In the latter part of the thirteenth century we note a complete differentiation between the work of the countries of Europe. There are now three great schools: the French-Flemish-English, the Italian, and the German. Of these the first is of the most, the last of the least, importance. As to the relations between England and France, it must be said that, though there is a difference between them, it is somewhat subtle, and may be put thus: of some books you may say, This is French; of others, This is English; but of the greater part you can say nothing more than, This belongs to the French-English school. Of those that can be differentiated with something like certainty, it may be said that the French excel specially in a dainty and orderly elegance, the English specially in love of life and nature, and there is more of rude humour in them than in their French contemporaries; but he must be at once a fastidious and an absolute man who could say the French is better than the English or the English than the French. The Norwich Psalter, in the Bodleian Library; the Arundel, Queen Mary's, and Tennison Psalters, in the British Museum, are among the finest of these English books: nothing can surpass their fertility of invention, splendour of execution, and beauty of colour. This end of the thirteenth century went on producing splendid psalters at a great rate; but between 1260 and 1300 or 1320 the greatest industry of the scribe was exercised in the writing of Bibles, especially pocket volumes. These last, it is clear, were produced in enormous quantities, for in spite of the ravages of time many thousands of them still exist. They are, one and all, beautifully written in hands necessarily very minute, and mostly very prettily illuminated with tiny figure-subjects in the initials of each book. For a short period at the end of this and the beginning of the next century many copies of the Apocalypse were produced, illustrated copiously with pictures, which give us examples of serious Gothic designs at its best, and seem to show us what wall-pictures of the period might have been in the North of Europe.