the _Announcement of the
Death_ and the _Death_ of the Virgin. When, however, death has
transfigured age and sorrow, the likeness of Agnes reappears in the
_Assumption_, and _Coronation_, and, the crowning glory, the
_Enthronement_ of the Virgin.

[41] Cf. _Grandes Chroniques de France_, fol. 292, Bib. Nat.

[Illustration: _Musee de Chantilly._

BOOK OF HOURS OF ETIENNE CHEVALIER.

_To face page 163._]

In a Book of Hours, at Munich, painted about 1500 A.D. for Jacques
Coeur's grandson (in part perhaps by Jean Bourdichon, the artist of the
superb Book of Hours of Anne de Bretagne now in the Bibliotheque
Nationale, or at least by some pupil or follower of his), there are
three miniatures that seem of special interest in connection with
Agnes Sorel. One is a representation of the Virgin of the
Annunciation, and another that of the Madonna with the Holy Child. In
both these the features of the Virgin Mother appear to faintly echo
those of Agnes as we know her, as the crowned and ermined queen in the
picture at Antwerp. Still more interesting is the third miniature,
giving a view--here used as a setting for the _Procession to
Calvary_--of the front of Jacques Coeur's stately dwelling at Bourges.
Here doubtless many a time Agnes and the king were entertained. Hither
Jacques returned from sundry journeys to the East, laden with
treasures to beautify his surroundings. Hence he fled, the victim of
success. Over the principal entrance is a canopied recess, once
sheltering an equestrian statue destroyed during the Revolution. This
now empty space once held a statue of King Charles the Seventh, armed
cap-a-pie on a galloping caparisoned charger, as he may be seen
represented on medals of the period. It is not a little significant of
this thankless monarch that he here seems to be turning his back on
the house of his faithful servant and supporter, and to be riding
away. Other details worthy of mention in this Book of Hours are the
realistic background to the picture of the _Visit of the Magi_, with
its snow-covered village church, houses, and fields; the Italian
drug-pot in the Magdalen's hands in the scene of the Crucifixion,
showing the intimate intercourse with Italy; and the Mater Dolorosa
seated _alone_ at the foot of the Cross,--a tragic note taken from the
_Mystery of the Passion_.

There is only one unanimous opinion concerning Agnes Sorel, and that
is as to her beauty. For the rest, it would seem as if prejud