1. Among books illustrated by one artist are Besançon, B.M. 863; B.R. Mss. 2 and 5; Cambrai, B.M. Ms. 682; Phillipps 1917; Geneva, B.M. Comites Latentes; London, B.L. Add. Mss. 15269, 21143, and Sloane 2433; Arsenal 5223; Paris, B.N. Mss. fr. 73, 2597, 2613, 2814, 6466-67, 17270, and 23140; Paris, Institut 324; Ste.-Gen, 783; Prague, Ms. 23 A 12; Reims, B.M. 1469; Switzerland, Private Collection; Toulouse, B.M. 512; and Vienna, ÖNB 2547 and 2564. I do not have enough information to classify Lyon 880.

2. By the libraires described by Rouse, "Parisian Book Trade," and the scribes and authors by Hindman, Épistre Othéa , 63-68.

3. Books in which artists worked independently include Ste.-Gen. 782; B.N. fr. 2615; B.N. fr. 10132; Castres, B.M.; Grenoble 407 Rés. (although two artists collaborated in one gathering and a new artist and scribe continued the manuscript in a second gathering); Valenciennes, B.M. 637 (although in one gathering one miniature was completed and a second executed by a later artist); B.N. 2604; W. 138; Guildhall 244; Oxford, Douce 217; Lyon continue

P.A. 30; Musée Condé 867; B.N. fr. 2606; B.N. fr. 2616-20; Mazarine 2028; B.R. 3; and B.R. 1.

Other manuscripts may belong in this first group. For instance, Royal 16 G VI, John the Good's Grandes Chroniques , contains 412 miniatures painted by at least six artists. Only once do two artists work in one gathering; Artist VI paints a bifolium in a gathering decorated by another artist. Similarly, Cotton Nero E II (a book from the early fifteenth century that contains the royal arms) contains only one gathering (no. 22) in which artists collaborated.

A third manuscript from this group may well belong in the other. The Virgil Master and a close follower collaborated on two gatherings in W. 139, a manuscript in which several different artists were at work. If the artist who collaborated with the Virgil Master (and emulated his style) was an assistant, they may have worked in the same shop.

4. The group of manuscripts in which artists collaborated on gatherings also includes B.N. fr. 20350, a late fourteenth-century manuscript whose arms suggest that it may have been royal, and B.N. fr. 20352-53, an early fifteenth-century book.

5. The artists of the highest caliber are published by Meiss, Boucicaut ; idem, Fourteenth Century ; Avril, Manuscript Painting ; and Paris, Grand Palais, Fastes du gothique . For discussion of some of the more summary styles, see Diamond, "Manufacture and Market."

6. On the Épistre Othéa in Cambridge, see Hindman, Épistre Othéa , 141-42.

7. For the Boucicaut Master, see Meiss, Boucicaut .

8. For the Egerton Workshop, see Meiss, Limbourg Brothers , 384-88.

9. On B.N. fr. 6465, see Avril, Gousset, and Guenée, Les Grandes Chroniques de France ; and Reynaud, Jean Fouquet , 60-64.

10. For Oxford, Douce 217, see O. Pächt and J. J. G. Alexander, Illustrated Manuscripts in the Bodleian Library Oxford (Oxford, 1966) 1:48; and for Jehan de Niziéres, see Boinet, Manuscrits à peintures , 122.

11. See Paris, Grand Palais, Fastes du gothique , 299-300 no. 247.

12. See Meiss, Fourteenth Century , 354; and idem, Limbourg Brothers , 368.

13. See Paris, Grand Palais, Fastes du gothique , 325-26 no. 247.

14. See Paris, Grand Palais, Fastes du gothique , 299.

15. See Meiss, Fourteenth Century , 356-57; and idem, Limbourg Brothers , 377-82.

16. See Avril, Manuscript Painting , 92-95.

17. See Avril, Manuscript Painting , 108-9.

18. See Meiss, Fourteenth Century , 358; and idem, Limbourg Brothers , 358-89.

19. See Avril's contribution in Roesner, ed., Paris, Bibliothèque Nationale MS fonds française 146 ; Smeyers and Cardon, "Brabant of Parijs?" and Chapter 4 of this text.

20. For the Luçon Master, see Meiss, Fourteenth Century , 358-59; and idem, Limbourg Brothers , 393-97.

21. See König, Französische Buchmalerei , 255; and John Plummer, Last Flowering , 19-20.

22. See Lacaze, Vie de Saint Denis , 237-39.

23. See François Avril, "Trois manuscrits Napolitains des collections de Charles V et de Jean de Berry," Bibliothèque de l'École des Chartes 127 (1969): 307-8; and Paris, Grand Palais, Fastes du gothique , 338-39 no. 294.

24. On the second artist of B.N. fr. 823, whom Avril suggests may be the illuminator Remiet, see Avril, "Trois manuscrits Napolitains."

25. On the Royal Master, see Udovitch, "The Papeleu Master," 172-73 and 247-48; and Diamond, "Manufacture and Market."

26. Branner, Manuscript Painting , 129, 236-38.

27. Meiss, Fourteenth Century , 359; and idem, Limbourg Brothers , 406-7.

28. Meiss, Fourteenth Century , 360; and idem, Limbourg Brothers , 408-12. break