Melun Diptych

Although the figures are modeled realistically, the mood is otherworldly, described by the art critic Roger Fry as a dreamlike state of sentimentalism.

[4] The Virgin is believed to be an idealized portrait of Agnès Sorel, mistress of King Charles VII, who died two years earlier.

[5] Her costume and physical attributes have been compared to other representations of Sorel, such as another painting by Fouquet in which her dress is very similar to that in the diptych.

It has also been suggested that the woman could be Chevalier's wife, Catherine Bude, over whose tomb the diptych was hung in Notre Dame, Melun.

[2] On the left Étienne Chevalier, the treasurer to King Charles VII of France, kneels in a red robe with his hands in a position of prayer.

His right arm is draped across Chevalier's shoulder while his left hand holds a book and a jagged rock, his representational attribute as he was stoned to death.

[6] Archaeologists have identified the stone as a depiction of a prehistoric human artefact, likely an Acheulean hand axe from c. 160,000–300,000 years ago.

Its red–brown colour is characteristic of flint tools commonly found in northern France and eastern Britain, which Fouquet was probably familiar with.

[9] The original frame was covered in blue velvet with silver and gold embroidery, antique love knots, and pearls.

Fouquet was employed by Charles VII and Louis XI and was called "peintre du roi" meaning painter to the king.

This influence can be seen in the Melun Diptych as it has been suggested that the background of the left panel is an Italian courtyard in empirical perspective, not unlike Jacopo Bellini's method.

In contrast to the Madonna and child panel, which lacks perspective completely, the background behind Chevalier and St. Stephen extends deep into space in a truly Italian style.

Some scholars believe it may have formed part of a triptych of which the third panel would have depicted Chevalier's wife since it was meant to be hung above her tomb.