Cotton Caligula A V, f. 37

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Jean Pichore (fl. c. 1500-1520) was active in Paris, although Cardinal Georges d’Amboise, archbishop of Rouen, was one of his major clients. Therefore, his style had been mistakenly referred to as ‘School of Rouen’. Pichore is documented as having worked on two manuscripts, the first volume of Augustine’s De civitate Dei of c. 1501/03 (Paris, Bibliothèque nationale de France, lat. 2070) and the Chants royaux for Louise of Savoy of 1517 (Paris, Bibliothèque nationale de France, fr. 145). Pichore managed a large family enterprise that was responsible for the illumination of a great number of classical, secular, and theological texts. He also played an important role in the market for printed books by providing Renaissance designs, replacing the Gothic designs by the Master of the Apocalypse Rose of the Sainte-Chapelle. The Master of Morgan 85 is named after the shelf mark of a book of hours in the Pierpont Morgan Library in New York; he is also called the Flavius Josephus Master from a copy of that author’s Antiquitates Judaicae in Paris (Bibliothèque Mazarine, ms. 1581). He has until recently been thought of as the chief associate of Jean Pichore, but his hand is now identified as the master’s own. The Master of Petrarch’s Triumphs, named after a translated copy of Petrarch’s Trionfi (Paris, Bibliothèque nationale de France, fr. 594), is closely related in style to Pichore’s work; these two stylistically close hands have been tentatively merged. However, it seems that he is a distinct personality working independently of Pichore. Characteristic of Pichore and the artists working in his style are heavy figures clothed in voluminous drapery and watercolour-like, transparent landscapes.  
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