All miniatures are from manuscript A, BnF fr. 1584, and reproduced with permission of the Bibliothèque nationale de France. Full color images from MS A may be viewed online at https://gallica.bnf.fr/ark:/12148/btv1b84490444.

This adheres to the format in Earp, A Guide to Research.

1. Earp #
2. (fol. #)
3. Insertion point / line number — the image is above the line number.
4. Rubrics, unless otherwise noted, are above the image.

For example: A35 (fol. 2r) Line 290. “The narrator writes a ballade.”

To identify the placement of the miniature(s) on a single folio:
a: Column 1, recto
b: Column 2, recto
c: Column 3, verso
d: Column 4, verso

Prologue [3 miniatures]¹
1. A2 (fol. Er; this is a two column, large format miniature) Line 1. Nature, dressed as a queen, leads her children Sense (a man dressed as a magister, with beret and traveling cloak), Rhetoric, and Music (these are women dressed as widows or nuns) to Machaut, who stands outside a building.
2. A1 (fol. Dr; this is a two column, large format miniature) Line 55. Love, depicted as a winged young man, brings his children Sweet Thought (a fashionably dressed young man), Pleasure, and Hope (fashionably dressed young women) to Machaut, who is seated at a desk in his study.
3. A3 (fol. Fv) Line 1 of narrative portion. Author portrait of Guillaume de Machaut writing in a codex.

Le Dit dou Vergier [4 miniatures]
4. A4 (fol. 1r) Line 1; Ci aprés commence le Dit dou Vergier. The narrator stands at the gate of a walled garden.
5. A5 (fol. 1v) Line 109. The god of Love sits atop a tree. He wears a pink hat and holds an arrow in one hand and a torch (of which only the flame is visible) in the other. There are maidens at left and youths at right seated on semi-circular, raised turf-covered benches.
6. A6 (fol. 2r) Line 207. The god of Love sits atop a tree while the narrator, standing, speaks to him.
7. A7 (fol. 2v) Line 247. The god of Love sits atop a tree and gestures with his hand to the narrator, who kneels before him.

Le Jugement dou Roy de Behaingne [4 miniatures]
8. A8 (fol. 9r) Line 1; Ci aprés commence le Jugement dou Roy de Behaingne. The Narrator, dressed as a cleric, stands in a lovely garden close to a castle with a stream; his hand to his heart as he watches a songbird atop a tree.
9. A9 (fol. 9d) Line 41. The narrator, hidden in bushes, is seen by the lady, with her handmaiden and dog, and the knight.
10. A10 (fol. 16v) Line 1185. The lady and a fashionably-attired knight flank the King of Bohemia. The king is bearded and has long hair; he is wearing a crown and his garment is vaguely reminiscent of a toga. As with the depiction of God in Majesty (fol. 127b) in Confort and the enthroned Lady in the Harpe (fol. 176v), he is depicted frontally, sitting on a throne with lion-head terminals. The figures to each side gesture, denoting conversation, and the king raises his right hand as a priest would in blessing.
11. A11 (fol. 18v) Line 1509. The lady and knight stand at left with hands raised; the king, seated on a fabric-draped throne, taps his left finger in his right palm, meting out his judgment.

Le Jugement dou Roy de Navarre [1 miniature]
12. A12 (fol. 22v) Line 1; Ci aprés commence le Jugement dou Roy de Navarre contre le Jugement dou Roy de Behaingne. Guillaume leans out the window of a castle.

