Abstract
On 3 June 1449 king René inaugurated the Tournament of the Shep¬herdess at Tarascon in Provence. To the sound of trumpets and tam¬bourines the king and queen of Sicily mounted a scaffold close to the lists. They were accompanied by their son-in-law, Ferry of Vaudemont, by great Angevin nobles, such as Guy de Laval, lord of Loué, and Louis de Beauvau and many Provençal knights. A detailed account survives in a poem by Louis de Beauvau.1 The part of the shepherdess, who was to distribute the prizes, was played by Isabelle de Lenoncourt a noble lady of Lorraine. She wore a grey damask robe in a pastoral style and a red hat and carried a silver crook. She entered on the first day on horseback escorted by one of the judges of the tournament and the king of arms, her sheep followed with the two men who actually looked after them, and she was installed in a rustic bower decorated with flowers. Two shields hung from a tree nearby, one was white for joy the other black for sorrow. Two knights, ‘the shepherds’ Philippe de l’Aigue, René’s chamberlain, and Philippe de Lenoncourt (probably the father or brother of ‘the shepherdess’) defended them against the eighteen other contestants as each attempted to touch one of the shields.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
BN Ms fr.1974. The first page of this contemporary manuscript bears a miniature of the shepherdess and her flock as well as the de Beauvau arms and motto: ‘Sans departir’. For the text of the poem see Oeuvres Complètes du Roi René, ed. M. le Comte de Quatrebarbes, 4 vols (Angers: 1845) 2, pp. 45–96.
H.F. Williams, ‘“Le Pas de la Bergère”: a Critical Edition’, Fifteenth Century Studies, 17 (1990) pp. 485–513.
R.G. Asch and A.M. Birke, Princes, Patronage and the Nobility: the Court at the Beginning of the Modern Age, c.1450–1650 (Oxford: 1991) p. 9.
J. Huizinga, The Waning of the Middle Ages, trans. F. Hopman (London: 2001) especially pp. 90–103.
B. Bedos-Rezak, ‘Review’ of D’A.J.D. Boulton, The Knights of the Crown: the Monarchical Orders of Knighthood in Later Medieval Europe (Wood¬bridge: 1987) Speculum, 65 (1990) pp. 374.
M. Keen, ‘Huizinga, Kilgour and the Decline of Chivalry’, Medievalia et Humanistica, 8 (1977) pp. 1–20.
J. Lemaire, Les Visions de la vie de cour dans la littérature française de la fin du Moyen Âge (Brussels/Paris: 1994) pp. 155–78. See Chapter 3 for the jousts and other chivalric pursuits held at Nancy, Châlons and Saumur, 1445–46.
M.L. des Garets, Un artisan de la Renaissance française au xv e siècle: le roi René (1409–1480) (Paris: 1980) passim.
Le Livre des tournois du roi René, ed. F. Avril, trans. E. Pognon (Paris: 1986) p. 19.
F. Piponnier, Costume et vie sociale: la cour d’Anjou xive-xve siècle (Paris: 1970). Piponnier used accounts from all of René’s domains, their survival has been patchy but sufficient remain to give a good idea of the scale of his expenditure and of his priorities and of those of his second wife, Jeanne de Laval. Most exist¬ing accounts date from the 1440s and 1469–80.
Diary of an Embassy from King George of Bohemia to King Louis XI of France in 1464, ed. and trans. A.H. Wratislaw (London: 1871) pp. 22–4.
He undertook some refurbishment at Tarascon castle, 1447–49, probably in preparation for the Tournament of the Shepherdess. C. de Mérindol, ‘Nouvelles données sur Barthélemy d’Eyck, peintre du roi René. Les plafonds peints du château de Tarascon’, Bulletin de la Société de l’Histoire de l’Art français (1985) pp. 7–16.
Jean Boyer,’ Le Palais Comtal d’Aix du Roi René a 1787’, Aspects de la Provence (Marseille: 1983) pp. 55–95.
