ADVERTISEMENT.
ILLUMINATED ILLUSTRATIONS TO FROISSART.
The present Volume completes the selection of Pictures made from the two
volumes of the MS. in the British Museum. As these volumes, however,
consist only of the Fourth Book of Froissart, none of the Illustrations
have reference to any of the first three Books of the history. It has
been determined, therefore, at the earnest solicitation of very many of
the Subscribers to the present series, to publish a selection from the
first, second and third Books, contained in the celebrated MS. in the
Bibliothèque Royale at Paris, to correspond in extent and price with
that now completed.
By this arrangement, the entire Chronicles will be illustrated; and as
the drawings in the Paris MS. are, in many respects, very superior to
those in the two volumes at the Museum, it is hoped that the publication
of the additional twelve Numbers will give general satisfaction.
The first Number from the Paris MS. will be published on the first of
January, price 3_s._ 6_d._
_December 1st, 1843._
ILLUMINATED
ILLUSTRATIONS OF FROISSART.
[Illustration:
ILLUMINATIONS
FROM THE
MS.
FROISSART
IN THE
BRITISH MUSEUM
]
ILLUMINATED
ILLUSTRATIONS OF FROISSART.
SELECTED FROM
The MS.
IN THE BRITISH MUSEUM.
BY H. N. HUMPHREYS, ESQ.
LONDON:
WILLIAM SMITH, 113, FLEET STREET.
MDCCCXLIV.
LONDON:
BRADBURY AND EVANS, PRINTERS, WHITEFRIARS
ADVERTISEMENT.
The idea of publishing these illuminations was suggested by the great
success which has attended the reprint of the Chronicles of Monstrelet
and Froissart; the extensive sale of which books bears strong testimony
to the searching spirit of inquiry now abroad. We are no longer content
to read our early history through the filtered medium of a compilation,
but seek it in the vivid pages of the chroniclers, who drew from the
life, and sketched off in simple and quaint, but earnest language, the
stirring panorama of their times. But the pleasure of reading such an
historian as Froissart, in an ordinary printed book, is small when
compared with that of reading him in one of the curious manuscripts of
his own time.
To unclose the gilded clasps of one of those ponderous velvet-bound
volumes, to turn over the crisp vellum, and read the story of those
exciting times traced in quaint Gothic characters by careful clerks; but
above all to admire the curious and elaborate borderings of the
illuminated pages, and dwell on the miniature pictures, wrought with the
greatest care and beauty by the most skilful contemporary limners, to
embody more tangibly the narration of the author, is indeed a
pleasure;--yet one which but few can enjoy. To afford that enjoyment to
the many, and place before them some of the most interesting of these
rare illuminations, is the object of the present publication.
The British Museum contains a magnificent MS. of Froissart, profusely
illuminated with such miniature pictures. This MS. came into the Museum
with the Harleian Collection, but how it found its way into that
collection is unknown; we possess, however, only two of the volumes, the
other two being in the Bibliothèque Royale of Paris. The work appears to
be one of Flemish art, probably executed by some Flemish artist resident
in Paris, as the public buildings in Paris are very correctly
delineated, whilst those of other places are frequently altogether
imaginary. It seems likely that the work was executed for Philip De
Commines the historian, as it was evidently produced in his time, and as
the arms of De Commines frequently occur in the ornamental borderings in
the way it was usual to introduce those of the person for whom such a
book was illuminated. The MS. is supposed to have been written between
the years 1460 and 1480, very shortly after the time of Froissart; so
that, though it is true that artists of that time painted all costumes
from those of their own day, yet, as the fashions did not change so
rapidly then as now, we may fairly imagine that we see the heroes and
worthies of Froissart paraded before us in the very dresses which they
wore; their glittering and complicated plate armour, their embroidered
surcoats, emblazoned banners, and all the gorgeous paraphernalia of
chivalry.
In these pictures we see them at their tournaments, exhibiting their
well-trained horsemanship, their strength and skill in arms,--in their
wars we see them in the more earnest exercise of their reckless valour;
we see their vast engines of warfare which preceded cannon; and the
first rude cannon of wood hooped with iron--we see also their frail
ships, in which, without fear, the daring spirits of those times trusted
themselves recklessly to the treacherous ocean. We see the burghers in
their towns, and the lords in their castles; we see them in the intimacy
of their domestic life and habits; we see the very patterns of the
hangings of their rooms, and every minute incident of their household
arrangements, their banquets and their festivals, represented by an
artist of no mean skill; and when we consider that these illuminations
were executed before Raphael was born, we cannot (with all their faults
of perspective) but be astonished at their beauty and life-like
accuracy, and frequently at the fine arrangement of drapery, and
beautiful distribution of colour.
The present illuminations, copied from the precious MS. above alluded
to, will be made as near fac-similes as possible, without any attempt at
correction, or alteration in the drawing, so as to show the true spirit
of the Gothic artist, and exhibit the state of art at the period. They
are also the same size as the originals; yet so arranged, by
occasionally sacrificing a little margin, that our subscribers may bind
them up with the recent edition of Froissart (now the only one in
print), and so possess a book nearly as interesting as the original MS.
itself.
The ornamental letters given on the title-page, as well as the border in
which are the arms of De Commines, are taken from the MS. referred to.
LIST OF PLATES,
WITH
REFERENCES TO SMITH’S EDITION OF “FROISSART,” IN TWO VOLUMES.