Remede de Fortune [12 miniatures]
13. A13 (fol. 49v) Line 1; Ci commence Remede de Fortune. A young fashionablydressed nobleman stands before an old man who is seated. The man brandishes an upraised switch in one hand and gestures with the other.
14. A14 (fol. 54v) Line 771. Although just about to enter the Garden of Hesdin, to the left, Guillaume, dressed as a nobleman, looks to the right. He clasps his hands as if in supplication, homage, and fealty to his lady.
15. A15 (fol. 56v) Line 1001. The statue from Nebuchadnezzar’s dream is a nude man with disheveled hair. Following the biblical description, the statue is made of different types of metal, and the images bear different colors of gilding.
16. A16 (fol. 62r) Line 1863. The shield with the Arms of Love. The blazon comprises a pink heart pierced with an arrow on a blue ground with white tears.
17. A17 (fol. 63v) Line 2097. Lady Hope bends to place a ring on the narrator’s finger. He sleeps on a hillside under a tree, dressed as a cleric.
18. A18 (fol. 65r) Line 2287. The narrator, dressed as a cleric, speaks with Hope.
19. A19 (fol. 69v) Line 2893. The narrator, dressed as a cleric, listens to Hope sing the ballade.
20. A20 (fol. 71v) Line 3077; L’amant (rubric appears on fol. 71r). The narrator, dressed as a cleric, speaks with Hope.
21. A21 (fol. 72r) Line 3205; L’amant (beneath the miniature inside the lower frame). The narrator, dressed as a cleric, kneels on one knee before his lady’s empty castle, his hands folded in supplication.
22. A22 (fol. 73r) Line 3349. The narrator, dressed as a cleric, stands within a crenellated enclosure before the castle where his lady, at the head of a group of nobles, greets him.
23. A23 (fol. 78v) Line 4116. The narrator, dressed as a nobleman and on horseback, takes leave of his lady.
24. A24 (fol. 80r) Line 4276. The narrator, dressed as a cleric, kneels down on one knee, hands folded, before the god of Love, who sits cross-legged atop a tree.

Le Dit dou Lyon [26 miniatures]
25. A25 (fol. 80v) Line 1; Ci commence le Dit dou Lyon. Guillaume stands within a walled garden surrounded by a stream.
26. A26 (fol. 81c) Line 151. Guillaume crosses the stream in a boat.
27. A27 (fol. 81d) Line 175. Guillaume moors the boat to a tree.
28. A28 (fol. 82v) Line 279. The lion holds part of Guillaume’s robe in his jaws.
29. A29 (fol. 83c) Line 433. The lion leads Guillaume to a fountain, still holding part of his robe in his jaws.
30. A30 (fol. 83d) Line 453. Guillaume at a spring with two ladies and two men.
31. A31 (fol. 84r) Line 515. The lady and her lion.
32. A32 (fol. 84v) Line 591. The lion kneels before his lady as several savage, hybrid beasts threaten him.
33. A33 (fol. 85r) Line 625. The lady proffers her hand to the lion.
34. A34 (fol. 85v) Line 709. Guillaume kneels before the lady.
35. A35 (fol. 86r) Line 767. A knight speaks to Guillaume.
36. A36 (fol. 87r) Line 923. Three ladies and three gentlemen face each other.
37. A37 (fol. 87v) Line 989. Three ladies and three gentlemen face each other.
38. A38 (fol. 88v) Line 1119. Three ladies and three gentlemen face each other.
39. A39 (fol. 89r) Line 1213. A knight mounted on a charging horse.
40. A40 (fol. 90r) Line 1345. Several knights mounted on horses.
41. A41 (fol. 91r) Line 1505. The philanderer speaks to two ladies.
42. A42 (fol. 91d) Line 1587. The beguiling woman embraces a gentleman.
43. A43 (fol. 91d) Line 1607. Two lovers. The lady dismisses a third man.
44. A44 (fol. 92a) Line 1621. Four couples in a carol dance.
45. A45 (fol. 92b) Line 1635. A lady stands alone between two trees.
46. A46 (fol. 92c) Line 1657. A lady gives Guillaume a chaplet of flowers.
47. A47 (fol. 92c) Line 1667. A man and a lady converse.
48. A48 (fol. 93c) Line 1801. The lady, seated on a cushion beside a spring, pets the head of the lion lying beside her as she speaks with Guillaume.
49. A49 (fol. 93d) Line 1845. Nearly the mirror image of A48: The lady, seated on a cushion beside a spring, pets the head of the lion lying beside her as she speaks with Guillaume.
50. A50 (fol. 94v) Line 1975. The lady feeds the lion a leg of lamb (or deer?).

Le Dit d’Alerion [1 miniature]
51. A51 (fol. 96v) Line 1; Ci commence le Dit de l’Alerion. A nobleman dressed in a mi-parti pourpoint rides on horseback, a bird of prey about to alight on or take off from his gaunt.

