Plates 8 and 9 reproduce miniatures from two manuscripts of the Latin Bible,--the first page of Genesis in each. The first is either English or Norman work, perhaps rather the latter than the former, and is interesting as affording one of the earliest examples of the border with leaves of the so-called ivy pattern. The writing is a beautiful early gothic of the transition period between the Carolingian round hand and the mediæval square gothic. It is unmistakably Norman, if not Anglo-Norman, but may have been English. If the reds in the tiny miniatures had been a little more pinkish, and the blue a little lighter, we should have had no hesitation in calling it English work. In plate 9, the writing is somewhat rounder and the ink is paler--showing that the work is neither English nor Norman; and we find in the minute pictures a style of design, both in the figures and the draperies, which reminds us of late classical art. The interlaced pattern in the lowest portion of the ornament is also a survival of the Celtic manner which might be found in Southern France, but which had ceased to be used in English work, except in the decoration of letters. On the plate, the picture is dated "1310-20"; but we may venture to think that it was executed in South-Eastern France about the year 1300. The design and the writing on plate 10 are thoroughly English of the end of the thirteenth century. The picture is unfinished, having been left by the artist in its sketch-condition, uncoloured. The faces are blank, and the drawing simply in outline; but the careful treatment of the folds in the drapery is remarkable. The miniature is one of several illustrating the Apocalypse, which were done in the convent at Eaton or Nun-Eaton in Warwickshire about 1280. The {88}Apocalypse is not given in its Latin summaries, as was usual, but in French quatrains of English origin. The volume which contains these drawings is interesting, as having been a sort of _omnium gatherum_, made up for the ladies of Eaton at the end of the thirteenth century. One of the pieces it contains is a Bestiaire by William the Trouvère, an Englishman of the twelfth century; a French poem called the Chastel d'Amours by Raymond Grosseteste; and a popular English poem of the time, of which another example has been lately published in facsimile in his "English Palæography" by the Rev. Walter W. Skeat.