Burgundy, entourage of Antoine le Moiturier, second half of the 15th centuryBishop's head in sculpted limestone. It is topped with a cap and a large mitre worked, decorated with cabochons and rosettes, with the scene of the Annunciation on a fretted background. H: 55 cm. (accidents and restorations visible) Spectacular, the mitre magnifies the head of the character . It represents, despite the ravages of time restored by unfinished interventions, a particularly interesting subject of study. The background is sculpted in facets, like diamond points, and holds the attention. We find this decorative style on other sculptures: the statue of a holy bishop attributed to Jean de la Huerta, preserved in the Rolin Museum in Autun (inv ML 1305), but several others attributed to Antoine le Moiturier. Among this corpus, also preserved in the Rolin Museum (inv ML 1298), the statue of Cardinal Rolin represented as Saint Lazard, which appeared on the upright of the reliquary cabinet in Autun Cathedral (fig. a), and that of a holy bishop, probably Saint Léger, preserved in the church of Saint-Martin de Nolay (Côte-d'Or). Our head differs from the very personal manner of Antoine le Moiturier: face with square jaws, eyes in "circumflex accent". It is not possible to attribute this work to this great artist of the second half of the 15th century but rather to one of his disciples. The second question we ask ourselves is, of course, who is represented with such care and finery? A hypothesis can be advanced: it could be Charles de Neufchatel, archbishop of Besançon. The treatment of the mitre sheds light on this hypothesis. Some mitre decorated with the theme of the Annunciation, dating from the 14th century, have come down to us, including that of Charles de Neufchâtel, currently preserved in the treasury of Besançon Cathedral (fig. 2). Archbishop of Besançon in 1463, Charles de Neufchâtel was offered this mitre when he was appointed bishop of Bayeux after opposing the young king Louis XI. Attached to this episcopal insignia which he appreciated to be able to wear, and grateful to the Metropolis of Besançon, Charles de Neufchatel bequeathed it by will in 1498. this mitre is now well studied . It is dated to the years 1470-1480 and is known to be of Comtoise production, marked by exchanges with Flanders. It was decorated with copper flowered hooks, now removed, which extended the whole by a crown taking up an ornamentation specific to the architecture. On the front side is the Annunciation and on the back the Nativity. These Marian themes correspond fully to the humanism of the late Middle Ages, enlightened by the theology of the Incarnation. By its iconography and its sculpted gems which recall the ornamental opulence of the embroidered mitre, the mitre of our head strongly recalls this mitre of Besançon. This kinship allows us to bring our sculpture closer to the figure of Charles de Neufchatel. Books consulted : DELOBETTE Laurence, Cathédrale de Besançon. Trésors cachés, " Charles de Neuchâtel, un évêque réformateur spirituel ", Besançon, Ed. Association diocésaine de Besançon, 2015, p. 12 à 14. L'art en broderie au Moyen Âge, autour des collections du musée de Cluny, catalogue de l'Exposition, Paris, Musée de Cluny, du 24 octobre au 20 janvier 2020 pp 76-78. Miroir du Prince. La commande artistique des hauts fonctionnaires à la cour de Bourgogne, exhibition catalogue, Autun, Musée Rolin, from 5 June to 19 September 2021, Autun, 2021, pp 132-133.