Dr Tracy Adams
Few women of the middle ages can equal Agnès Sorel (ca. 1426-50), the beautiful mistress of King Charles VII of France (1403-61), when it comes to star power. She is a fixture in popular histories, novels, documentaries, and, most recently, internet fan sites, Instagram, Pinterest, Tumblr, and Facebook posts. But her celebrity has little to do with the facts that can be gleaned from contemporary primary sources. It results rather from her early death, memorialised in Jean Fouquet’s donor portrait, the Melun diptych. Although the painting cannot be considered a portrait of Agnès in the modern sense, the lovely face of the Virgin depicted on the right panel of the diptych is traditionally believed to bear Agnès’s features. Commissioned by royal secretary Étienne Chevalier shortly after Agnès’s untimely demise from a massive overdose of mercury, the diptych remained in the Collegiate Church of Notre Dame of Melun until the panels were separated in the early nineteenth century: the right panel went to Antwerp’s Koninklijk Museum voor Schone Kunsten, while the left panel, which depicts Chevalier and his patron saint, went to Berlin’s Gemäldegalerie. Based on her association with the iconic Melun Virgin, bolstered by a tradition that proclaimed her as France’s saviour, Agnès became the founding mother of the genealogy of French royal mistresses and that tradition’s ideal.
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