First we have to consider northern France and the Low Countries. As it passes out of the 14th and enters the 15th century, the miniature of both schools begins to exhibit greater freedom in composition; and there is a further tendency to aim rather at general effect by the coloring than neatness in drawing. This was encouraged by the wider field opened to the miniaturist. Books of all kinds were illustrated, and sacred books, Bibles and Psalters and liturgical books, were no longer the chief, if not the only, manuscripts which were illuminated. And yet there was one class of manuscript which came into the greatest prominence and which was at the same time liturgical. This was the "Horae", or Book of Hours, devotional books for individual use, which were multiplied in vast numbers and contained some of the finest work of the miniaturists. The decoration of these little volumes escaped in great measure from the conventional restraints which their religious character might have imposed. Furthermore, the demand for illuminated manuscripts had by this time established a regular trade; and their production was not confined, as formerly, to the cloister. Notable secular illuminated manuscript artists include Master Honoré of the Parisian school.