Page - 115 - in Europäische Bild- und Buchkultur im 13. Jahrhundert

115 EncountErs in Books from the scribe of the Brussels Apparatus? Or was there some form of longer-term cooperation between the northern French illuminator and these Breton scribes – perhaps with the project as a whole under the management of the scribes – a phe- nomenon that has already been identified in Bolognese manuscript production?46 If this seems perfectly plausible, then the question can only be answered with greater certainty by consulting further related material – although, even then, we remain more likely to uncover a broader spectrum of possible scenarios than any golden rule. What the case studies here do make clear is that each manuscript represents an individual project that posed specific challenges in specific conditions. In the case of the Graz Digestum (pl. 1b, 6a‒d, 7a‒d, 8a‒d, 9a‒b), there was clearly significant disruption in the production process. Issues of time or money may have led to the interruption of the northern master’s work and its subsequent completion by two Italians working in a different style, but nonetheless compelled or willing to engage with existing underdrawings; their normal style can be seen in other works where they had a free hand. In contrast to this scenario, the Petrus Lombardus manuscript in Paris (pl. 3, 4a‒c) implies that three painters worked together in a team and impacted artistically on each other, but seemingly only within the framework of this single project, since no further evidence of their collaboration in other works has so far been discovered. In the Brussels manuscript (pl. 1a, 1c–d), the evidence for teamwork and mutual influence is more limited: the masters worked largely independently of one another; the planning and underdrawings were not in the hands of a single master. An important factor in all such scenarios is the ease with which the medium book could be transported and, at the same time, the mobil- ity of the protagonists of thirteenth-century book production – the illuminators, scribes, patrons, and book dealers – a mobility that we still tend to underestimate. This and the readiness of patrons and artists to embrace the forms of foreign regions fostered an artistic diversity that operated beyond national or perceived cultural boundaries and led to some fascinatingly individual results. Photo rights: Pl. 1a, 1c, 1d: Brussels, Bibliothèque royale de Belgique; pl. 1b, pl. 6a‒6d, 7a‒d, 8a‒d, 9a‒b, 10a‒c, 12b‒c, 12e, 13a‒b: © Graz, Universitätsbibliothek; pl. 1e: By permission of the Master and Fellows of Gonville and Caius College, Cambridge; pl. 2a‒f: Schlägl, Biblio- thek des Prämonstratenserstiftes; pl. 3, 4a‒4c: © Paris, Bibliothèque Mazarine; pl. 5: Plzeň, Knihovna Západočeského muzea v Plzni; pl. 11a‒b, 12a, 12d: Munich, Bayerische Staatsbib- liothek; pl. 11c‒d: Cesena, Biblioteca Malatestiana; pl. 13c: By permission of the Master and Fellows of Pembroke College, Cambridge; pl. 13d: Reproduced by kind permission of the Chapter of Durham Cathedral. 46 Francesca D’Arcais: L’organizzazione del lavoro negli scriptoria laici del primo Trecento a Bologna. In: La miniatura italiana in età romanica e gotica. Atti del I Congresso di Storia della Miniatura Italiana (Cortona, May 26‒28 1978), ed. by Grazia Vailati Schoen- burg Waldenburg, Florence 1979, pp. 357‒369, esp. p. 365.