- 1Chapter IX — Development of the Initial
- 2Chapter I — Introductory
- 3Chapter II — Vellum and Other Materials
- 4Chapter III — Writing
- 5Chapter IV — Greek and Roman Illumination
- 6Chapter V — Byzantine Illumination
- 7Chapter VI — Celtic Illumination
- 8Chapter VII — Celtic Illumination — Continued
- 9Chapter VIII — Semi-Barbaric Illumination
- 10Chapter IX — Development of the Initial
- 11Chapter X — First English Styles
- 12Chapter XI — Carolingian Illumination
- 13Chapter XII — Monastic Illumination
- 14Chapter XIII — Monastic Illumination — Continued
- 15Chapter XIV — Othonian Illumination
- 16Chapter XV — Franconian Illumination
- 17Chapter XVI — Artistic Education in the Cloister
- 18Chapter XVII — The Rise of Gothic Illumination
- 19Book II
- 20Chapter II — Rise of National Styles
- 21Chapter III — French Illumination From the Thirteenth Century to th…
- 22Chapter IV — English Illumination From the Tenth to the Fifteenth C…
- 23Chapter V — The Sources of English Fifteenth-Century Illumination
- 24Chapter VI — Italian Illumination
- 25Chapter VII — German Illumination From the Thirteenth to the Sixtee…
- 26Chapter VIII — Netherlandish Illumination
- 27Chapter IX — The French Renaissance
- 28Chapter X — Spanish and Portuguese Illumination
- 29Chapter XI — Illumination Since the Invention of Printing
- 30Manuscripts That May Be Consulted as Examples
- 31Bibliography
Illuminated Manuscripts
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