Le Confort d’Ami [26 miniatures]
52. A52 (fol. 127a) Line 1; Ci aprés commence Confort d’Amy. Guillaume talks to king Charles of Navarre, who is leaning out the window of a castle.
53. A53 (fol. 127b) Line 57. God in Majesty, with a cruciform nimbus and surrounded by clouds, blesses with his right hand and holds an orb in his left.
54. A54 (fol. 127v) Line 83. Susannah disrobes to bathe. Two clothed women stand at left; two others, nude, are bathing, at right.
55. A55 (fol. 128b) Line 161. The two elders, who wear toga-like garments and pointed caps, confront Susannah.
56. A56 (fol. 128b) Line 181. The two elders watch as the head of God emerges from clouds, listening to Susannah’s pleas for justice.
57. A57 (fol. 128v) Line 253. The two elders stand behind Susannah, who speaks to two other enthroned elders.
58. A58 (fol. 129r) Line 273. Susannah, hands bound, is brought before a fire by two men as a group of elders look on.
59. A59 (fol. 129c) Line 330. A group of figures watch as the infant Daniel, carried by his veiled mother, speaks to seated elders.
60. A60 (fol. 129d) Line 357. Jewish elders and a woman stand directly behind the infant Daniel, held by his mother, who questions seated elders.
61. A61 (fol. 130c) Line 481. King Nebuchadnezzar, at left, speaks with Daniel, at right, shown as a grizzled elderly man.
62. A62 (fol. 130d) Line 513. Harpists and trumpeters, surrounded by people kneeling in prayer, play before a standing idol on a pedestal.
63. A63 (fol. 131r) Line 565. Two men pump bellows to liven the flames of the furnace in which the three young Jews stand.
64. A64 (fol. 131v) Line 619. An angel appears to the three Jews in the fiery furnace.
65. A65 (fol. 132v) Line 753. Daniel speaks to king Belshazzar.
66. A66 (fol. 134c) Line 1057. Three elderly men in traveling capes speak to the seated king Darius.
67. A67 (fol. 134d) Line 1089. Daniel sits surrounded by lions.
68. A68 (fol. 135r) Line 1131. A hooded man and King Darius, who is pointing at him, lift the octagonal cover to the lions’ den; Daniel’s head is visible below.
69. A69 (fol. 135c) Line 1157. An angel, whose feet are covered by clouds, takes Habakkuk, holding the meat pot, by his hair to Daniel.
70. A70 (fol. 135d) Line 1193. An angel, holding Habakkuk by his hair, brings the prophet with the meat pot (to which he points) to Daniel, whose head is visible in the pit of the lions’ den.
71. A71 (fol. 136r) Line 1257. King Darius and two elderly Jews look on with gestures of astonishment as the lions eat Daniel’s accusers.
72. A72 (fol. 137r) Line 1421. An open double door in a prison tower reveals the elderly King Manasseh, with head in hand, who sits on the floor, his feet in shackles.
73. A73 (fol. 142v) Line 2277. The narrator, dressed as a young cleric, bends to speak to King Charles, whose crowned head is visible behind the grated window in a crenellated prison tower.
74. A74 (fol. 144r) Line 2517. Pluto, in the guise of a hairy and grimacing beast, rides a galloping horse with Proserpina seated in front of him. The flowers she had picked are now spread in and around a stream.
75. A75 (fol. 144v) Line 2535. Orpheus, an elderly man, harps before Eurydice who is held by Pluto at the mouth of a cave.
76. A76 (fol. 145r) Line 2645. A group of maidens stone and cudgel Orpheus.
77. A77 (fol. 145v) Line 2683. A group of armed knights sit in a boat while Paris helps Helen of Troy climb up a ladder into it.

