the genitals of the peasant in the February scene. The Musée Condé decided in the 1980s, somewhat controversially, to remove the manuscript completely both from public display and scholarly access, replacing it with copies of a complete modern facsimile. Michael Camille argues that this completes the logic of the reception history of a work that has almost entirely become famous through reproductions of its images, with the most famous images having been seen in the original by only a very small number of people. Artists There has been much debate regarding the identity and number of artists who contributed to the Très Riches Heures. The Limbourg brothers In 1884, Léopold Delisle correlated the manuscript with the description of an item in an inventory drawn up after Berry's death: "several gatherings of a very rich book of hours [très riches heures], richly historiated and illuminated, that Pol [Paul] and his brothers made". Delisle's resulting attribution to Paul de Limbourg and his two brothers, Jean and Herman, "has received general acceptance and also provided the manuscript with its name." The three Limbourg brothers had originally worked under the supervision of Berry's brother, Philip the Bold, Duke of Burgundy, on a Bible Moralisée and had come to work for Berry after Philip's death. By 1411, the Limbourgs were permanent members of Berry's household (Cazelles and Rathofer 1988). It is also generally agreed that another of Berry's books of hours, the Belles Heures, completed between 1408 and 1409, can also be attributed to the brothers. It is thought that the Limbourg contribution to the Très Riches Heures was between about 1412 and their deaths in 1416. Documentation from 1416 was found indicating that Jean, followed by Paul and Herman, had died. Jean de Berry died later that year (Cazelles and Rathofer 1988). Apart from the main campaign of illumination, the text, border decorations, and gilding were most likely executed by assistants or specialists who remain unknown. The choice of castles in the calendar is one factor in the dating of the brothers' contribution. The Château of Bicêtre, just outside Paris, was one of Berry's grandest residences, but does not appear in the calendar. It seems likely that this was because no image had been created by October 1411, when a large mob from Paris looted it and set it on fire in the Armagnac–Burgundian Civil War. However the châteaux at Dourdan (April) and Étampes