PLATE VOL.PAGE
I. THE CORONATION OF POPE BONIFACE IX. II. 426
II. MARRIAGE OF KING LOUIS OF SICILY TO THE DAUGHTER OF
KING PEDRO OF ARRAGON II. 406
III. PROCLAMATION OF THE TRUCE BETWEEN RICHARD II. OF ENGLAND AND
CHARLES VI. OF FRANCE II. 395
IV. EXPEDITION OF THE FRENCH AND ENGLISH TO THE COAST OF AFRICA, AT
THE REQUEST OF THE GENOESE II. 466
V. THE RAISING OF THE SIEGE OF THE STRONG TOWN OF AFRICA II. 482
VI. TOURNAMENT AT ST. INGLEVERE, NEAR CALAIS II. 434
VII. ATTACK ON SIR OLIVER DE CLISSON II. 521
VIII. MEETING OF CHARLES VI. AND DUKE OF BRITTANY AT TOURS II. 507
IX. SURRENDER AND RE-TAKING OF THE CASTLE OF VENTADOUR II. 314
X. THE GREAT ASSAULT UPON THE TOWN OF AFRICA II. 472
XI. JOURNEY OF CHARLES VI. AND THE DUKE OF TOURAINE FROM MONTPELIER
TO PARIS II. 424
XII. SIR PETER DE CRAON RECEIVED BY THE DUKE OF BRITTANY II. 527
XIII. THE SUDDEN DEATH OF COUNT GASTON DE FOIX II. 493
XIV. THE KING OF HUNGARY IN COUNCIL WITH HIS LORDS AND
THOSE OF FRANCE II. 602
XV. THE DUKES OF BURGUNDY AND BERRI IN COUNCIL II. 536
XVI. THE EMPEROR OF GERMANY AND THE KING OF FRANCE IN COUNCIL II. 659
XVII. SIR JOHN FROISSART PRESENTING HIS BOOK TO RICHARD II. 577
XVIII. INTERVIEW OF RICHARD WITH THE DUKE OF GLOUCESTER AT THE CASTLE
OF PLESHY II. 644
XIX. THE RANSOM PAID TO BAJAZET FOR THE COUNT DE NEVERS, ETC. II. 648
XX. THE ARREST OF THE DUKE OF GLOUCESTER II. 644
XXI. RICHARD SETTING OUT ON HIS EXPEDITION TO IRELAND II. 567
XXII. THE VISION OF ROBERT L’ERMITE II. 584
XXIII. THE LIBERATION OF THE LORD DE LA RIVIERE II. 588
XXIV. CORONATION OF HENRY IV. II. 698
XXV. MEETING OF THE ARCHBISHOP OF CANTERBURY WITH THE EARL OF DERBY
AT PARIS II. 684
XXVI. WILLIAM OF HAINAULT SETTING OUT ON HIS
EXPEDITION AGAINST FRIESLAND II. 612
XXVII. LANDING OF THE LADY DE COUCY AT BOULOGNE II. 701
XXVIII. DEATH OF POPE CLEMENT OF AVIGNON II. 564
XXIX. THE KING OF FRANCE RECEIVING THE INTELLIGENCE OF THE DEFEAT IN
TURKEY II. 628
XXX. THE DUKE OF GLOUCESTER AND SIR JOHN LACKINGAY II. 636
XXXI. DEATH OF ANNE OF BOHEMIA II. 566
XXXII. DEATH OF EVAN DE FOIX II. 551
XXXIII. DUCHESS OF ORLEANS QUITTING PARIS II. 633
XXXIV. RECONCILIATION OF SIR OLIVER DE CLISSON AND
THE DUKE OF BRITTANY II. 589
XXXV. JEHAN DE VARENNES PREACHING II. 565
XXXVI. THE FUNERAL OF RICHARD II. 708
[Illustration: The Coronation of Pope Boniface at Rome after the death
of Urban VIᵗʰ.]
PLATE I.
THE CORONATION OF POPE BONIFACE IX.
Pope Clement of Avignon, on hearing of the death of Urban VI. of Rome,
assembled a conclave of Cardinals of his party, and strong hopes were
entertained that the schism in the Church would be put an end to;
nevertheless the Cardinals at Rome immediately elected Perrin de
Tomacelli, Cardinal of Naples, who was crowned with great solemnity in
October 1389, and took the name and title of Boniface IX., Clement
continuing to act as Pope at Avignon. The composition of this
illumination is arranged with great simplicity; the faces are of
appropriate character and expression, and from their great variety and
carefully varied features, it appears probable that some of them may be
actual portraits of the individuals represented. It is coloured with
exceeding richness; the flow and disposition of some of the drapery is
almost equal to Albert Durer; and the linear perspective is pretty
nearly correct.
[Illustration: The Marriage of King Louis son of the Duke of Anjou to
the Daughter of King Peter of Arragon.]
PLATE II.
THE MARRIAGE OF KING LOUIS OF SICILY, SON OF THE DUKE OF ANJOU, TO THE
DAUGHTER OF KING PEDRO OF ARRAGON.
This is one of the most carefully executed pictures in the volume; and
the arrangement of the figures at the sides, combined with the
impressive and characteristic simplicity of the central group, could
scarcely be surpassed by modern artists; indeed, in symmetrical
arrangement, they appear to be borrowing ideas from these illuminations
of the middle ages, as may be perceived in some recent modern pictures.
The account of this marriage is omitted in some of the MSS. of
Froissart.
[Illustration: Proclamation of the renewal of the truce between the
Kings of France and England, after the King of France’s recovery.]
PLATE III.
