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 confiscated, and his life in danger, was obliged to fly the country, and died fighting, in the Pope's service, against the Turk.

Of the beauty of Agnes Sorel there can be no doubt, for all contemporary chroniclers and poets tell of it. Even the Pope, Pius the Second, allowed himself to add his tribute of praise to the general homage. Considering that there are so many types of physical beauty, appealing to as many different temperaments, there must have been something rare and remarkable in Agnes to have attracted and held bound all who came in contact with her. We can but conclude that this unanimous judgment could only have been the result of that mysterious union, so illusive, so indefinable, of spiritual with physical beauty. The records of the time merely tell us that she had blue eyes, and fair hair in abundance. The only picture, and this not done from life, by which we can judge her—for the miniatures by Fouquet, at Chantilly, from Etienne Chevalier's Book of Hours, though exquisite in delicacy, are too minute for much characterisation—is, even if we accept it as the original from Fouquet's hand, an overcleaned work in the Museum at Antwerp. This, or the original painting, formed a wing of the so-called diptych painted to adorn the tomb of Etienne Chevalier and his wife in the Cathedral of Melun, the other wing—now in the Royal Museum, Berlin