Abstract

This new nonexistence of the Très Riches Heures is, I would argue, crucial to the existence of its replications. It is essential for each numbered copy of the limited facsimile edition that the original manuscript not be available for all to see. Most art historians, no matter how "contextual" or theoretical, would still emphasize the necessity of looking at the objects they study with that oddly singular, egocentrically well-trained "eye"/I. Left, however, with only the piles of reproductions I am forced to ask myself and my students not what is the Très Riches Heures but what are the books, pamphlets, postcards, facsimiles, and the laser discs that scholars working on the manuscript at Chantilly are now shown instead of the original? The manuscript now has the status of one of those hypothetical "lost prototypes," beloved of scholars of manuscript illumination, that can only be seen refracted in its subsequent copies. Just as hypothesizing on the influence of early medieval "lost models" on existing works has always seemed to me a futile approach to medieval book painting, and preferring to view every manuscript as an object in its own right, I am not concerned with the lost and now forever invisible Très Riches Heures itself but rather with the power of its many reproductions. Michael Camille is associate professor of art history at the University of Chicago and the author of The Gothic Idol: Ideology and Image- Making in Medieval Art . He is working on a study of medieval marginal images entitled Image on the Edge