THE PROCLAMATION OF THE TRUCE BETWEEN RICHARD II. OF ENGLAND AND CHARLES
VI. OF FRANCE.
This truce (long delayed on account of the temporary insanity and
sickness of the French king) between Richard II. of England and Charles
VI. of France, was agreed should last from Michaelmas to St. John
Baptist’s day, 1392, and one year longer. The drawing evidently
represents a French town, as the provincial towns of France, even
earlier than that period, had lofty houses of stone, many of which
endure perfect to the present day, whilst in England the common houses
of the towns of the same period were mostly built of timber and plaster,
and were of very rude construction. This plate is also interesting on
account of exhibiting so accurately the dress and general appearance of
French citizens of the fourteenth century.
[Illustration: The expedition of the French and English to the coast of
Africa, at the request of the Genoese.]
PLATE IV.
THE EXPEDITION OF THE FRENCH AND ENGLISH TO THE COAST OF AFRICA, AT THE
REQUEST OF THE GENOESE.
The Genoese, whose trade and coasts had been much annoyed by the
piratical excursions of African corsairs, determined to attack them in
their stronghold, a town called Africa, about seventy miles from Tunis,
subsequently destroyed by Andrea Doria. In order to give effect to the
expedition, the Genoese invited knights of reputation from France,
England, and other countries, to take charge of it; furnishing them with
vessels and provisions, and several thousand Genoese crossbowmen and
infantry free of cost. The proposition being readily embraced by many
French and English knights of rank, the command was assumed by the Duke
de Bourbon, the uncle of the King of France, and they sailed from Genoa
on St. John Baptist’s Day, 1390; and Froissart says, “It was a beautiful
sight to view this fleet, with the emblazoned banners of the different
lords fluttering in the wind, and to hear the minstrels and other
musicians sounding their pipes, clarions, and trumpets, whose sounds
were re-echoed back by the sea.” They re-assembled at the island of
Commino, after having been dispersed in a great storm; and the weather
being fine, the sea calm, and the coast of Africa not far distant, many
advanced in rowing-boats. Froissart continues. “It was a pleasure to see
the rowers force their way through the smooth surface of the sea, which
seemed to delight in bearing these Christians to the shores of the
infidels;” and, “it was a fine sight to view their various banners and
pennons fluttering with gentle gales, and glittering in the sun.” This
appears to be the moment depicted by the illuminator. The personage in
the rowing-boat in the foreground appears to be the Duke de Bourbon. In
the large vessel are several French knights, with probably the Count
d’Eu in the centre; and in the vessel partly seen on the left is Henry
de Beaufort (a natural son of the Duke of Lancaster), who was in this
expedition attended by many knights and squires of rank. Although the
perspective in this picture is rather barbarous, and its composition
fearfully inartificial, it has much interest if not merit of detail: it
displays the manner of exposing the emblazoned shields of the knights on
the sides of their vessels, and many other particulars interesting to
the antiquary, and the artist has displayed considerable discrimination
between the regular and more refined features of the knights and
gentlemen so comfortably placed within the vessels, and the ignoble
expression of the poor rowers, so barbarously exposed in an open
framework outside the boat of the Duke de Bourbon.
[Illustration: The raising of the Siege of the strong Town of Africa,
and the return of the European Knights.]
PLATE V.
THE RAISING OF THE SIEGE OF THE STRONG TOWN OF AFRICA, AND THE RETURN OF
THE EUROPEAN KNIGHTS.
The siege of Africa having failed, as it was thought partly in
consequence of the pride and obstinacy of the Duke de Bourbon, and the
army having fruitlessly remained sixty days before the place, suffering
much loss, as well by the heat of the weather as in an attempt to take
the town by storm, it was determined that they should re-imbark, and
return to Europe, which they did.
In the picture, the Duke de Bourbon, in gilt armour, is seen following
his standard-bearer into a boat; in the middle distance is the camp,
about to be broken up; and farther off is seen the town, of course a
mere imagination of the Flemish artist, for it represents all the
characteristics of a Flemish town of the period. It is, however,
beautifully pencilled, and reminds one of backgrounds of Flemish
pictures of the best period.
[Illustration: Tournament held at Sᵗ. Inglevere near Calais where three
French Knights defend the lists for thirty days against all comers from
England, and elsewhere.]
PLATE VI.
TOURNAMENT HELD AT ST. INGLEVERE, NEAR CALAIS, WHEN THREE FRENCH KNIGHTS
DEFENDED THE LISTS FOR THIRTY DAYS, AGAINST ALL COMERS FROM ENGLAND AND
ELSEWHERE.
Sir John Holland, half brother to king Richard the Second, and many
English knights, went over to Calais to accept the challenge of the
French knights at this tournament. Three rich vermilion-coloured tents
were pitched near to the lists, and in front of which were suspended two
targets, for peace or war, emblazoned with the arms of each lord. It was
ordered that such as were desirous of performing any deed of arms,
should send to or have touched one or both of these targets according to
their pleasure, and they would be tilted with according to their
request. The following is Froissart’s account of one of the encounters,
each of which he describes minutely.
“Sir Henry Beaumont” (an Englishman) “then came forward, and sent to
have the target of Sir Boucicaut” (one of the French knights) “touched,
who was instantly ready to reply to the call, having not dismounted from
the tilts with Lord Clifford. The Lord Beaumont did not manage his lance
well, and hit Boucicaut on the side, but Sir Boucicaut struck him so
full in the middle of his shield, that it drove him to the ground, and
continued his course. Lord Beaumont was raised up by his attendant and
remounted. The Lord de Saimpi” (another of the French knights) “then
presented himself, and they tilted two courses very handsomely, without
hurt to either.”
