Another superb addition to the growing art library under the Phaidon Press imprint, distributed by Oxford. While much of the painting associated with this period of French art is controversial in source, identity and derivatives, the editor of this volume has in his introduction given the layman a sound basis of judgment and understanding. His position is that French art has indigenous roots, was not the outgrowth of Quattrocento Italy and Flanders or of the artists and craftsmen of the court in Avignon, but had assimilated something from other countries, made them her own, and imposed these contributions on the heritage of French medieval art, particularly sculpture. He discusses the work of the artists he has chosen, many of them known by such anonymous titles as The Rohan Master, Maitre d'Alx, the Rene Master, Maitre de S. Giles, Maitre de Moulins, as well as the more familiar cognomens, Fouquet, Charonton, Marmion, and he places them against the civilization of their times, the courts of Charles VII, of the Bourbons, the historical and social environment. In the main, the paintings here reproduced are easel paintings, and in other instances they are identified as miniatures, murals, book illumination, etc. Brief space is given to the patrons and sitters, and bits of biographical data. Data of interest to the specialist is included in the catalogue notes.