is portrayed according to the
fancy of the illuminator. Such pictures are interesting because they
reveal her as she was imagined by those who lived during her lifetime
or shortly afterwards. It is not their merit that appeals to us; they
possess none; and in no way do they suggest Jean Foucquet.[2775]

[Footnote 2768: _Trial_, vol. i, pp. 100, 292.]

[Footnote 2769: There is a wood engraving of this figure in Wallon,
_Jeanne d'Arc_, p. 95.]

[Footnote 2770: E. de Bouteiller and G. de Braux, _Notes
iconographiques sur Jeanne d'Arc_, Paris and Orleans, 1879, in 18'o
royal paper.]

[Footnote 2771: Reproduced in many works, notably opposite p. 17 in
the book of E. de Bouteiller and G. de Braux, referred to above.]

[Footnote 2772: _Ibid._, see woodcut opposite p. 8.]

[Footnote 2773: In the Orleans Museum. A copper-plate engraving by M.
Georges Lavalley, in the _Jeanne d'Arc_, of M. Raoul Bergot, Tours,
s.d. large 8'o.]

[Footnote 2774: Of this class of so-called portrait, I will merely
mention the miniature which serves as frontispiece to vol. iv. of _La
Vrai Jeanne d'Arc_, of P. Ayroles, Paris, 1898, in large 8'o, and
the miniature of the Spetz Collection, reproduced in the _Jeanne
d'Arc_ of Canon Henri Debout, vol. ii. p. 103 (also in _The Maid of
France_ by Andrew Lang, 1908. W.S.).]

[Footnote 2775: _Le champion des dames_, MS. of the fifteenth century;
_Bibl. nat._, fonds francais, No. 841; Martial d'Auvergne, MS. of the
end of the fifteenth century, fonds francais, No. 5054. An initial of
a fifteenth-century Latin MS., _Bibl. nat._, No. 14665.]

While the Maid lived, and especially while she was in captivity, the
French hung her picture in churches.[2776] In the Museum of Versailles
there is a little painting on wood which is said to be one of those
votive pictures. It represents the Virgin with the Child Jesus, having
Saint Michael on her right and Jeanne d'Arc on her left.[2777] It is
of Italian workmanship and very roughly executed. Jeanne's head, which
has disappeared beneath the blows of some hard-pointed instrument,
must have been execrably drawn, if we may judge from the others
remaining on this panel. All four figures are represented with a
scrolled and beaded nimbus, which would have certainly been condemned
by the clerics of Paris and Rouen. And indeed others less strict might
accuse the painter of idolatry when he exalted to the left hand of the
Virgin, to be equal with the Prince of Heavenly H