It is a fact that the Bohemian manner of illumination, with its three-lobed and vari-coloured foliages, became the fashion in every English centre of illumination. In the preceding remarks we have endeavoured to account for it. That the same style went from Prag to Nuremberg may be only the natural _result_ of its being carried in the marriage and retinue of the Princess Margaret, Anne's half-sister, who became the wife of the Burggrave John. Quite a similar MS. to those executed in the reign of Richard II. in England and those of Bohemia is the Wilhelm van Oransse of Wolfram v. Eschenbach, now in the Imperial Library at Vienna. A similar, but inferior, work exists in the Prayer-book written by Josse de Weronar in the British Museum (Add. 15690). The English foliages never show quite all the varieties of colour seen in the continental examples, but the golden diapers and pounced gold patterns are quite as elaborate. See this work, however, in Arundel 83. It appears also in the mural paintings of the end of the fourteenth and beginning of the fifteenth centuries. No doubt the English art of the fourteenth century is of French origin--so mainly is that of Bohemia--for Charles IV. was brought up at the Court of France. Further than this, we think we are justified in tracing the new elements in Bohemian to Italy, and those in English to Bohemia. The most striking proof is not only the foliages, but the change from the long, colourless faces of French miniatures to the plump and ruddy countenances seen, for example, in the Lancastrian MSS. in the Record Office and in Harl. 7026[39] of the British Museum. Of course, this suggestion of source is not put forward as a dead certainty, but it affords this probability that as the style suddenly arose during the lifetime of Anne of Bohemia--and she was the acknowledged leader of fashion--so her tastes in respect of illuminated books and heraldic decoration would become those of her new subjects. Let us examine this fifteenth-century English work, and for this purpose let us take the great illuminated Bible in the Royal Library, 1 E. 9. It is an enormous folio, and rather unwieldly, but a most interesting example of the new style. Its initials are large, richly illuminated in gold and attractive colours. It has well-executed histories within the initials, and boldly designed border frames, elegantly adorned with foliages and conventional or idealised flowers. Perhaps the most noticeable feature is the beautiful, decorative foliage work in the limbs of the letters--itself a South German peculiarity--then the alternation of colours without interrupting the design, the profusion of foliage modelling in the backgrounds of the letter panels outside the historiations. The next thing is the bold use of minium side by side even with pure rose-petal colour, pale bright cerulean blue, and bright gold. Lastly, the immense variety of leaf-forms, based on the three, five, and seven-lobed groupings of the typical form.