The Virgin and Child from the Augustins Museum in Toulouse, also known as Nostre Dame de Grasse due to the inscription on its pedestal, is a Gothic sculpture.

Positioned at the intersection of two eras, it bears the influence of late medieval art while foreshadowing a refined and mannerist Renaissance.

Although recent research has shed light on questions surrounding the statue, its author, place of origin, and dates of creation remain unclear.

The combination of blue, white, and gold for the Virgin's attire aligns perfectly with medieval tradition, especially in the International Gothic style.

There is a variety of textural effects, including intentional transparency created by glazes, as well as large matte areas and both thick and thin layers.

The skin tone, with its subtle color variations (ranging from pale brown around the nails to a more intense pink), results from precise and meticulous work.

However, the presence of gilding on the reverse side of the fur of the coat is a specific feature of Nostre Dame de Grasse.

The study of this polychromy revealed an artist's change of mind concerning two elements: the reverse side of the book's shirt and the upper molding of the base.

It is evident that the sculptor exhibited exceptional skill in this work, as demonstrated by the deep carving of the limestone to detach the Virgin's right arm and emphasize the volume of the clothing folds.

On the garments, the trace of the ripe is still visible, leaving a regularly striated surface characteristic of Toulouse medieval sculpture.

The Virgin is depicted as a slender young girl with a pale complexion and wavy golden hair, adorned with blue eyes.

She wears a blue dress, fitted at the upper body, and a white/gray cloak with a golden reverse serving as a veil, treated in a naturalistic manner as the color sought to imitate vair.

In some less visible parts of the border and lining of the cloak, gilding has been replaced by a silver/gold alloy covered with a yellow glaze, indicating an economical approach using a technique known in Germany in the late Middle Ages.

Positioned on the molded base of the sculpture, the shield, surrounded by still-visible curly cabbage leaves, was deliberately destroyed, most likely during the revolutionary period to eliminate the coat of arms of the commissioner.