volutes. The towers conceal their protective nature beneath festive trappings, redolent of fabulous adventures in the forests of Arthurian legends and suggestive of the presence of God in His creation. As François Cali put it: "These extravagant towers are a dream landscape with constellations of canopies, pinnacles, gables and arrows, with their crockets fluttering against the light." In the middle of the grape pickers, a character is showing his behind. This intentionally grotesque touch contrasts with the extraordinary elegance of the château. Jean Colombe's peasants lack the dignity they have in the other miniatures. Anatomical Zodiac Man: Folio 14 The Anatomical Zodiac Man concludes the calendar. The twelve signs of the zodiac appear over the corresponding anatomical regions. It contains Berry's coat of arms of three fleurs-de-lis on a blue background. Such an image appears in no other book of hours, but astrology was one of Berry's interests, and several works on the subject were in Berry's library. The two figures are sometimes regarded as male and (looking out at the viewer) female, but Pognon finds both "strangely hermaphrodite", and intentionally so. Readings from the Gospels: Folios 17–19 Prayers to the Virgin: Folios 22–25 Fall of Man: Folio 25 This part is represented in four stages within the same miniature. The Fall of Man is thought to have been by Jean de Limbourg and was to belong to a series of miniatures not originally intended for the Très Riches Heures. Hours of the Virgin Matins: Folios 26–60 Illustrated with a cycle of the Life of the Virgin, with the page showing the Rest on the Flight to Egypt by Jean Colombe. Psalms: Folio 61–63 The illustrations for the psalms employ a literal interpretation of the text that is rare for the late medieval period (Manion 1995). The Penitential Psalms: Folio 64–71 This section begins with the "Fall of the Angels", which bears a lot of similarity to a panel painting by a Sienese painter dating from 1340 to 1348, now at the Louvre (Longnon, Cazelles and Meiss 1969). The Limbourgs may have known this work. This miniature has been identified as not originally intended for the Très Riches Heures. The final opening has a double-page image of the Procession of Saint Gregory that surrounds the text columns, with depictions of the skyline of Rome. Hours of the Cross: Folios 75–78 In this section Christ is depicted as the Man of