Although this composition is otherwise entirely symbolical, a body of French soldiers clad in armour of that period, with long staves, are introduced striking down the angels as they fall from above. This wonderful little design, although not more than 10 inches wide, is so full of action that it has been compared to the Signorelli frescoes at Orvieto; and this not without reason, for these miniaturists have, even on so tiny a scale, produced very much the same forcible effect.
In direct contrast to this awe-inspiring composition is The Coronation of the Virgin[51] shown here with a fine combination of grandeur and elegance in style. Our Lady’s mantle is rainbow-hued and her dress of pure white is powdered with golden fleur-de-lys. Angels bearing her crown descend from above, whilst Our Lord Himself raises His hands in blessing. On the right are the Apostles and a group of female Saints, one of whom is said to be a portrait of Oursine herself. On the left is a bishop attended by monks. This miniature seems to be a prototype of a painting by Enguerrand Charonton, executed about half a century later and now at Villeneuve les Avignon.
Plate XXXVIII.
Photo. Giraudon.
THE FALL OF THE ANGELS.
Pol de Limbourg and his Brothers
From the “Très Riches Heures du Duc de Berry.”