The French took the lead in the fourteenth century, especially during the second half. There was not much to choose in the writing of the time in any country, but it was best in Italy. It was in the dainty adornment of their illuminated MSS., and in the fine and delicate beauty of the pictorial designs, that the French school now assumed its place of pre-eminence. The Apocalypse was a favourite book in the first half of this century, as it had been in the twelfth, and artists delighted in drawing pictures of its strange visions. These pictures were seldom quite original in design, since the earliest delineations had acquired a sort of traditional authority, but they were sufficiently variant in {74}particulars to exhibit the strength of the artist. Diapered and chequered patterns came more prominently into fashion along with the older use of burnished gold, for backgrounds; and a great deal of excellent work was done. An example from a French Apocalypse is given on plate 13. In most cases, the picture was drawn with a fine brush and the colours delicately washed in afterwards. French artists attained to singular perfection in this dainty method of illustration, and nothing of the kind excels some of the superior specimens. Amongst them will be found a number of charming Books of Hours executed at Bourges, Tours, and Paris, for Charles V of France and his brothers. Whatever may be thought of the beautiful paintings in Flemish and Italian MSS. at the end of the fifteenth century, it is undeniable that the last thirty years of the fourteenth produced French work which will hold its own against the illumination of any period or of any country. It is curious as showing how little the warfare against Edward III had affected the progress of art in France. _The Fifteenth Century_