 <unk> illumination continued into the late Middle Ages , moving from elaborate <unk> to charters , like that confirming the rights of <unk> Abbey from <unk> . Very little painting from Scottish churches survives . There is only one surviving Doom painting in Scotland , at Guthrie near <unk> , which may have been painted by the same artist as the elaborate <unk> and other paintings at <unk> 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 <unk> , Bishop of Aberdeen ( <unk> – 1514 ) ; the images of St Catherine and St John brought to <unk> ; 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 <unk> , Bishop of Glasgow , between <unk> and <unk> and the Flemish illustrated book of hours , known as the <unk> 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 " . 
