Abstract
This contribution aims to complement the studies on the reception of Pierre d’Ailly’s Jardin amoureux de l’âme by comparing the iconographic programmes conceived to decorate some copies of the treatise. First, it examines the degree of fidelity of the illustrations to the text. Then, it focuses on the variations introduced when the work was translated and published in Middle Dutch. Finally, it reaffirms that the region between Paris and Antwerpen has been an area of intense cultural exchange.
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