The study defines the career of an illuminator who worked in various religious communities in Parma at beginning in the third quarter of the fifteenth century, in the Dominican convent, and then for a long time for the observant Franciscan friars, the reformed Benedictine monks of San Giovanni Evangelista and the Benedictine nuns of San Quintino. The master remained linked to the themes of the courtly art, which he did not hesitate to transfer onto liturgical books, as shown by the viella players who illustrate the initials of the Psalteries, but he also managed to adapt to the demands of the reformed religion, developing inspired iconographies to illustrate the themes of the Imitatio Christi. His versatility is clearly shown in the frontispiece of the Opus Davidicum celebrating the descent in Italy of Charles VIII, in which he creates a new symbolism of power. The long duration of his style is an important key to understand the culture of Parma's religious communities in times of great spiritual and political transformations.