Development towards the modern methods of painting moves on rapidly with the century. First, the border in the middle period grows florid; the simpler ivy-spray design, which had held its position so long, is gradually pushed away by a growth of flowering scrolls, with flowers, birds and animal and insect life introduced in more or less profusion. But henceforward deterioration increases, and the border becomes subsidiary. In the case of miniatures following the old patterns of the devotional and liturgical books, a certain restraint still prevails; but with those in other works, histories and romances and general literature, where the paintings are devised by the fancy of the artist, the advance is rapid. The recognition of the natural landscape, the perception of atmospheric effects now guide the artist's brush, and the modern French school of the second half of the 15th century is fairly established. The most celebrated leaders of this school were Jean Foucquet of Tours and his sons, many of whose works still bear witness to their skill. In the MSS. of this school the influence of the Flemish contemporary art is very obvious; and before the advance of that art French illumination receded. A certain hardness of surface and want of depth characterize the French work of this time, as well as the practice of employing gilt hatching to obtain the high lights. This practice is carried to excess in the latest examples of French illumination in the early part of the 16th century, when the art became mechanical and overloaded with ornament, and thus expired.