The second miniature in our manuscript, surrounded by a plain, flat, gold frame, depicts the queen kneeling on a lavish damask or rich, deep-pile burgundy brocade hassock ending in gold tassels alongside a kneeler upholstered in the same fabric, i.e. silk velvet patterned with pomegranate motifs – which usually represent the union of either, as in this instance, the kingdom of France and the duchy of Brittany, or the Church. On the kneeler lies a book, possibly a book of hours. The queen looks at the painting on the opposite folio showing Christ’s dead body lying on Our Lady’s lap. Anne of Brittany’s garb is French in style i.e. a long-sleeved blouse or gown made of Dutch cloth with a richly embroidered collar band that can be seen under the square neckline of this literally French-style dress.
The second miniature in our manuscript, surrounded by a plain, flat, gold frame, depicts the queen kneeling on a lavish damask or rich, deep-pile burgundy brocade hassock ending in gold tassels alongside a kneeler upholstered in the same fabric, i.e. silk velvet patterned with pomegranate motifs – which usually represent the union of either, as in this instance, the kingdom of France and the duchy of Brittany, or the Church. On the kneeler lies a book, possibly a book of hours. The queen looks at the painting on the opposite folio showing Christ’s dead body lying on Our Lady’s lap. Anne of Brittany’s garb is French in style i.e. a long-sleeved blouse or gown made of Dutch cloth with a richly embroidered collar band that can be seen under the square neckline of this literally French-style dress.
