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This and the previous lot provide a fascinating insight into the commercial production of Books of Hours in Paris at the end of the 15th century. The artists responsible for their illumination must have been working from exactly the same patterns and models since the miniatures are compositionally almost identical. Both manuscripts were painted by a follower or workshop of the celebrated Maitre François (fl. 1460-80), now generally accepted as identifiable with François Barbier père (see lot 22). An oeuvre of around fifty manuscripts has been reconstructed for the master through comparison to his single documented work from 1475: a two-volume La Cité de Dieu, Raoul de Presles’ vernacular translation of St Augustine (Paris, Bib. Sainte-Genevieve, ms. 246). The light, clear tones, especially in the landscape, the liberal use of gold strokes to highlight, the porcelain-like complexions of the female figures and the swarthiness of the male faces are all reflect the master’s individual style and execution.