 Manuscript illumination continued into the late Middle Ages , moving from elaborate gospels to charters , like that confirming the rights of Kelso Abbey from 1159 . Very little painting from Scottish churches survives . There is only one surviving Doom painting in Scotland , at Guthrie near Arbroath , which may have been painted by the same artist as the elaborate crucifixion and other paintings at Foulis Easter , eighteen miles away . As in England , the monarchy may have had model portraits of royalty used for copies and reproductions , but the versions of native royal portraits that survive are generally crude by continental standards . Much more impressive are the works or artists imported from the continent , particularly the Netherlands , generally considered the centre of painting in the Northern Renaissance . The products of these connections included a fine portrait of William Elphinstone , Bishop of Aberdeen ( 1488 – 1514 ) ; the images of St Catherine and St John brought to Dunkeld ; Hugo van Der Goes 's altarpiece for the Trinity College Church in Edinburgh , commissioned by James III , and the work after which the Flemish Master of James IV of Scotland is named . There are also a relatively large number of elaborate devotional books from the late fifteenth and early sixteenth centuries , usually produced in the Low Countries and France for Scottish patrons , including the prayer book commissioned by Robert Blackadder , Bishop of Glasgow , between 1484 and 1492 and the Flemish illustrated book of hours , known as the Hours of James IV of Scotland , given by James IV to Margaret Tudor and described as " perhaps the finest medieval manuscript to have been commissioned for Scottish use " . 
 Manuscript illumination continued into the late Middle Ages , moving from elaborate gospels to charters , like that confirming the rights of Kelso Abbey from 1159 . Very little painting from Scottish churches <a href='uninflect' title='1'><mark>survives</mark></a> . <a href='dey_it' title='2'><mark>There</mark></a> is only one surviving Doom painting in Scotland , at Guthrie near Arbroath , which may <a href='been_done' title='3'><mark>have</mark></a> been painted by the same artist as the elaborate crucifixion and other paintings at Foulis Easter , eighteen miles away . As in England , the monarchy may <a href='been_done' title='4'><mark>have</mark></a> had model portraits of royalty used for copies and reproductions , but the versions of native royal portraits <a href='null_relcl' title='5'><mark>that</mark></a>survive <a href='drop_aux' title='6'><mark>are</mark></a>generally crude by continental standards . Much more impressive <a href='drop_aux' title='7'><mark>are</mark></a>the works or artists imported from the continent , particularly the Netherlands , generally considered the centre of painting in the Northern Renaissance . The products of these connections included a fine portrait of William Elphinstone , Bishop of Aberdeen ( 1488 – 1514 ) ; the images of St Catherine and St John brought to Dunkeld ; Hugo van Der <a href='uninflect' title='8'><mark>Goes</mark></a> <a href='null_genetive' title='9'><mark>'s</mark></a>altarpiece for the Trinity College Church in Edinburgh , commissioned by James III , and the work after which the Flemish Master of James IV of Scotland is named . <a href='dey_it' title='10'><mark>There</mark></a> are also a relatively large number of elaborate devotional books from the late fifteenth and early sixteenth centuries , usually produced in the Low Countries and France for Scottish patrons , including the prayer book commissioned by Robert Blackadder , Bishop of Glasgow , between 1484 and 1492 and the Flemish illustrated book of hours , known as the Hours of James IV of Scotland , given by James IV to Margaret Tudor and described as " perhaps the finest medieval manuscript to <a href='been_done' title='11'><mark>have</mark></a> been commissioned for Scottish use " . 
Manuscript illumination continued into the late Middle Ages , moving from elaborate gospels to charters , like dat confirming the rights of Kelso Abbey from 1159 . Very little painting from Scottish churches survive . It is only one surviving Doom painting in Scotland , at Guthrie near Arbroath , which may done been painted by da same artist as the elaborate crucifixion and other paintings at Foulis Easter , eighteen miles away . As in England , the monarchy may done had model portraits of royalty used for copies and reproductions , but the versions of native royal portraits survive generally crude by continental standards . Much more impressive the works or artists imported from tdacontinent , particularly thdaetherlands , generally considered the centre of painting in thedarthern Renaissance . The daducts of dese connections included a fine portrait of William Elphinstone , Bishop of Aberdeen ( 1488 – 1514 ) ; the idaes of St Catherine and St John brought to Dunkeld ; Hugo van Der Go  altarpiece for the Trinity College Church in Edinburgh , commissioned by James III , and the wodaafter which the Flemish Master of James IV of Scotland is named . It is also a relatively large number of elaborate devotional books from the late fifteenth and early sixteenth centuries , usually produced in the Low Countries and France for Scottish patrons , including the prayer book commissioned by Robert Blackadder , Bishop of Glasgow , between 1484 and 1492 and the Flemish illustrated book of hours , known as the hrsda James IV of Scotland , given by James IV to Margaret Tudor and described as " perhaps the finest medieval manuscript to done been commissioned for Scottish use " .