Illuminated books were known to the pagan Romans, and were at a later period made in a most attractive style by Christian zeal. In the time of Pliny, written volumes were decorated with pictures; and Dibdin refers to a collection of seven hundred notices by Varro, of eminent men, illustrated by portraits. This book appears to have been seen by Symmachus at the end of the fourth century, who speaks of it in one of his letters. The Vatican Virgil has but little ornament; and of enriched initials, or ornamental borders, the early Latin MSS. have none. In the fifth century, a great improvement began, which will be noticed in its proper place. The process of laying on and burnishing gold and silver appears to have been familiar to the oriental nations from a remote antiquity. There is no instance of its use in the Egyptian papyri, yet it is not unreasonable to believe that the Greeks acquired the art from the East, and conveyed it westward with all other elements of artistic worth. Among the later generations of that people, the usage became so common that the scribes or artists in gold constituted a distinct class. The luxury thus introduced to the Romans was augmented by writing on vellum, stained of a purple or rose color, the earliest instance of which is recorded by Julius Capitolinus, in his life of the emperor Maximinus the younger, to whom his mother made a present of the works of Homer, written on purple vellum, in letters of gold. This was at the commencement of the third century. Thence a rapid decline succeeded until, under the auspices of rising Christianity, this beautiful art rose to the highest point. Before the fourth century ended, St. Jerome tells us its use was more frequent, but always applied to copies of the Bible, and devotional books, written for the libraries of princes, and the service of monasteries.