The last, and by much the most splendid illumination, is that for which the artists of the middle age, and especially the old illuminators, seem to have reserved all their powers, and upon which they lavished all their stock of gold, ultramarine, and carmine.  You will readily anticipate that I am about to add—­the Assumption of the Virgin.  One’s memory is generally fallacious in these matters; but of all the exquisite, and of all the minute, elaborate, and dazzling works of art, of the illuminatory kind, I am quite sure that I have not seen any thing which exceeds this.  To equal it—­there may be some few:  but its superior, (of its own particular class of subject) I think it would be very difficult to discover.

HORAE BEATAE MARIAE VIRGINIS.  This may be called either a large thick octavo, or a very small folio.  Probably it was originally more decidedly of the latter kind.  It is bound in fish skin; and a ms. note prefixed thus informs us. “Manuscrit aqui du C^{en} Papillon au commencement du mois de Frimaire de lan XII. de la Republique." This is without doubt among the most superb and beautiful books, of its class, in the Royal Library.  The title is ornamented in an unusual but splendid manner.  Some of the larger illuminations are elaborately executed; especially the first—­representing the Annunciation.  The robe of the Angel, kneeling, is studded with small pearls, finished with the minutest touches.  The character of ART, generally throughout, is that of the time and manner of the volume last described:  but the present is very frequently inferior in merit to what may be observed in the Bedford Breviary.  In regard to the number of decorations, this volume must also be considered as less interesting:  but it possesses some very striking and very brilliant performances.  Thus, St. Michael and the Devil is absolutely in a blaze of splendor; while the illumination on the reverse of the same leaf is not less remarkable for a different effect.  A quiet, soft tone—­from a profusion of tender touches of a grey tint, in the architectural parts of the ornaments—­struck me as among the most pleasing specimens of the kind I had ever seen.  The latter and larger illuminations have occasionally great power of effect, from their splendid style of execution—­especially that in which the central compartment is occupied by St. George and the Dragon.  Some of the smaller illuminations, in which an Angel is shewing the cruelties about to be inflicted on the wicked, by demons, are terrific little bits!  As for the vellum, it is “de toute beaute.”

HISTORIA BEATAE MARIAE VIRGINIS.  Folio.  This is briefly described in the printed catalogue, under number 6811.  It is a large and splendid folio, in a very fine state of preservation; but of which the art is, upon the whole, of the ordinary and secondary class of merit.  Yet it is doubtless a volume of great interest and curiosity.  Even to English feelings, it will be gratifying to observe in it the portrait of Louisa of Savoy, mother of Francis I. That illustrious lady is sitting in a chair, surrounded by her attendants; and is in all probability a copy from the life.  The performance is a metrical composition, in stanzas of eleven verses.  I select the opening lines, because they relate immediately to the portrait in question.