[Illustration: Plate XIII.--English (2nd half) Thirteenth-century Writing and Illumination (Latin Bible). Ex. Libris S. C. Cockerell.]
[Illustration: Plate XIV.--Thirteenth-century Line-finishings: Penwork. (Psalter). Brit. Museum, Royal MS. 1, D.X.]
[Illustration: Plate XV.--English Writing and Illumination, _circa_ 1284 A.D. (Psalter). Brit. Museum, Addl. MS. 24686.]
[Illustration: Plate XVI.--Italian Fourteenth-century MS., Brit. Mus., Addl. MS. 28841.]
[Illustration: Plate XVII.--French Fifteenth-century Writing, with Illuminated Borders. Ex. Libris E. Johnston.]
[Illustration: Plate XVIII.--Italian Fifteenth-century Writing and Illumination (Perotti's translation of Polybius). Ex libris H. Yates-Thompson.]
[Illustration: Plate XIX.--Italian MS. dated 1481. Ex libris S. C. Cockerell.]
[Illustration: Plate XX.--One page of an Italian (late) Fifteenth-century MS. Ex. libris S. C. Cockerell.]
[Illustration: Plate XXI.--Italian (early) Sixteenth-century "cursive" or "Italic" MS. Ex. libris S. C. Cockerell. (See enlargement, fig. 178.)]
[Illustration: Plate XXII.--"Communion Service" written and illuminated by E. Johnston, 1902 A.D. ("Office Book," Holy Trinity Church, Hastings). Reduced (nearly 3/4 scale).]
[Illustration: Plate XXIII.--The story of Aucassin and Nicolette, written and illuminated by W. H. Cowlishaw, 1898 A.D.]
[Illustration: Plate XXIV.--Inscription cut in Stone by A. E. R. Gill, 1903 A.D. Reduced (3/16 scale). _Note._--To view these incised letters have the light on the left of the plate (_or cover with thin tissue paper_).]
THE INITIAL A, its frame, the frame of the border, and the "furred" _berries_ (@) are all in burnished gold, outlined black. The "white vine pattern" is rather simpler, and has a rather thicker stalk (in proportion) than that in the previous plate (see above). Its treatment is very similar, but it may be noted that the border is in this case attached to the Initial, and the pattern has almost an appearance of springing from the Initial. The pattern--save one escaped leaf--is straitly confined, by gold bars, throughout the length of the text, but at the ends it is branched out and beautifully flourished in the free margins above and below. These terminals of the pattern having a broad blue outline (dotted white) may be said to carry their background with them.