Continuing the survey of the several national styles, we shall have to witness the final supersession of the older styles of England and France by the later developments of Italy and Flanders. We left English illumination at the close of the 14th century strengthened by a fresh infusion of apparently a foreign, perhaps Bohemian, source. The style thus evolved marks a brilliant but short-lived epoch in English art. It is not confined to MSS., but appears also in the paintings of the time, as, for example, in the portrait of Richard II. in Westminster Abbey and in that in the Wilton triptych belonging to the earl of Pembroke. Delicate but brilliant colouring, gold worked in stippled patterns and a careful modelling of the human features are its characteristics. In MSS. also the decorative borders, of the new pattern already described, are of exceptional richness. Brilliant examples of the style, probably executed for Richard himself, may be seen in a magnificent Bible (Royal MS. 1, E. ix.), and in a series of cuttings from a missal (Add. MS. 29,704-29,705) in the British Museum. But the promise of this new school was not to be fulfilled. The same style of border decoration was carried into the 15th century, and good examples are found down to the middle of it, but a general deterioration soon sets in. Two MSS. must, however, be specially mentioned as surviving instances of the fine type of work which could still be turned out early in the century; and, curiously, they are both the productions of one and the same illuminator, the Dominican, John Siferwas. The first is a fragmentary Lectionary (Brit. Mus., Harl. MS., 7026) executed for John, Lord Lovel of Tichmersh, who died in 1408; the other is the famous Sherborne Missal, the property of the duke of Northumberland, a large volume completed about the same time for the Benedictine abbey of Sherborne in Dorsetshire. Certainly other MSS. of equal excellence must have existed; but they have now perished. After the middle of the 15th century English illumination may be said to have ceased, for the native style disappears before foreign imported art. This failure is sufficiently accounted for by the political state of the country and the distractions of the War of the Roses.