It is reasonable to inquire with some misgiving whether the _Très Riches Heures du Duc de Berry_[54], so far surpassing all other artistic creations of its period, are the only record of the labours of Pol de Limbourg and his brothers which has come down to us. This would seem to be almost the case, if we except the _Belles Heures de Jean de Berry_ (now in the possession of Baron Edmond de Rothschild,) which was the _livre de chevet_ of the Duke and is far smaller in dimensions than the _Très Riches Heures_. We can trace in the _Bible Moralisée_ (_MS. Français_ 166 Bibl. Nat.) miniatures strongly recalling the style of the Limbourgs, and if we proceed to compare some of its later pages, supposed to have been the work of the young Fouquet, with similar subjects as in the Chantilly Codex a distinct resemblance can be observed. For instance a representation of _Paradise_ in the _Bible Moralisée_ closely resembles the Limbourgs' treatment of the same subject in the _Très Riches Heures_. A few pages farther on the same scene appears, attributed once more and not without reason to Fouquet--probably an early work--which shows the decided influence of his predecessors and tends to suggest that Jean Fouquet of Tours must have been a follower of Pol de Limbourg. At any rate his taste for landscape-painting is already in evidence here, and from the first he appears to have clearly grasped the fact that his predecessors' greatness lay very largely in this branch of the art of painting, so that he specially laid himself out to make it his own also. The banks of the Loire and the country surrounding his native town of Tours were his favourite subjects, and his treatment of these provoked the fervent admiration of his Italian friend Florio. [Illustration: Plate XL. Photo. Giraudon. ETIENNE CHEVALIER AND HIS PATRON SAINT KNEELING BEFORE THE VIRGIN. Jean Fouquet. Musée Condé. _To face plate XLI._]