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This essay focuses on the aesthetic and material negotiation between manuscript illumination and print among noble French patrons of the late fifteenth and early sixteenth centuries. It takes as a case study two hybrid books created for Count Charles of Angoulême and his wife, Louise of Savoy. Each of these examples, one created by an illuminator and the other by a printer-publisher, demonstrates the deep engagement of both patron and artist with the new medium of print. The essay examines the media category of “luxury print” while revealing the persistent appeal of manuscript illumination, particularly for discerning readers of high social status.