The king of France was present in disguise at this tournament, and
returned each evening after the tilting to an inn at Marquise; the
English returned each evening to Calais; while the three French knights
and their attendants were lodged at the convent of St. Inglevere.
This illumination shows extremely well the disposition of the lists, &c.
&c., and the bearing of the knights in running a course.
[Illustration: The attack on Sir Oliver de Clisson by the followers of
Sir Peter de Craon.]
PLATE VII.
THE ATTACK ON SIR OLIVER DE CLISSON, BY THE FOLLOWERS OF SIR PETER DE
CRAON.
Sir Peter de Craon having been disgraced by King Charles VI. and his
brother the Duke of Touraine, and banished the court of France, imagined
Sir Oliver de Clisson to be the remote cause of his disfavour. To
revenge himself, therefore, he caused many men-at-arms to conceal
themselves in his hôtel at Paris; and having been privately informed of
all the movements of Sir Oliver, who supped with the King on the day of
the feast of the Holy Sacrament, and remained the last of the party, he
attacked him on his way home with his men, and would have cruelly
murdered him, but for a lucky accident that saved his life. Having
received a severe blow on the back of his head that struck him senseless
from his horse, he fell against the door of a baker, who was already up
to attend to his bread, and hearing the noise, had slightly opened the
door, which the weight of Sir Oliver now threw completely back, and he
fell into the shop. The horsemen, thinking they had done their work
effectually, now rode off, and thus Sir Oliver escaped, though
desperately wounded. The King was much affected on hearing of the
attempted murder of Sir Oliver, who was High Constable of France, and
went immediately in his night-dress and slippers to visit him, for it
was very near the hôtel St. Pol, and the King was not yet in bed when
news of the event reached him. Sir Peter, though pursued immediately,
escaped into Spain, and eventually he was again received into favour,
and Sir Oliver fell into disgrace.
The artist has represented the hôtel St. Pol in the distance, adorned
with niches and bronze statues, which, if not a true representation of
the building, is interesting, as showing that such decorations were not
unusual in the exterior architecture of houses of consequence at that
period.
[Illustration: The meeting of Charles VIᵗʰ of France and the Duke of
Brittany at Tours]
PLATE VIII.
THE MEETING OF CHARLES VI. OF FRANCE, AND THE DUKE OF BRITTANY AT TOURS.
Misunderstandings having long existed between the King (Charles VI.) of
France and the Duke of Brittany, and being much increased by the
protection afforded by the Duke to Sir Peter de Craon, many feared that
other powerful Lords might follow his rebellious example, and the
supremacy of the Crown, by degrees, be lost. It was, therefore,
determined to invite the Duke to a conference with the King at Tours,
which, after some difficulty, was effected; and though much bitterness
was shown on both sides during the discussion, all disputes were
eventually adjusted, and a general good understanding secured, by the
proposal of a marriage between the son of the Duke of Brittany and a
daughter of the King of France; and also between a son of the Lord of
Blois and a daughter of the Duke of Brittany.
This illumination is among the best in the volume; the colours are
vivid, and the gold enrichments managed with good effect; the moment
represented is, doubtless, the first meeting of the Duke and the King,
the former kneeling, (having removed his coronet), in token of homage.
The two personages on the right are the Dukes of Burgundy and Berri, the
King’s uncles. The introduction of the Pages of the Duke of Brittany in
the foreground is managed with good effect; and the design of the
apartment, with its tapestries, &c. is very interesting, as exhibiting a
system of colouring, in which the ceiling is the darkest feature, and
the floor the lightest: a principle just resuscitated with great effect
by some of our leading architects.
[Illustration: The retaking and surrender of the strong Castle of
Ventadour.]
PLATE IX.
THE SURRENDER AND RE-TAKING OF THE STRONG CASTLE OF VENTADOUR[1].
This subject is interesting, as showing pretty accurately the
arrangement of the interior works of a fortified castle of the
fourteenth century, and the manner of taking possession of such a place
by an armed force.
The circumstances connected with the taking of this fortress by the
troops of the Duke de Berri, are briefly as follows.
The wars between the French and English, which devastated a large
portion of France during part of the fourteenth century, were aggravated
in their ruinous effects upon the people by the Free Companies, a sort
of land privateers who, under pretext of belonging to one or other
party, pillaged small towns, captured castles when insufficiently
defended, and, in short, preyed recklessly upon the defenceless; being,
in fact, bands of robbers.
Geoffrey Tête-noire, one of these Free Companions, by the treachery of a
servant, gained possession of the castle of Ventadour, in Auvergne,
belonging to the Count de Montpensier, which, from its strong position
among the mountains, was deemed at that time impregnable by force;
indeed, it appears that it was so, for Geoffrey Tête-noire held it till
his death, defeating every attempt to gain it by force, and refusing
every offer to buy it with money; he considered it as his own
inheritance, levying contributions on all the surrounding country, which
enabled him to live in great state and plenty. He commenced his
passports and treaties of composition with “Geoffrey Tête-noire, duke of
Ventadour, count of Limousin, sovereign lord and commander of all the
captains in Auvergne, Rouergue, and Limousin.”
