16 F. 2, which
contains a grand view of London, including the Tower, but this MS. is
probably not of genuine English production. Nor is Roy. 19 C. 8, though
a very interesting example as regards costume and local usages. The
genuine English work of which Arund. 109 is a type has received the name
of Lancastrian, as falling to the reigns of the three Lancastrian
kings--Henry IV., V., and VI.
In the reign of Edward IV. we meet with the introduction of Flemish
illumination, which gradually supersedes the native style, and by the
time of Henry VII. the latter has almost disappeared. Its final
extinction, however, was left for the sixteenth century, when either
Flemish or Italian renaissance work entirely took its place. By the time
of Queen Elizabeth English illumination was a thing of the past.
CHAPTER VI
ITALIAN ILLUMINATION
Barbaric character of Italian illumination in the twelfth
century--Ravenna and Pavia the earliest centres of revival--The
"Exultet"--La Cava and Monte Cassino--The writers of early Italian MSS.
not Italians--In the early fourteenth century the art is
French--Peculiarities of Italian foliages--The Law Books--Poems of
Convenevole da Prato, the tutor of Petrarch--Celebrated patrons--The
Laon Boethius--The Decretals, Institutes, etc.
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