During his employment from 1449 to 1467 as secretary to Philip the Good, Duke of Burgundy, the Burgundian author, translator, manuscript illuminator, scribe and priest Jean Miélot (Miéllot) was primarily engaged in the production of deluxe illuminated manuscripts for Philip's library. Miélot translated many works, both religious and secular, from Latin or Italian into French, and wrote or compiled books himself; he also composed verse. Between his own writings and his translations Miélot produced some twenty-two works while working for Philip, the leading bibliophile in Northern Europe at the time. In the years after his death in 1472 many of Miélot's works appeared in print, influencing the development of French prose style.
While Miélot usually personally wrote out Philip's copies of his various writings, and was responsible for creating a "minute" or dummy of the planned book showing the subject and location of the various miniatures and illuminated letters, Miélot would not have had the time to produce the miniatures for so many manuscripts, and it is likely that he was influential in allocating commissions to various miniaturists who created the manuscript illuminations. Because the miniaturists were indebted to him for the work, and because of the Burgundian fashion at the time for presentation miniatures, in which the author is shown presenting the book to the duke or other patron, an unusually large number of portraits of Miélot as author and scribe appear in the ducal copies of Miélot's works.
"Philip the Good was the leading bibliophile of Northern Europe, and employed a number of scribes, copyists and artists, with Miélot holding a leading position among the former groups.... His translations were first produced in draft form, called a 'minute', with sketches of the images and illuminated letters. If this was approved by the Duke, after being examined and read aloud at court, then the final de luxe manuscript for the Duke's library would be produced on fine vellum, and with the sketches worked up by specialist artists. Miélot's minute for his Le Miroir de l'Humaine Salvation survives in the Bibliothèque Royale Albert I in Brussels, which includes two self-portraits of him richly dressed as a layman. The presentation portrait to La controverse de noblesse, a year later, shows him with a clerical tonsure. His illustrations are well composed, but not executed up to the standard of manuscripts for the court. His text, on the other hand, is usually in a very fine Burgundian bastarda blackletter script, and paleographers can recognise his hand" (Wikipedia article on Jean Miélot, accessed 11-04-2013).
In Miélot's translation of the Traité sur l'oraison dominicale produced for Philip between 1454 and 1457, and preserved in the Bibliothèque Royale, Brussels (Ms. 9082 fol. 1r) there is a miniature by the Flemish painter Jean Le Tavernier showing Miélot presenting the manuscript to Philip. An excellent reproduction of this appears in Wilson & Wilson, A Medieval Mirror (1984) p. 49. About 1456. Miélot completed his manuscript compilation of the Miracles de Notre Dame for Philip. In this manuscript, preserved in the Bibliothèque nationale de France, the Flemish artist Jean Le Tavernier, an expert in the grisaille technique of manuscript illumination, included a splendid grisaille portrait of Jean Miélot writing in his scriptorium, probably in the ducal library. The portrait, which appears on folio 19r, includes very detailed renderings of the room's furnishings, and the writer's materials, equipment, and activity. Still another fine portrait of Miélot, by an unknown miniaturist, appears in Brussels Royal Library, MS 9278, fol. 10r.