ABSTRACT
Much can be learned about the working methods of scribes and artists when they leave their product unfinished.2 Paris 54 was intended to be a deluxe, bilingual manuscript featuring full-page evangelist portraits and an extensive narrative cycle of some 51 miniatures. In the end, only about half of its Latin text and 22 narrative miniatures were actually completed. Five other miniatures remain unfinished, and space was reserved in the text for 25 additional miniatures that were never even begun.3 No ornamental headpieces were painted (although space was reserved for them by the scribe) and the Latin text lacks many initials.4 These unfinished aspects offer insight into the working methods of Paris 54’s scribes and artists, and they allow us to recognize some degree of interaction between members of these two groups.5