La Fonteinne Amoureuse [25 miniatures]
78. A78 (fol. 154a) Line 1. Le Livre de la Fonteinne Amoureuse. Author portrait of Guillaume de Machaut, holding quill and sharpener, seated and writing in a codex.
79. A79 (fol. 154b) Line 55. Guillaume sleeps in a bed chamber.
80. A80 (fol. 155v) Line 235; La Complainte de l’Amant. Guillaume sitting in a bed chamber writes down the complaint of the lover, who stands outside.
81. A81 (fol. 157c) Line 539. The lover, despondent.
82. A82 (fol. 157d) Line 571. King Ceyx drowned in the sea. Queen Alcyone kneels in prayer before Juno.
83. A83 (fol. 158a) Line 587. The winged Iris hovers over Queen Alcyone, who is asleep on her bed.
84. A84 (fol. 158b) Line 603. Iris flies over Morpheus, who is sleeping in a castle next to a stream.
85. A85 (fol. 158b) Line 619. Morpheus sits on his bed, half asleep.
86. A86 (fol. 158d) Line 651. Morpheus comes to the sleeping Alcyone in a dream as the ghost of king Ceyx.
87. A87 (fol. 158d) Line 667. King Ceyx and Alcyone stand by the sea and watch two sea birds flying above the water.
88. A88 (fol. 159v) Line 881. The lover places an opium poppy nightcap on the head of Morpheus, who sits dozing on his bed.
89. A89 (fol. 161v) Line 1075. A man with a hunting bird shows Guillaume the entry to the lover’s chamber.
90. A90 (fol. 162r) Line 1135. A friend aided by a young page presents a horse, a sparrow hawk, and a dog to the lover; Guillaume is behind, with the castle and two courtiers off to the side.
91. A91 (fol. 163r) Line 1313. Guillaume and the lover stand beside the Fountain of Love.
92. A92 (fol. 163c) Line 1333. A detail of the fountain shows the mythological figures carved on it.
93. A93 (fol. 163d) Line 1371. The Fountain of Love with its mythological figures, surrounded by trees.
94. A94 (fol. 164v) Line 1511. The lover talks to Guillaume.
95. A95 (fol. 165v) Line 1609. Guillaume and the lover (lying against Guillaume and covered by Guillaume’s robe) asleep beside the Fountain of Love.
96. A96 (fol. 166r) Line 1715. Four women wearing crowns (Minerva, Juno, Venus, and a sibyl) sit at a table. Discord displays the golden apple, labeled a la plus bele [to the most beautiful].
97. A97 (fol. 167r) Line 1851. Vergil hung from a tower in a basket by the daughter of the emperor. Two men stand behind her with torches; one is setting fire to her dress.
98. A98 (fol. 169a) Line 2125. Paris, with a dog on a leash, gives an apple labeled “pulchriori dei” [to the more beautiful deity] to Venus, as Minerva and Juno look on.
99. A99 (fol. 169a) Line 2145. The lover and Guillaume (lying against the lover) asleep beside the Fountain of Love.
100. A100 (fol. 169v) Line 2207; Le Confort de l’Amant et de la Dame. The beloved, accompanied by Venus, speaks to the lover by the Fountain of Love.
101. A101 (fol. 173a) Line 2745. Guillaume and the lover, seated on either side of the Fountain of Love, converse.
102. A102 (fol. 173b) Line 2789. The lover, with two other men in a boat, bids farewell to Guillaume, who remains on the shore on horseback.

Le Dit de la Harpe [14 miniatures]
103. A103 (fol. 174a) Line 1; Ci commence le Dit de la Harpe (rubric appears on fol. 173v). A bearded king David plays the harp to a woman.
104. A104 (fol. 174b) Line 31. Orpheus harps for Eurydice, who is held by three devils coming from the gates of hell.
105. A105 (fol. 174b) Line 111. King David harps for God, who sits with a halo and orb.
106. A106 (fol. 175a) Line 129. Three gentlemen avoid a lady.
107. A107 (fol. 175a) Line 143. A knight on horseback.
108. A108 (fol. 175b) Line 157. Meekness and Humility.
109. A109 (fol. 175b) Line 165. Honesty and Truth.
110. A110 (fol. 175c) Line 175. Charity and Sweet Pity give bread to the poor.
111. A111 (fol. 175c) Line 187. Youth holds Diversion and Joy by the hands.
112. A112 (fol. 175d) Line 197. Peace, Health, and Wealth admire Youth.
113. A113 (fol. 175d) Line 207. Nobility, with a bird of prey resting on his gaunt, stands next to Sincerity and Gentility.
114. A114 (fol. 176a) Line 221. Wealth and Generosity.
115. A115 (fol. 176b) Line 233. Simplicity, Fear of Wrongdoing, Shame, and Love.
116. A116 (fol. 176v) Line 285. The lady, seated on a throne.

La Loange des Dames [1 miniature]
117. A117 (fol. 177v); Les Balades ou il n’a point de chant. Guillaume kneels with folded hands before a woman who sits on a hill.

Le Dit de la Marguerite [1 miniature]
118. A118 (fol. 213v) Line 1; Ci commence le Dit de la Marguerite. King Pierre I de Lusignan kneels before a seated woman who wears a dress decorated with a floral pattern.

