The second artist demonstrates a more radical break from the classical tradition in the remaining miniatures. All of these miniatures are framed in red and gold. The artist seems to have no real understanding of the portrayal of the human body, and is incapable of handling a contorted pose, such as is seen on folio 100 verso, where a reclining figure is portrayed in an utterly unconvincing manner. Faces are no longer portrayed in three quarter position but are either frontal or full profile. The clothing no longer drapes naturally but is instead reduced to rhythmic curving lines. The page is often divided into separate compartments (See, for example, Folio 108r). When a landscape is depicted there is no attempt to depict a three-dimensional space. There is no ground line and items are spread evenly over the field. Care is taken so that items do not overlap each other. The effect is remarkably similar to some Roman floor mosaics, which may have served as inspiration (see folios 44 verso and 45 recto. The second artist was a fine artist. However, his interests were in patterns and lines rather than in the naturalistic portrayal of space and the human form.