Speaking of fourteenth-century illumination brings us to notice a very striking change which takes place in the reign of Richard II. in the character of English illumination. In the British Museum (Roy. 20 B. 6) is a MS. entitled an Epistle to Richard II., written, it is said, in Paris, in which the illuminations and foliages are purely French, but which are the type of all the English work of the same date. Take, for example, the MS. already spoken of (Roy. 2 A. 22), produced in the scriptorium at Westminster Abbey. Compare with it a Bible written for the use of Salisbury, and dated 1254. Then add the Tenison Psalter, the Arundel Psalter, illuminated 1310-20. If these MSS. be compared, however, with Lansd. 451, or Roy. 1 E. 9, the least accustomed eye must notice the entire and almost startling change in the luxuriance and character of the flowers and foliages which constitute the initial and border decorations. It is not merely a development. There are additional features, but that these features are added, as usual, from France, is contradicted by reference to Roy. 20 B. 6, mentioned above. The new features are not French. The question is, where did they come from? CHAPTER V THE SOURCES OF ENGLISH FIFTEENTH-CENTURY ILLUMINATION Attributed to the Netherlands--Not altogether French--The home of Anne of Bohemia, Richard II.'s queen--Court of Charles IV. at Prag--Bohemian Art--John of Luxembourg, King of Bohemia--The Golden Bull of Charles IV.--Marriage of Richard II.--The transformation of English work owing to this marriage and the arrival of Bohemian artists in England--Influence of Queen Anne on English Art and Literature--Depression caused by her death--Examination of Roy. MS. 1 E. 9, and 2 A. 18--The Grandison Hours--Other MSS.--Introduction of Flemish work by Edward IV.