Le Livre dou Voir Dit [30 miniatures]
119. A119 (fol. 221r) Line 1; Ci commence le livre dou voir dit. A messenger delivers a letter addressed a guillem [to Guillaume], shown as a young cleric, who sits outside on pillows.
120. A120 (fol. 223v) Line 315; L’amant. The messenger takes his leave.
121. A121 (fol. 227r) Line 637; L’amant. In bed, Guillaume receives a letter from a messenger addressed “a Guillaum.”
122. A122 (fol. 230v) Line 1003. Guillaume and two other men on horseback.
123. A123 (fol. 233r) Line 1228. A messenger delivers a letter marked “a ma dame” to Toute Belle.
124. A124 (fol. 233v) Line 1250; La dame. Complainte. Toute Belle sits crying on her bed.
125. A125 (fol. 235v) Line 1384. The messenger delivers a portrait of Toute Belle to Guillaume. It is a panel painting in a decorative frame. It shows a standing woman, hip-cocked and one hand raised.
126. A126 (fol. 237r) Line 1503; Vostre tres loial ami; La dame. Guillaume and his companions approach the gate of a walled city on horseback.
127. A127 (fol. 242r) Line 2245. Guillaume sits writing a ballade on a scroll with music, labeled balade, while Toute Belle, standing before him, watches.
128. A128 (fol. 245r) Line 2623; L’amant. Guillaume looks out a church door at Toute Belle and another lady on horseback.
129. A129 (fol. 248r) Line 2891; L’amant. Guillaume and his secretary sit on either side of Toute Belle outdoors.
130. A130 (fol. 255r) Line 3760. Guillaume and Toute Belle lay next to each other on a bed, while Venus, crowned, prepares to envelop them in a blue tinged mass of clouds which she holds between her hands.
131. A131 (fol. 259v) Line 4362; L’amant. Guillaume and two men meet Hope and her entourage, all on horseback; Hope and Guillaume touch hands.
132. A132 (fol. 264r) Line 4563; Vostre loyal amie (rubric added in grey ink, by a different scribe). A messenger speaks to Semiramis who sits on her throne. She has only braided one part of her hair.²
133. A133 (fol. 267v) Line 4814; L’amant. A messenger hands Guillaume a letter marked “a Guil.”
134. A134 (fol. 268v) Line 4990. After the game Le roy qui ne ment (The king who does not lie), the ‘king’ speaks to five people.
135. A135 (fol. 271v) Line 5468; L’amant. Guillaume speaks with the ‘king’.
136. A136 (fol. 274v) Line 5536; Vostre loial amy, L’amant. Toute Belle sits on her bed lamenting.
137. A137 (fol. 278r) Line 5907. Three men with knives attack and kill Caesar as another man looks on.³
138. A138 (fol. 281v) Line 6063. Leander, swimming nude in the Dardanelles, approaches Hero, who observes from a tower.
139. A139 (fol. 285v) Line 7070. From the shore, the giant Polyphemus sinks a ship sailing on the sea. Polyphemus’ face is badly smudged.
140. A140 (fol. 289r) Line 7292; L’ymage de vraie Amour. True Love, barefoot and dressed in a long green tunic, wears a crown of leaves. He points to his heart through a slash in his tunic. Banderoles in Latin label the head: “hiens et estas” (winter and summer), heart: “longe et prope” (far and near), and feet: “mors et vita” (death and life).⁴
141. A141 (fol. 291r) Line 7616; (rubric at the bottom of the previous column) Comment l’amant emprisona l’image de Toute Bele [How the lover imprisoned the portrait of Toute Belle.] Guillaume places the portrait of Toute Belle in a trunk.
142. A142 (fol. 293r) Line 7719; Comment l’image de Toute Belle se complaint a l’amant [How the portrait of Toute Belle complains to the Lover.] The portrait of Toute Belle, a panel painting with a peaked frame. The image is badly smudged.
143. A143 (fol. 293v) Line 7773; Comment li corbiaus blans fu muez en plume noire [How the white raven was changed to black feathers.] A crow and a white raven face each other.
144. A144 (fol. 294a) Line 7827; Comment la corneille reprist et chastia le corbel [How the crow reproved and chastised the raven.] The miniature is on fol. 294v, line 7863. The crow spreads his wings before the raven.⁵
145. A145 (fol. 296r) Line 8111. A bearded Apollo shakes his finger reprovingly at the raven, which flies off.
146. A146 (fol. 296v) Line 8179; Comment l’amant desprisonna l’image de Toute Belle [How the Lover freed the portrait of Toute Belle.] Guillaume holds the portrait of Toute Belle above an open the trunk.
147. A147 (fol. 297r; this is a two-column, large format miniature) Line 8239; Comment Titus Livius descript l’ymage de Fortune [How Titus Livius describes the appearance of Fortune.] Lady Fortune, dressed as a beautiful young queen, stands behind a large wheel with four spokes, each spoke bearing smaller wheels. She has placed her arms through the upper two smaller wheels and laid her hands to rest on the bottom two. “Each wheel bears a Latin couplet, translating in verse what appears in French in the body of the dit:”⁶

