The marble effigy of Agnès Sorel depicts the deceased reclining in prayer, her hands joined and her head supported by angelic attendants. The figure is carved with a soft naturalism, particularly in the modelling of the face and hands, and conveys a sense of calm repose rather than penitential austerity. The angels, closely engaged with the body, emphasise intercession and the hope of salvation.

Although Agnès Sorel died in 1450, the effigy is generally dated to the early sixteenth century and is attributed to Michel Colombe ⓘ. The style reflects the transition from late Gothic sculpture to the early French Renaissance, combining devotional restraint with a new sensitivity to the human form. The work is comparable in handling and conception to Colombe’s securely attributed court commissions in the Loire Valley.

Historical context

Agnès was the mistress of Charles VII of France, and gave birth to several daughters by the king. Her daughter Charlotte de Valois married Jacques de Brézé, but was killed by him after he discovered her with one of his huntsmen. Their son, Louis de Brézé, rose to high office as Grand Sénéchal of Normandy and Grand Veneur of France, and married Diane de Poitiers, who later became the mistress of Henry II of France.