gious art as it had been practised in the middle ages and in monastic centres. The break was so complete that painting before and after seem entirely different thing, in subject, style and medium. The local centres of culture having vanished, the tendency of painting to be centralized in London and in the service of the court was affirmed. Secular patronage now insisted on portraiture, and the habit grew up of useng foreign painters--an artificial replacement of the old, international interchange of artists and craftsmen. Yet the sixteenth century was the age of Humanism which had created a ne