From The "Très Riches Heures du Duc de Berry." _To face page 174_.] The _Procession of the Magi_, again, is an example of the Limbourgs' facility in applying new forms to conventional conceptions; and it is worth observing how anxious they evidently were to study the special wishes of their patron the Duke. We learn from the _Inventory_ of this Prince that he was an ardent collector of medals, and that he had bought from a Florentine dealer a medal of the _Emperor Constantine_. The figure of the most prominent of these three Magi on the left of the scene appears to have been copied from this very medal.[49] In the background may be noticed the Cathedral of Notre Dame de Paris and the Sainte Chapelle. Again two bears are introduced in allusion to the Ducal device. In the centre of the picture is a tabernacle of pure French Gothic style adorned with figures of prophets and saints. These tabernacles were used in the fourteenth century (the Duc d'Aumale observes), as halting-places between Paris and Saint-Denis and were called _Montjoies_. The _Fall of the Rebel Angels_[50] which comes next is one of the loveliest pages of the series. God the Father, surrounded by Cherubim and Seraphim, is enthroned above the golden rays of the Sun. From amongst the ranks of the Angels--who are seated around in a semicircle--the rebels are being cast headlong to Earth. As Lucifer in his fall strikes his handsome head and diadem upon the ground fire bursts from him, producing a marvellous colour-effect of gold, blue and green. 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. [Illustration: Plate XXXVIII. Photo. Giraudon. THE FALL OF THE ANGELS. Pol de Limbourg and his Brothers From the "Très Riches Heures du Duc de Berry." _To face page 176._]