the Greek manuscripts, with "a linear style which not only flattens the figure, but begins to develop a rhythmic quality in the linear design which must be seen as the beginning of a process of intentional abstraction". For another historian, the figures in the small scenes have "a linear form which we immediately perceive to be medieval" and "are no longer paintings, but tinted drawings. The same tendency is exhibited in the treatment of the architecture and ornament; the naturalistic polychrome accessories of a manuscript like the Vienna Dioscorides are flattened and attenuated into a calligraphic pattern." The subject of the influence of the miniatures on later Anglo-Saxon art has often been raised, though in view of most of the presumed picture pages of this manuscript now being lost, and the lack of knowledge as to what other models were available to form the Continental post-classical aspects of the Insular style that developed from the 7th century onwards (with Canterbury as a major centre), all comments by art historians have necessarily been speculative. It is clear from the variety of styles of evangelist portraits found in early Insular manuscripts, echoing examples known from the Continent, that other models were available, and there is a record of an illuminated and imported Bible of St Gregory at Canterbury in the 7th century. Later works mentioned as probably influenced by the Augustine Gospels include the Stockholm Codex Aureus and the St Gall Gospel Book. In general, though evangelist portraits became a common feature of Insular and Anglo-Saxon Gospel books, the large number of small scenes in the Augustine Gospels were not seen again until much later works like the Eadwine Psalter, made in the 12th century in Canterbury, which has prefatory pages with small narrative images in grids in a similar style to the Augustine Gospels. Evangelist portrait of Luke Of the four portrait pages, only that for Luke survives (Folio 129v). He is shown sitting on a marble throne, with a cushion, in an elaborate architectural setting, probably based on the scaenae frons of a Roman theatre - a common convention for Late Antique miniatures, coins and Imperial portraiture. The pose with the chin resting on a hand suggests an origin in classical author portraits of philosophers - more often evangelists are shown writing. Above a cornice sits the winged ox, Luke's evangelist's symbol. The pediment has an inscription with a hexameter