The nephews of Geoffrey, Alleyne and Peter Roux, succeeded their uncle
in possession of the castle; but the Duke de Berri, who had purchased it
of the Montpensier family, determined to obtain possession, and put an
end to the dominion of these freebooters. After many fruitless attempts,
by force and negociation, Sir William le Boutellier, with Sir John
Bonne-lance, and others, formed a close siege, surrounding the castle
with block-houses, &c. &c. But all attempts might have been vain but for
the over-cunning of the nephews, who, offering to surrender the place
for ten thousand francs, if the two knights would bring the money into
the court-yard of the castle, had concealed a body of armed men in a
tower near the entrance-gate, to seize them when they should be off
their guard.
The knights brought the money, but, having suspicions, had concealed a
body of horse, during the night, within a short distance of the
entrance, and soon perceiving that treachery was intended, they, as
Froissart says, “made a signe to him who bore the horn to sound for
their ambuscade;” these, putting spurs to their horses, galloped into
the castle, the gate being open, and the nephews were instantly arrested
in the king’s name.
The tower above-mentioned was found filled with armed men, who confessed
the purport of their concealment there. The intended treachery of
Alleyne and Peter was thus proved beyond doubt, and they were eventually
tried, and publicly executed. The castle had been in the possession of
Geoffry and his nephews above 15 years, and was regained about 1390.
The moment selected by the Illuminator appears to be that, when, after
the arrest of Alleyne and his brother, the tower near the gate was
opened, and the men-at-arms came from their ambush confessing the
intended treachery of the brothers, and begging for mercy, as is
minutely related by Froissart. A standard-bearer is seen planting the
standard of the Duke de Berri over the gate-tower, and calling by sound
of horn the besieging troops, who are seen entering in an orderly manner
in the foreground. It may, perhaps, represent the calling of Sir
William’s ambuscade of cavalry, but the former view accords best with
the arrangement of the picture, and I have no doubt but that was the
intention of the artist.
[Illustration: The attack on the Town of Africa.]
PLATE X.
THE GREAT ASSAULT UPON THE TOWN OF AFRICA.
During the sixty-one days that the siege lasted, many were the
skirmishes and encounters before the town and at the barriers; but the
principal assault occurred in consequence of a challenge having been
sent by ten Saracens to meet ten Christians in combat, between the town
and the camp. Ten knights, among whom was Sir John Russel, an
Englishman, having accepted the challenge, went forth to the ground of
combat, and the army was drawn up in battle-array to witness the
encounter, but the Saracens never came, and the commander thinking it a
pity that the day should pass without a little fighting, as they were
all prepared, ordered a general assault upon the town. They took the
outer wall by storm, but it was little advantage to them, as the enemy
retired behind the inner line. The loss sustained by the Christian
troops was very great, for numbers fell victims to the heat alone on
that day, whilst many were killed in the combat; the Saracens sustaining
but slight loss.
After the raising of the siege, the Saracens of Africa, Tunis, Morocco,
Granada, and other places, formed an alliance for the purpose of making
themselves masters of the Mediterranean, and revenging this siege of
Africa. They succeeded so well in annoying the trade of the Venetians,
Genoese, &c., that merchandise from the east and south was scarcely to
be had for any money; and Froissart winds up the chapter by telling us,
that “all sorts of spicery became enormously dear.”
In this illumination, the cannon of the period, made of timber, hooped
with iron, are very accurately depicted, as well as the arms and
accoutrements of the cross-bowmen: but the view of the town is evidently
imaginary, the artist having, probably, seen none but Flemish or French
towns, from his impressions of which he seems to have designed his view
of Africa.
[Illustration: The Journey of Charles VIᵗʰ of France and his brother the
Duke of Touraine from Montpellier to Paris.]
PLATE XI.
THE JOURNEY OF CHARLES VI. OF FRANCE, AND HIS BROTHER THE DUKE OF
TOURAINE, FROM MONTPELLIER TO PARIS.
In the year 1389, the King, being then about 21 years of age, visited
Toulouse, and many places in the south of France, accompanied by his
brother the Duke of Touraine, and a great retinue. He remained three
days at Montpellier, for, says Froissart, “the town and the ladies
afforded him much pleasure.” However, he was impatient to return to
Paris, and the following dialogue with his brother is quaintly
narrated:--
“‘Fair brother, I wish we were at Paris, and our attendants where they
now are, for I have a great desire to see the Queen, as I suppose you
must have to see my sister-in-law.’ ‘My Lord,’ replied the Duke, ‘we
shall never get there by wishing it, the distance is too great.’ ‘That
is true,’ answered the King, ‘but I think, if I pleased, I could very
soon be there.’ ‘Then it must be by dint of hard riding,’ said the Duke
of Touraine. ‘I also could do that, but it would be through means of my
horse.’ ‘Come,’ said the King, ‘who will be first, you or I?--let us
wager on this.’ ‘With all my heart,’ answered the Duke, who would at all
times exert himself to get money.”
Our Chronicler goes on to relate, that they quitted Montpellier at the
same hour early the next morning, the King attended only by the Lord de
Garencières, and the Duke by the Lord de Viefville. All four being young
and active, they rode night and day, having themselves occasionally
carried forward in carts when they wanted repose.
The King performed the journey in four days and a half; the Duke
accomplished it in four days and one third; but it appears that the King
would have won but for taking an unreasonable nap of eight hours at
Troyes, in Champagne. It is evident that they must have made
considerable exertions, as the distance is above 570 miles. Froissart
tells us, that “the ladies of the court made great joke of the
adventure;” and also adds, “you must know, that the Duke of Touraine
insisted on the wager being paid in ready money.” The amount was five
hundred francs.
