29-06-2026, 09:57 PM
More than those manuscripts that belonged to the Duke of Berry, there is the broader criterion that the sources were all produced in Paris within relevant dating, thus connecting to the book manufacturers, artists and scribes of the city.
BNF Fr. 565, which IMO is one of the anchors of VMs artistic investigation, was produced c. 1410, and belonged to the duke only till his death in 1416. It then went to his daughter, Marie, Duchess of Auvergne, (d. 1434). Books take on a life of their own, but the number of Parisian sources is a potentially significant cluster, suggesting access before the books went their separate ways.
The VMs illustrator would certainly seem to have crossed paths with the information that we now see preserved in certain texts associated with the Duke of Berry, but also potential influences from the Book of the Queen could indicate ties to the French Queen, Isabeau of Bavaria (m. 1385, d. 1435), and other persons in her circle, who might have brought in a variety of your "counterintuitive" influences. Her mother was a Visconti.
BNF Fr. 565, which IMO is one of the anchors of VMs artistic investigation, was produced c. 1410, and belonged to the duke only till his death in 1416. It then went to his daughter, Marie, Duchess of Auvergne, (d. 1434). Books take on a life of their own, but the number of Parisian sources is a potentially significant cluster, suggesting access before the books went their separate ways.
The VMs illustrator would certainly seem to have crossed paths with the information that we now see preserved in certain texts associated with the Duke of Berry, but also potential influences from the Book of the Queen could indicate ties to the French Queen, Isabeau of Bavaria (m. 1385, d. 1435), and other persons in her circle, who might have brought in a variety of your "counterintuitive" influences. Her mother was a Visconti.
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