The rediscovery of a fresco signed by Giacomo Jaquerio in Sant'Antonio di Ranverso (Turin) in 1914 marked the impetus to establish the corpus of the artist, who was previously only known through archival sources. As none of the artworks mentioned within those documents survives, attributions of other works to the artist are based on stylistic considerations. Since the 1979 exhibition entitled "Giacomo Jaquerio e il gotico internazionale" in Turin, the painter has been credited with a collection of works demonstrating a compelling stylistic coherence. This group includes the signed fresco from Ranverso, the "Concert des Anges" which adorned the vaulted ceiling of the Chapel of the Maccabees in the St. Pierre's Cathedral in Geneva and two panel paintings in the Museo civico d'arte antica in Turin. Supposing a journey to Bourges prior to the execution of the Genevan frescoes aids the reconstruction of the development of Jaquerio's stylistic and iconographic idiosyncrasies before 1411, the year he is documented as having been in Geneva. By establishing his probable visual environs, this hypothesis questions, among other things, which cultural models were cultivated as references in Amédée VIII's entourage at that time. Confronting for the first time the Maccabees frescoes in Geneva with a stained-glass window in Bourges Cathedral containing a celestial chorus scene raises the issue of the freedom of interpretation around a common iconographic theme and, consequently, the status that should be attributed to the artwork that Jaquerio may have contemplated in Bourges.