|One difference in detail seems not to have been noted before -
the tip of a slipper with a rosette is visible coming from
beneath the Fournier Papessa's cope.
The differences between the two Papesse can perhaps be attributed to a desire of the Fournier artist to heighten the dignity of his Papessa:
Fournier's garments are deeply tinged with colour, not plain; her papal triple-tiara and crozier stand out from the background,
and she has episcopal footwear appropriate to her office,
rather than what might be taken to be the rough leather shoe of Bembo's Papessa (if not clearly
a dark fold in the fabric of the cope).
The Fournier artist placed a prominent rosette on the slipper, in order to further draw attention to the detail.
These details suggest that the Fournier Papessa's artist saw the Papessa in a somewhat different way than Bembo understood her.
In line with the idea that some artists
saw a connection between the
Papessa trump and the Papessa Giovanna (Pope Joan),
is the interpretation that the slipper is an allusion to Pope Joan's baby,
which can be seen in contemporary depictions such as those in
illustrations of Boccaccio's popular Famous Women,