This illumination is very neatly executed, particularly the distant
landscape: the houses, seen over the wall, show that, whatever changes
have taken place in monumental architecture, the houses of the people,
or peasantry, have undergone little change in the simple principles of
their construction since the fourteenth century.
[Illustration]
PLATE XII.
SIR PETER DE CRAON RECEIVED BY THE DUKE OF BRITTANY.
Froissart relates that “he was in Paris at the time of the daring attack
made by Sir Peter de Craon on the Constable de Clisson, and was very
anxious to ascertain the true cause of the original disgrace of de
Craon, which eventually led to that desperate attempt at revenge.” From
Froissart’s information, it appears that de Clisson was in no way
connected with Sir Peter’s disgrace. It seems that Sir Peter being
handsome, accomplished, and rich, and of nearly the same age as the
youthful Duke of Touraine, became a great favourite at Court, the Duke
making him his constant companion, and causing him to dress in clothes
of the same colour and device as his own, carrying him with him wherever
he went, and intrusting him with his most secret thoughts. Froissart
proceeds:--“The Duke, at that time young and amorous, much amused
himself with the company of ladies and damsels, and, as I heard, was
much attached to a young frisky lady of Paris[2].” This intrigue, which
it appears was a very innocent flirtation, became known to his Duchess,
who cautioned the young lady, one of noble family, never again to hold
converse with the Duke as she valued her life. The Duke was soon aware
that he had been betrayed, and eventually persuaded his Duchess to
confess to him that it was from Sir Peter de Craon that she had obtained
her information; and Froissart declares, that “if it was so, Sir Peter
behaved most shamefully.”
The King, at the request of the Duke of Touraine, his brother, dismissed
Sir Peter from the Court, who, finding himself disgraced, took refuge
with his friend and relative the Duke of Brittany, by whom he was well
received.
The illumination represents the moment of his reception by the Duke of
Brittany. The figures of Sir Peter and his attendant are very well
executed, but some of the others are carelessly finished, appearing as
though sketched out by the master, but finished by inferior hands. Most
of the miniature pictures in the magnificent volumes from which these
are taken, are placed, like the present, at the commencement of the
chapters, and the pages so ornamented are additionally enriched with an
elaborate border, occupying the outside margin. The pages are written in
double columns, and the present Plate is a fac-simile of the outside
column of page 238 of the Vol. containing this portion of the
Chronicles. The volume is about eighteen inches high by twelve broad.
The words at the top of the Plate are the conclusion of a chapter,
relating to a truce between England and France, and are--“ne jamais la
paix tant que je vive ne me accorderay”--words spoken by the Duke of
Gloucester, uncle of Richard II., who declares, he will never, while he
lives, consent to make peace by the surrender of Calais. The head of the
chapter, written like all the others in red ink, is:--“De Messire Pierre
de Craon, et comment il enchey en l’indignation du roy de France et duc
de Thouraine son frere et comme’t il fut recoeilles du duc de
Bretagne[3].”--Chapp’re XXV.
The chapter commencing with a richly-ornamented capital, begins:--“En ce
temporal dont je parolle estoit trop gran[4].”
[Illustration: The sudden death of Count Gaston de Foix.]
PLATE XIII.
THE SUDDEN DEATH OF COUNT GASTON DE FOIX.
The Count having passed the morning in the forest of Sauveterre, on the
road to Pampeluna, in Navarre, in hunting, during greater part of which
he had much exerted himself in hunting a bear, repaired in the afternoon
to dinner at the inn of Riou, on his way to his town of Orthés. Having
called for water to wash, his two squires, Raymonet de Lasne and
Raymonet de Copane, advanced, Emaudon d’Espaign took the silver basin,
and another knight, called Sir Thibaut, the napkin. The Count rose from
his seat and stretched out his hands to wash; “but,” says Froissart, “no
sooner had his fingers, which were handsome and long, touched the cold
water, than he changed colour, from an oppression at his heart,
exclaiming, ‘I am a dead man; Lord God have mercy on me!’” He never
spoke afterwards; and the two squires who had brought the basin, drank
the water, that they might not be suspected of having poisoned it.
Gaston de Foix was born 1331, and died 1391.
This illumination is coarsely executed in many respects, doing but
little justice to the fine person of the great Count, who was considered
one of the handsomest men of his time. It is, however, very interesting,
as detailing accurately many interior domestic arrangements, which will
be found not greatly differing from old country inns still remaining in
remote parts of England, but more frequently in France and Germany.
[Illustration: The King of Hungary in council with his own Lords and
those of France, before crossing the Danube towards Turkey.]
PLATE XIV.
THE KING OF HUNGARY IN COUNCIL WITH HIS LORDS AND THOSE OF FRANCE.
The Sultan Bajazet[5] appears to have indulged an imaginary scheme of
universal empire, purposing to leave to each country its own laws and
governors, and reserving to himself only his authority as their lord
paramount. With this view, in 1396, he threatened the kingdom of Hungary
with invasion, in his way to Rome, which he projected to make the seat
of his liberal and universal empire; how liberal, may be inferred from
his threat, “that his horse should eat his oats on the altar of St.
