The miniatures are believed to have been painted by a local artist and were done around 1407 in Split, as contemporary events and scenery have been incorporated into the illustrations. Amidst the biblical scenes and allegories are two full-sheet paintings with a non-religious subject – the Duke himself as a chivalric knight on horseback, and his coat of arms. Hrvoje's Missal is an important document both for the Glagolithic script and for the introduction of portraiture into what is essentially a religious book. Renaissance The Renaissance period of art and architecture in Croatia can be said to begin in 1441, when Juraj Dalmatinac was contracted to work on Šibenik Cathedral, and continued to the end of the 16th century. At the time, much of the Croatian coast was administered by the Venetian Republic, and there was a thriving interchange of ideas and skills between Italy and the eastern Adriatic, particularly Dalmatia. As the interior of Croatia came under Austrian Hapsburg rule, and increasingly suffered invasion by the Ottomans, the focus was more on fortifications, less on artwork. Under these circumstances, the Italian Renaissance only flourished in coastal Croatia with significant new religious and public architecture in Dalmatia clearly influenced by the new style, but in an original way. Three important works from that period contributed to further development of the Renaissance: Šibenik Cathedral, the Chapel of Blessed John in Trogir Cathedral, and Sorkočević's villa in Dubrovnik. As Juraj Dalmatinac took over responsibility for the building of Šibenik Cathedral, among his first works was in the baptistry, where he introduced elements inspired by Brunelleschi and Donatello. The soft modelling on the carved figures and the flowing movement are clearly Renaissance, as are the proportions of the baptistry itself. The reliefs on the ceiling show God the Father with a very Renaissance laurel wreath, surrounded by angels and seraphim, and an infant being baptized by a priest. This substitution of human figures in place of Christ and John the Baptist in the Jordan is a reflection of the new humanist trend. These elements are creatively combined with Gothic features for a harmonious overall effect. As mentioned in the previous section, Juraj Dalmatinac is considered a master of blending Gothic with Renaissance. His successors on the Šibenik project were Andrija Aleši, one of his students, and Nikola Firentinac, who was responsible for completing the cathedral according to Juraj’s original plans. In 1468, construction