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She probably gave the volume to her daughter, Yolande of Anjou (1412-1440), around the time of her marriage to the future Duke Francis I of Brittany in 1431. After her death, the volume came into the possession of Francis\u2019 second wife, Isabella Stuart (1427-after 1494), and then passed on to their daughter, Margaret of Brittany (1443-1469). \n\nWe do not know the names of the artists who worked on this impressive volume, but we can distinguish different hands through changes in styles. Recent scientific analysis of the pigments used support the attributions made on stylistic grounds. Breton artists working in Nantes adapted and added illuminations for Isabella and Margaret, and variations in the underdrawings and the use of different pigments help to distinguish between their work and that of the original artists based in Angers."}],"description":"MS 62, The Hours of Isabella Stuart \n\nOne of the most extensively illustrated Books of Hours in existence, this volume contains a unique, highly personalised combination of images and texts. It was completed by 1431 for the learned and powerful Duchess of Anjou, Yolande of Aragon (1381-1442). Over the next three decades, the manuscript belonged to three other women and was continuously adapted to suit their devotional needs and dynastic aspirations. \n\nThe manuscript, a personal prayer book, contains over 500 figural scenes and other forms of decoration. It was illuminated by professional artists working in Angers for Yolande of Aragon, Dowager Duchess of Anjou. She probably gave the volume to her daughter, Yolande of Anjou (1412-1440), around the time of her marriage to the future Duke Francis I of Brittany in 1431. After her death, the volume came into the possession of Francis\u2019 second wife, Isabella Stuart (1427-after 1494), and then passed on to their daughter, Margaret of Brittany (1443-1469). \n\nWe do not know the names of the artists who worked on this impressive volume, but we can distinguish different hands through changes in styles. Recent scientific analysis of the pigments used support the attributions made on stylistic grounds. 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