AGNES SOREL
as paramount, was on the wane. Hence spirit, which had so long been restrained, and which is ever in conflict with form, again prevailed, and mankind discovered that a loving Mother had taken the place of a stately Queen in the Heavens. This attitude towards the Virgin is revealed in the miracles attributed to her agency. It is also shown in one of the greatest works of piety of the thirteenth century, the Meditations on the Life of Jesus Christ,[1] which, through the medium of the "Mysteries," introduced into sacred pictorial art some of its most dramatic and appealing scenes. Where is there to be found anything more tenderly human than the incident of "Christ taking leave of His Mother" before His journey to Jerusalem to consummate His mission?
This note of the womanly element in its fairest form, gradually insinuating itself more and more, and permeating life, art, and literature, is the key to the right understanding of the position which woman had attained in the civilised world.
Before turning our special attention to Agnes Sorel, let us recall the condition of France at the beginning of the fifteenth century.
When the lunatic King Charles the Sixth died in 1422, and Charles, his son, at the age of nineteen, succeeded under the title of "King
- ↑ These meditations, attributed in the past, and by some even now, to St. Bonaventura, are considered by other scholars to be of Cistercian inspiration. P. Perdrizet, La Vierge de Miséricorde, 1908, p. 15.
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