Simon Marmion

The illustrations reflect the text, which is an unusual version stressing Netherlandish events, and apparently intended to justify Philip the Good's claim to the French throne.

[8] In a book of hours now in Naples, known as la Flora he painted 22 full-page miniatures that pioneered close-up small groups of a few figures seen at half-length, which represent "his most distinctive illumination and perhaps his greatest achievement".

[10] Here the borders are especially fine, in some cases going beyond the usual flowers and foliage to include ones showing collections of ivory and enamel plaques, and other pilgrim's souvenirs arrayed on shelves.

[12] The lower two thirds show a fiery hellish landscape, while above naked figures cross a narrow bridge over a lake to a grassy park-like heaven – if they can evade the devils with hooked poles in the water, who try to grab them.

Many scenes in the Getty Tondal, and a large Dream of Charles the Bald in the Petersberg Chroniques also contain striking images on these themes, anticipating those of Hieronymous Bosch.

However, from 1969, a scholarly counter-movement led by art historian Antoine de Schruyver suggested that Marmion's body of work came from a number of hands.