Main wheel: Affluo, discedo, talis ludus cui me do
[I am abundant, I vanish; such is the trick I play on one.]
Upper left: Vivens sum cara; dum mors accedit amara
[Living I am dear, when death comes, bitter.]
Upper right: Ludo, compsallo, de ludens carmine fallo
[I play and sing, deceiving with song I lead astray.]
Lower left: Exceco mentem, ne diligat omnipotentem
[I blind the mind so that it should not love God.]
Lower right: Quid sum discerne, cum sciveris me fuge sperne
[Recognize what I am; when you know, you will flee and spurn me.]

148. A148 (fol. 301v; this is a two-column, large format miniature) Line 8652; Comment li paien figuroient lymage de fortune [How the pagans depicted the image of Fortune.] A Janus-headed, matronly woman holds a large, six-spoked wheel. Cramped into the space next to her, at right, are five maidens, conversing amongst themselves, who hold flowers above five springs. The miniature is badly smeared and the rightmost maiden has less than half her body within the border. In the bas de page, “a different hand has added Latin inscriptions . . . translating what is given in French in the text:”⁷

Primum signum erat si aqua foncium inciperet movere / Secundum si inciperet affluere / Tertium si inciperet tumestere / Quartum si inciperet clarescere / Quintum si inciperet totalem evanescere.

[The first sign was if the water of the fountains began to move / The second if it began to flow / The third if it began to swell / The fourth if it began to clear / The fifth if it began to evaporate entirely.]⁸

La Prise d’Alixandre [1 miniature]
149. A149 (fol. 309r; this is a two-column, large format miniature) Line 1; Ci commence li Livre de la Prise Alexandre. A finely-painted battle scene with knights climbing down from boats, sacking the castle at Alexandria, in which there are Saracens wearing turban-like headdresses.⁹

Le Dit de la Rose [1 miniature]
150. A150 (fol. 365v) Line 1. Guillaume stretches to pick a brilliantly colored red rose in the center of a prickly bush with green leaves which is enclosed in a brown wattle-and-daub fence.

Vezci les Biens que ma Dame me Fait [1 miniature]
151. A151 (fol. 366r) Line 1; Vezci les biens que ma dame me fait / pour amender moy m’onneur et mon fait [Here are the good things my lady does for me to ameliorate my honor and condition.]¹⁰ A gentleman converses with a lady.

Lays [1 historiated initial]
152. A152 (fol. 367r); Loyauté que (L1). A nobleman, hands together in a sign of fealty and supplication, kneels before a standing lady who turns to look at him.¹¹

Motets [1 miniature]
153. A153 (fol. 414v); Quant en moy / Amour (M1). A group of clerics, a nobleman, and his valet stand around a wine keg; some of the clerics are singing from a scroll.¹²

Ballades [1 historiated initial]
154. A154 (fol. 454r); S’Amours ne fait (B1). A couple embraces.

Go To Bibliography

1 For further discussion of these miniatures, see Leo, “The Beginning is the End.” The first two miniatures, A2 and A1, are part of a misbound appended bifolium, hence the inverted foliation. See Earp, A Guide to Research, pp. 145–46.

2 On the scribe, see Earp, A Guide to Research, p. 179.

3 A pentimento is visible in the center of image which appears to show a man falling forward.

4 Translation in Earp, A Guide to Research, p. 180.

5 On the placement, see Earp, A Guide to Research, p. 181.

6 Earp, A Guide to Research, p. 182, translation original.

7 Earp, A Guide to Research, p. 182.

8 Translation in Earp, A Guide to Research, pp. 182–83.

9 For a detailed study of the Prise frontispiece miniature, see Leo, “Machaut Manuscript A (BnF ms. fr. 1584): An Art-Historical Overview,” p. 40; and http://machaut.exeter.ac.uk.

10 Translation in Earp, A Guide to Research, p. 183.

11 On this Parisian artist, see Leo, “Machaut Manuscript A (BnF ms. fr. 1584): An Art-Historical Overview,” pp. 39–40; and http://machaut.exeter.ac.uk.

12 See Leo and Boogaart, “The Motet Miniature.”

The miniatures (images) from MS A are not included in this digital edition, but are available in the print version. To view these images, see also the Bibliotheque nationale de France's digital edition on Gallica at the link above.