( fl c. 1447–60). French illuminator. He is named after Guillaume Jouvenel des Ursins, Chancellor of France from 1447 to 1472 and patron of a copy of Giovanni Colonna’s compilation, the Mare historiarum (1447–55; Paris, Bib. N., MS. lat. 4915). This impressive manuscript contains significant work by the Jouvenel Master, but the differing styles of its illustrations indicate that a number of other artists were also involved. The manuscript has 730 miniatures, including 7 large-format paintings marking the beginning of each book, and represents one of the most ambitious programmes for the illustration of a history text ever undertaken at that time. The variety of artists at work was not recognized until relatively late, first by Schaefer and then more systematically by König (1982), who distinguished as many as 11 different hands. The illuminators’ methods of working manifestly developed as the project progressed: the first half of the manuscript reveals a close collaboration, with several painters working with the greatest care within a single gathering, but the last part was illustrated fairly hastily by a single illuminator from folio 290 onwards. No illustrated manuscript of the same text seems to have served as a model for Jouvenel’s copy, which raises the question of where the inspiration for this impressive cycle came from.

Part of the Masters, anonymous, and monogrammists family

• Jouvenel des Ursins, Master of
  • Masters, anonymous, and monogrammists, §I: Bedford Master, §2: Workshop style and practice
  • attributions
    • Delf, Coppin
  • patrons and collectors
    • Coëtivy, de
    • Jouvenel des Ursins
  • works
    • Bourbon, §I: (1) John II, Duke of
    • Masters, anonymous, and monogrammists, §I: Master of King René of Anjou, §1: Works