Abstract
A beautiful miniature illustrating the Transfiguration of Christ, radically different in style from anything else in the Ottoboni Gospels, has been interpreted as a later addition to this Carolingian book. This article proposes that it was contemporary with the rest of the book and planned for inclusion in it but executed by an independent master painter not permanently attached to the writing center where it was produced. The article also proposes that some individual artists of effectively professional character who could be employed on special high-prestige projects played a more important role in early medieval illustration than is usually believed.
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