In 1914, a fresco signed by Giacomo Jaquerio (documented between 1404 and 1453 in the county and then duchy of Savoy) was discovered in the choir of Sant'Antonio di Ranverso, close to Turin. From that moment a reconstruction of the artist's catalogue was initiated. By putting forward a selection of paintings that can safely be attributed to Jaquerio around 1415 this paper presents new hypotheses regarding the artist's itinerary. In the 1980s, Enrico Castelnuovo and Giovanni Romano already demonstrated, by identifying significant models, how Jaquerio built up his iconographical as well as stylistic experience. Exploring these suggestions further and including other possible models, this paper proposes to add Bourges and Genoa to the places where the artist must have stayed. The network of patrons for which Jaquerio painted is also examined here. The council of Pisa, in 1409, gathers most of the artist's major patrons. This event enables to account for Jaquerio's subsequent itinerary not only inside the county of Savoy but also outside its boundaries. The identification of new artistic models that shaped the painter's work combined with the network in which he circulated help to get a better understanding of how Giacomo Jaquerio contributed to the artistic production of the reign of Amadeus VIII.