Bourdichon's skill can be traced with greater certainty in various _Books of Hours_[69]: _i.e._ the "_Heures d'Aragon_," a small volume adorned with graceful miniatures considered by M. E. Mâle to be one of his early works; while the _Prayer Book of Anne de Bretagne_, which is authenticated by a document dated 1508 (Bibl. Nat.), is a later and more finished achievement. Compared, however, with Fouquet's style, the work of Bourdichon seems like wine diluted with water, whilst the total absence of landscape from the backgrounds of his miniatures gives to his figures an unusually cold appearance. His _Madonna_ is distinguished-looking but rather rigid and devoid of expression; his _Magdalen_ though poetical seems lifeless; and as for the portrait of _Queen Anne_ herself and her companions on the _Frontispiece_ it is purely conventional without attempt at aiming at a likeness. Instead of the landscapes which form so fascinating a part of the work of his predecessors we find him introducing great masses of flowers on the margins of the illuminations. The Queen who commissioned the book evidently was devoted to flowers; and thus Bourdichon, probably at her express command, brought them in wherever he could. We must indeed give him credit for a vast amount of charm and delicacy in the execution of these lovely flowers and they form a very perfect and beautiful decoration. Although M. Bouchot mentions the name of Bourdichon more than once in reference to certain drawings at Chantilly there is nothing amongst the treasures of the Musée Condé which really can be attributed to him with any certainty. With Jean Perréal it is different. He is the artist who has been identified by some authorities with the mysterious _Maître de Moulins_. It was M. de Maulde and Henri Bouchot who first propounded this theory; and they were supported by Mr. Roger Fry and M. Hulin after the Exhibition of the French Primitifs in 1904, where a number of works supposed to be by this master were arranged in definite order for comparison purposes. We know that Perréal at the beginning of his career lived at Moulins, where he held the post of Court-Painter to Duc Pierre de Bourbon; and that there he had the opportunity of studying Fouquet's miniatures in the _Antiquitates Judæorum_, then an heirloom in the Ducal Library. Like Bourdichon Perréal appears to have had no taste for landscape, and it was chiefly portraiture that attracted him. This branch of art was, in fact, the prevailing interest of his time, and that so-called _inquiétude du portrait_ manifested itself more or less strongly in the miniature-painting of the fifteenth and sixteenth centuries until it almost entirely superseded all landscape work. We find an excellent portrait, for instance, of _Charles V of France_ in the _Heures d'Anjou_[70] and another in the _Bible Historiée_[71].