Peter’s.” Sigismond, king of Hungary, applied to Charles VI. of France
for assistance, and many knights of France and other countries, with a
considerable force, went to Buda under the command of John of Burgundy,
then twenty-two years of age, and son of the duke Philip, to attack
Bajazet, with the ultimate project of regaining the Holy Land. Soon
after the arrival of the French force, there being no sign of the
threatened approach of Bajazet, the king of Hungary held a council, in
which were present the principal lords of France and the most
influential Hungarian nobles[6]; when it was determined to cross the
Danube, and march at once into Turkey. This is the council represented
in the present illumination. The figures in bronze armour appear to be
Hungarians; the other three on the opposite side are doubtless John of
Burgundy, Count of Nevers; the Lord de Couci; and Philip of Artois,
Count d’Eu. The water in the distance is, no doubt, intended for the
Danube, and not the sea, which it better represents. The whole picture
is, however, very carefully executed, and the group outside the tent
extremely spirited and natural. A subsequent illumination upon the same
subject will illustrate the fate of the expedition.
[Illustration: The Dukes of Burgundy & Berri sitting in Council as
Regents during the illness of Charles VIᵗʰ of France.]
PLATE XV.
THE DUKES OF BURGUNDY AND BERRI--IN COUNCIL.
In the year 1393, Charles VI. was seized with a frenzy, or madness,
during his expedition against the Duke of Brittany; and the Dukes of
Burgundy and Berri, the King’s uncles, were, in a council[7] of the
principal barons and prelates of the kingdom, appointed regents of the
realm during the King’s illness. The illuminator has represented them as
sitting in council; the figures in front appear to be members of the
commonalty of Paris, who already began to assume an important position
in the government; the figure on the left, enveloped in a blue mantle,
is evidently intended for a fat and comfortable citizen; a lawyer and a
prelate seem to be discussing some very knotty point with many words and
gestures, but the two Dukes--the stern men of the sword--take the matter
very quietly, and will evidently settle the question according to their
own good caprice and interest. The artist has, on this occasion, been
very correct in his heraldry: above the Duke of Burgundy is suspended a
shield, bearing the ancient and modern arms of Burgundy, quarterly;
ancient Burgundy, one and three, bends of or and azure within a bordure
gules; modern Burgundy, two and four, azure sémé of fleur-de-lis or,
within a bordure compony gules and argent. The arms of Berri were, as
depicted, azure, three fleur-de-lis or, within a bordure engrailed
gules, as borne by the last unfortunate Duke de Berri, assassinated at
the door of the French opera in 1821.
[Illustration: te eglise de romme chaprelxbn que scauces comment le roy
d’allemaigue le roy de france et les seigneurs de lempire et tous leurs
consaule furent en la cite de paris et eurent la entreuz pluiseus
consaulx et secrets]
PLATE XVI.
THE EMPEROR OF GERMANY AND THE KING OF FRANCE SITTING IN COUNCIL UPON
THE STATE OF THE CHURCH OF ROME.
The Emperor of Germany (Wenceslaus of Luxembourg) visited France, at the
solicitation of Charles VI., for the purpose of consulting upon the best
mode of terminating the schism of the Romish church, and of putting an
end to the rivalry of the two popes of Avignon and Rome, by bringing
about the abdication of one of them. It seems needless to add, that the
negociations which followed, with such a view of the case, utterly
failed.
The illumination represents the Emperor and King sitting in council;
probably in the Cathedral of Rheims, where the principal consultations
were held.
As a view of the interior of a cathedral, it is particularly interesting
at the present time--the repairs and restoration of the Temple Church
having called much attention to the polychromic effects produced by the
architects of the middle ages, as it exhibits clearly the general and
profuse adoption of positive colours and gilding to heighten
architectural splendour. The vaulted ceiling of the nave is painted rich
full brown, the groining being gilt; the ceiling of the choir is painted
deep blue, equally enriched with gilding. This simple colouring of the
illuminator exhibits the general effect of polychromic architecture as
well as if he had elaborated the intricate devices by which the effects
were more generally varied and enriched, and is a sufficient proof, if
any sceptics yet remain to require it, that the architects of the middle
ages, as well as their ancient Grecian predecessors, considered _colour_
just as essential as _form_ in a grand architectural whole.
The tapestry hung round the lower part of the walls, to the height of
ten or twelve feet, is a part of the finish of our cathedral decorations
which has, as yet, found no restorer. But it forms an essential feature
in their general effect, as planned by their architects; and, ever since
it was torn down by our puritanical ancestors, those noble churches
have assumed that cold and stony nakedness of aspect which was never
intended by their great creators, and which destroys the air of well
tended grandeur and richness they were intended to produce; giving,
instead, an appearance of desolation and neglect.
It is quite apparent that the author of this miniature picture painted
from what he saw, and that he was greatly impressed by the leading
features of the monumental architecture of his day; for it will be
observed that he has cut short the transept, reckless of proportion or
perspective, for the express purpose of bringing into his picture the
circular windows, with their elaborate tracery, one of the most splendid
features of that phase of Gothic art.
[Illustration: Sir John Froissart presenting his book of Love Poems to
Richard the second]
PLATE XVII.
SIR JOHN FROISSART PRESENTING HIS BOOK TO RICHARD II.
Froissart, who originally came to England in the suite of Philippa of
Hainault, queen of Edward III., returned, after an absence of
twenty-seven years, in 1395, and was well received by Richard II., in
recollection of his services and attachment to the Black Prince, his
father, and to King Edward and Queen Philippa, his grandfather and
grandmother.[8] Froissart relates, with an affecting and very pleasing
_naïveté_, his renewal of old friendships after so long an absence, but
is more particularly minute in his description of the interview with the
King, when he presented his book of love poems, the romance of Meliador.
