[105] The text of Heraclius is given not from the Le Bègue manuscript, but from one less perfect, formerly at Cambridge, but now in the British Museum, Egerton 840 A, in Raspe's work--"A Critical Essay on Oil-painting." London, 1781. [106] Muratori, "Antiq. Ital. Medii Ævi," p. 269. [107] The title he himself gives to his work illustrates its comprehensive character--"Theophili qui et Rugerus, Presbyteri et Monachi Libri III. de diversis Artibus, seu diversarum Artium Schedula." Translations, with excellent critical comments, have been made by the Count de l'Escalopier into French, and by Mr. Robert Hendrie into English. In the extracts here given I have followed the accurate text of the last-named gentleman. [108] I cannot take leave of this good old monk, the influence exercised by whose writings during the whole of the Middle Ages is proved by the numerous transcripts of them executed at different periods, still preserved in most of the chief European libraries, without giving him credit for a pure and liberal philanthropy worthy of imitation in all ages. Nothing can be more dignified and noble than the words in which he concludes the introduction to his work. After reciting the various arts he has endeavoured to illustrate, and the sufferings and labour through which the knowledge he desires to convey to others had been acquired by himself, he winds up by saying:-- "When you shall have re-read this often, and have committed it to your tenacious memory, you shall thus recompense me for this care of instruction, that, as often as you shall successfully have made use of my work, you pray for me for the pity of omnipotent God, who knows that I have written these things which are here arranged, neither through love of human approbation, nor through desire of temporal reward, nor have I stolen anything precious or rare through envious jealousy, nor have I kept back anything reserved for myself alone; but, in augmentation of the honour and glory of His name, I have consulted the progress and hastened to aid the necessities of many men." [109] It will be found given in extenso in the 32nd vol. of "The Archæologia," pp. 183-244, with an elaborate letter from its possessor. [110] There is some confusion about this word, for it is used to denote mixtures which would produce real rose-colour, light warm yellow, and a perfect drab. [111] That is, the mineral green with the vegetable madder. [112] A beautiful example may be found in Dan Lydgate's legends of St. Edmund and St. Fremund, MS. Harleian, 2278. [113] "Materials for a History of Oil-painting," by Charles Lock Eastlake (Lond. 1847), pp. 127, 128.