We ought not in this place to forget the influence brought into French art through the marriage of the murdered Duke of Orleans with Valentina of Milan, not only directly through books and artists, but by the hereditary transmission of that love of art and beautiful things for which Valentina and her family were well known. It was in art, letters, and books that the widowed princess sought such consolation as was possible.[56] In her best days she had united in herself a seductive grace of carriage, beauty of person, and dignity of rank, which made her the ornament of the French Court. She was almost the only one about the unfortunate Charles VI. who could influence him in his moments of mental aberration. Coming from the luxury of the most splendid court in Italy, she brought into France the most refined taste in matters connected with the arts. The inventory of her jewels at the time of her marriage includes three Books of Hours, three German MSS., and a volume called _Mandavilla_. Like her husband she was an employer both of copyists and illuminators, and before her death had collected at her Castle of Blois a very fine collection of beautiful books. [56] She assumed as her impresa the _chantepleure_, with the sorrowful motto: "Plus ne m'est rien: rien ne m'est plus." Her son Charles, the poet, inherited her tastes, and added to her collections. We are not surprised, therefore, to find her grandson Louis, afterwards Louis XII., supporting the great artistic movement which he and his Queen Anne of Brittany helped so effectually to identify with the Court of France. About the time that we hear the last of Fouquet we have the earliest notices of another illuminator who plays an important part in the illuminations executed for Anne of Brittany, the noble and gifted Queen of France, and wife, first of Charles VIII. and then of his successor, Louis XII.