He says, that “he (the king) opened it, and looked into it with much
pleasure;” and continues, “he ought to have been pleased, for it was
handsomely written and illuminated, and bound in crimson velvet, with
ten silver gilt studs, and roses of the same in the middle, with two
large clasps of silver gilt, richly worked with roses in the centre. The
King asked me what the book treated of? I replied, ‘Of love!’ He was
pleased with the answer, and dipped into several places, reading parts
aloud, for he read and spoke French perfectly well, and then gave it to
one of his knights, called Sir Richard Credon, to carry to his oratory,”
&c. &c.
This illumination forms the frontispiece to Chapter 54.
[Illustration: Interview of king Richard the second with his uncle the
Duke of Gloucester at his Castle of Pleshy]
PLATE XVIII.
INTERVIEW OF RICHARD II. WITH THE DUKE OF GLOUCESTER, AT THE CASTLE OF
PLESHY.
The King had at this time great suspicion that his uncle, the Duke of
Gloucester, was plotting his deposition, which, whether true or false,
enabled persons about the King to exasperate him greatly against his
uncle, who determined to arrest him at once. This he feared to do
openly, on account of the Duke’s popularity, and effected his purpose in
the following manner:--Under pretence of deer-hunting, he went to a
palace he had at Havering-at-the-Bower, in Essex: it is about twenty
miles from London, and as many from Pleshy, where the Duke of Gloucester
generally resided. The King set out from Havering one afternoon without
many attendants, and arrived at Pleshy about five o’clock. He came so
suddenly to the castle[9] that no one knew of it, until the porter cried
out, “Here is the King!” The Duke, who was very temperate, and never sat
long at his meals, had already supped, and immediately went out to greet
the King; who, under pretence of a meeting with the citizens on the next
morning, at which his presence would be advantageous, induced his uncle
to accompany him unattended. The mode of the arrest is exhibited in
another illumination, which will appear in our next number.
This illumination is a good example of the custom of taking out a
portion of the wall, in order to exhibit an interior and exterior view
at the same time. The grooms and attendants waiting in the castle-yard
are full of character and spirit, and the interior of the apartment,
exhibited to us by the bold excision of the illuminator, portrays very
accurately the furniture and fittings of the time, and affords valuable
hints to artists treating events of this period.
[Illustration: The payment of the ransom for the Count de Nevers and his
fellow prisoners.]
PLATE XIX.
THE RANSOM PAID TO BAJAZET FOR THE COUNT DE NEVERS, &c.
As related in the description of Plate XIV., the Hungarians, with the
body of French, German, and English volunteers, invaded Turkey, and,
after many successes of no serious consequence or advantage, laid siege
to the city of Nicopolis. But Bajazet had in the mean time not been idle
or afraid to attack them, as they supposed, but had been diligently
occupied in raising a great army, and was now secretly advancing upon
them, ordering a small body of eight thousand men to move forward in
advance, as if they were the whole army; but, whenever they met the
enemy, to fall back to the main body, which was then to extend as much
as possible, enclosing the Christians, and crushing them by numbers.
On the Monday preceding Michaelmas-day, in the year 1396, the small body
was perceived by the scouts of the French and Hungarians. The French
lords received the information as they sat at dinner, and, somewhat
heated with wine, hastened at once to the attack. The King of Hungary
sent his marshal, Steulemschalle, to countermand an immediate attack, as
he had received information which caused him to suspect the truth, and
that the Turks wore in much greater numbers than appeared. But the
impetuous Frenchmen were not to be restrained. They rushed upon the
enemy with this small band of volunteers, in all not exceeding 700, it
is said, and, after performing prodigies of valour, were all either cut
to pieces or taken prisoners. The Hungarian army, seeing the French
enclosed on all sides and destroyed, were seized with panic, and fled;
great numbers being slain by the Turks in pursuit: in short, the rout
was most complete, and the King and the Grand Master of Rhodes barely
escaped.
Among the few survivors, now prisoners to Bajazet, were the Count de
Nevers, the Counts d’Eu and de la Marche, the Lord Henri de Bar, the
Lord de Coucy, and Sir Guy de la Tremouille; these had been set aside
by Bajazet, on account of the richness of their dresses, as apparently
men of note, who would pay large ransoms; all the other prisoners were
put to death in their presence, being brought forth in their shirts and
cut to pieces without mercy: “upwards of three hundred gentlemen of
different nations,” says Froissart, “were thus pitilessly murdered.” The
Lord Boucicaut, Marshal of France, was led forth naked like the others,
but spared on the intercession of the Count de Nevers, who threw himself
at the feet of the Sultan, and succeeded in that instance in softening
his anger, which was great in consequence of the severe loss he had
sustained in the battle, full thirty of his own men having fallen for
every Christian. The Count de Nevers and his remaining companions were
eventually ransomed, but the Lord de Couci and the Count d’Eu both sunk
under their misfortunes and died in Turkey, and the Lord Henry de Bar
died on his journey back; so that few indeed returned from this
disastrous campaign.
The illumination represents the payment of the ransom, and is
remarkable, as well as some others relating to the same portion of the
history, for the care with which the illuminator has adhered to the
general features of Turkish costume in the dresses of the persons who
are receiving and registering the money; this is the more singular, as
in the apartment and other accessories there is no attempt at an Eastern
character; but at that time, it may be supposed, that the turban and
flowing robe were as much conventional and traditional appendages of a
Turk, as the meagre legs, sharp features, and lace ruffles were of a
Frenchman in the time of Hogarth.
[Illustration: The arrest of the Duke of Gloucester.]
PLATE XX.
THE ARREST OF THE DUKE OF GLOUCESTER.