eulalia, Raimund, Leocadia, Gumersind, Baldomer, Leander, Braulio, Turibius, Quiteria, Froilan. There is sometimes a curious coincidence between the Spanish and the German calendars. The Spanish coincidences with the calendar of Southern France are more easily to be accounted for. The Italian saints are always those of the Roman calendar, but St. Zenobio is seldom found outside of Tuscany. SS. Bernardinus of Siena and Nicolas of Tolentinum are Italian saints of the fifteenth century more frequently found in Italian calendars (after 1450) than in calendars of other countries. In the case of the latter two, their names are sometimes useful in fixing a limit for the age of a book, because MSS. of the time of their canonisation are numerous. The dates of beatification of some earlier saints such as Thomas Becket, Francis, Dominic, and King Louis, are also occasionally of service; but as a rule the names of the saints in the calendars are far older than the thirteenth century. _The Fourteenth Century in Italy and Germany_ To go back to the fourteenth century. In Italy the broken Lombard had given way to the general adoption of the modern gothic. Some excellent decorative work began to appear in the borders and miniatures of MSS. executed in Northern and Central Italy. As a rule in the earlier times, Italian miniatures were rude in drawing, and barbaric in colour like German and Spanish work; but in the thirteenth century a distinct Italian type arose, based at first on imitation of the semi-Byzantine art of Calabria and Sicily; but soon growing more national under the influence of Giotto. There is no resemblance in style or manner between the miniatures and borders of Italian artists, and {71}those of Northern Europe. The figures and faces are painted with opaque colour, and a broad brush; giving altogether a stronger impression of representing real men and women, than the exquisite drawing of the French artists, in which faces were washed with colour after having had the features drawn in with a pen or a fine brush. (Plate 12 shows the style of illustration used at Venice in the first half of the fourteenth century, in which there is a curious combination of French-like calligraphy with the painty miniatures of the home school of art.) There was in fact more of _modelling_ in the Italian illuminator's work in its purely national stage from about 1350 to 1450. After the later date a more subtle and minute delicacy in the drawing altered the character of the pictorial work. The borders which prevailed during 1320 to 1420 are also quite different from French work. Broad foliage of architectonic pattern hangs in soft tints of red and blue from a long upright slender pole like