But one of the most remarkable compositions of the entire series is the Enthronement of the Virgin, a scene which Bossuet describes as follows: “Le ciel aussi bien que la terre a ses triomphes, et l’exaltation de la Sainte Vierge dans le trône que son fils lui destine doit faire un des beaux jours de l’éternité.” And Fouquet does indeed depict this scene in a glow of colour which affords a vivid idea of triumphant festivity. The Virgin, clothed in white, is seated beneath a Gothic canopy to the left of the Trinity. Above her are countless angels and below saints, priests and prophets who are praising God in concert. Anatol Gruyer speaks of this miniature as the most important of all: “What Dante so well described in the Divina Commedia Fouquet painted with masterly hand. It is a painting which may be described as sublime.”
This wonderful series is brought to a close with a representation of La Toussaint.[64] Our Lord, surrounded by angels, is enthroned between the Virgin and the beloved disciple St. John. Below are seated apostles and saints, amongst whom we can again discover Etienne Chevalier clad in a red mantle beside his Patron Saint. On the opposite side kneels his wife, Catherine Buti.
Plate XLVIII.
Photo. Giraudon.
ALL-SAINTS’-DAY.
Jean Fouquet.
Musée Condé.