( fl 1470–90). French painter. He is named after a Trinity in Turin (Mus. Civ. A. Ant.), a monumental panel (1.72*0.82 m) that shows Christ lying across the knees of God, who supports him with both hands. Several panels have been grouped around this work: a Presentation in the Temple (Greenville, SC, Bob Jones U. Gal. Sacred A.), a Death of the Virgin (Turin, Balbo Bertone priv. col.), a Female Donor Presented by St Anthony (Switzerland, priv. col.) and a Female Donor Presented by St John the Baptist (Switzerland, priv. col.), while a Nativity (Antwerp, Mus. Mayer van den Bergh) is attributed variously to the Master, to a disciple or to the workshop. The Master’s origins are unclear: he may have been a Provençal painter (Castelnuovo) or a French artist with a Burgundian background (Sterling). The source for the unusual iconography of the Trinity has been traced to a miniature in the Hours of Saluces (1460–70; London, BL, Add. MS. 27697, fol. 175), one of the finest and most innovative manuscripts of the period, made for a female member of the House of Saluces. It has been suggested that both works are by the same artist (Avril; Romano). On this basis, a possible identification has been proposed of Antoine de Lonhy ( fl 1460–62), an artist documented in Barcelona, Toulouse and Avigliana, near Turin, who undertook both miniature and large-scale work.

Part of the Masters, anonymous, and monogrammists family