fr. 875), and others.
By no means of less importance we may cite the beautiful volume
belonging to the late Comte d'Haussonville, now in the Mus?e Cond? at
Chantilly, called the "Heures du Conn?table Anne de Montmorency," and
the "Heures de Dinteville" (MS. Lat. 10558), the decoration of which is
quite on a par with the "Heures de Montmorency," or those of Henry II.,
also the Psalter of Claude Gouffier (Arsenal Lib., 5095), containing the
Psalms of Marot.
It is scarcely worth while to carry the subject further. What is done
later than Francis II. does not grow finer or better: it only becomes
more overloaded with ornament, too much gold, too much richness. Even
foliages are often variegated like pearls, or change gradually from
colour to colour on the same sweep of acanthus as in a MS. in the
British Museum attributed to Pierre Mignard ("Sol Gallicus," Add.
23745). Compare also the "Heures de Louis XIV." Now and then an
exceptional work, like that of D'Eaubonne at Rouen, belongs to no
particular school.
CHAPTER X
SPANISH AND PORTUGUESE ILLUMINATION
Late period of Spanish illumination--Isidore of Seville--Archives at
Madrid--Barcelona--Toledo--Madrid--Choir-books of the Escorial--Philip
II.--Illuminators of the choir-books--The size and beauty of the
volumes--Fray Andr?s de Leon and other artists--Italian
influence--Giovanni Battista Scorza of Genoa--Antonio de Holanda,
well-known Portuguese miniaturist in sixteenth century--His son
Francesco--The choir-books at Belem--French invasion--Missal of
Gon?alvez--Sandoval Genealogies--Portuguese Genealogies in British
Museum--The Stowe Missal of John III.
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