ABSTRACT
Historians have long underscored the complex artistic relationship between late medieval BriĴany and its neighbors in western France, pointing to such influential illuminators as Jean Fouquet, the Jouvenel Master, and the Master of the Hours of Marguerite d’Orléans.1 The interpretative shape and slant of modern historiography on the origins, apprenticeship, and movements of these illuminators have succeeded in raising BriĴany’s profile among centers of manuscript production in medieval France. While historians aĴribute many illuminated manuscripts to Breton artists, archival documents, as we discussed in Chapter 1, identify very few illuminators working in the late medieval duchy, and none of these illuminators has been associated with a surviving manuscript. Rather, we encounter a corpus of anonymous masters, named aĞer manuscripts’ current shelf marks or aĞer early owners.
