In Appendix IV, at the end of this work, will be found the short article in which I point out the forgeries which, for the most part, are already old, but had not been previously denounced.

I have limited my researches to the fifteenth century, leaving to others the task of studying those pictures of the Renaissance in which the Maid appears decked out in the German fashion, with the plumed hat and slashed doubtlet of a Saxon ritter or a Swiss mercenary.[144] I cannot say who served as a prototype for these portraits, but they closely resemble the woman accompanying the mercenaries in _La Danse des morts_, which Nicholas Manuel painted at Berne, on the wall of the Dominican Monastery, between 1515 and 1521.[145] In _le Grand Siecle_ Jeanne d'Arc becomes Clorinda, Minerva, Bellona in ballet costume.[146] [Footnote 144: See the picture of 1581, preserved in the Orleans Museum and reproduced in Wallon's _Jeanne d'Arc_, p.

466.] [Footnote 145: _La Danse des Morts_, painted at Berne between 1515 and 1520 by Nicolas Manuel, lithographed by Guillaume Stettler, s.d.

in folio oblong, engraving xx.

M.Salomon Reinach believes this prototype may be found in the Judiths of Cranach.] [Footnote 146: Lanery d'Arc, _Le livre d'Or de Jeanne d'Arc_, Iconography, Nos.