N. Coulet, ‘Jardin et jardiniers du roi René à Aix’, Annales du Midi, 102 (1990) pp. 275–86.
P. Marchegay, ‘La Platelée d’Ablettes’, Revue de l’Anjou, 2 (1853) pp. 102–6.
René owned three bastides near Marseille, Olivet, Le Pin and Saint Jerôme, N. Coulet, A. Planche and F. Robin, Le Roi René: le prince, le mécène, l’ecrivain, le mythe (Aix-en-Provence: 1982) pp. 97–101.
Jeanne de Laval is represented in The Virgin in the Burning Bush in St Saveur, Aix (see Illustration 11 below). J.P. Coste’s comment on it in his guide to Aix, although uncharitable is justified: ‘Jeanne was forty three and she was never pretty’, Aix-en-Provence et le Pays d’Aix (Millau: 1981) p. 61.
P. Pansier, Histoire de la Langue Provençal à Avignon, 2 vols (Avignon: 1924) 1, p. 93.
G.A. Runnals, ‘René d’Anjou et le Théâtre’, Annales de Bretagne et des Pays de l’Ouest (Anjou, Maine, Touraine) 88 (1981) pp. 157–80.
various authors, ‘Histoire du Théâtre en Anjou du Moyen Âge à nos jours’, Revue d’histoire du théâtre, 43 (1991) pp. 7–75.
R.W. Lightbown, Secular Goldsmiths’ Work in Medieval France: a History (Dorking: 1978) pp. 106–7.
E. Tietze-Conrat, ‘A Relief Portrait by Francesco Laurana’, Allen Memorial Art Museum Bulletin [Ohio], 12 (1955): 86–90.
A. Coville, Le Petit Jehan de Saintré; Recherches Complémentaires (Paris: 1937) pp. 23–38. In the chapter devoted to John of Calabria he gives a more favourable verdict on his poetry and sensibility than did Poirion, see note 63.
M. Szkilnik, Jean de Saintré: Une carrière chevaleresque au xv siècle (Geneva: 2003).
Antoine de la Sale, Jehan de Saintré, ed. J. Blanchard, trans. M. Quereuil (Paris: 1995) p. 35.
Charles d’Orléans, Poesies, ed. P. Champion, 2 vols (Paris: 1923–27) 2, pp. 293, 299.
D. Poirion, Le Poèt et le Prince: L’évolution du lyrisme courtois de Guillaume de Machaut à Charles d’Orleans (Paris: 1965) pp. 178–90. Poirion describes John of Calabria as ‘a great swallower of proverbs’. He believes that his poems were influenced by rhetoric and not for the better as he also criticises his ‘heavy alle¬gories’ and ‘interminable anaphora’ (the repetition of a word or phrase), p. 188, n. 152.
H. Cooper, Pastoral: Medieval into Renaissance (Ipswich: 1977) p. 7.
V. Chichmaref, ‘Notes sur quelques oeuvres attribuées au roi René’, Romania, 55 (1929) pp. 214–50.
J. Blanchard, La Pastorale en France aux xiv et xve siècles: Recherches sur les structures de l’imaginaire medievale (Paris: 1983) pp. 144–5.
C. de Mérindol, ‘“Le Livre des tournois” du roi René: Nouvelles lectures’, Bulletin de la Société Nationale des Antiquaires de France (1992) pp. 177–90. He dis¬cusses the choice of the dukes of Brittany and Bourbon and sees it as an attempt by René to continue his mother Yolande’s policy of acting as an intermediary between Brittany and France but maintains that Bourbon is subtly favoured in the treatise.
J. Blanchard and J.C. Mühlethaler, Écriture et Pouvoir à l’aube des temps modernes (Paris: 2002) pp. 126–7.
The Book of the Love-Smitten Heart by René of Anjou, ed. and trans. S. Viereck Gibbs and K. Karczewska, rightsholder, Taylor and Francis Group LLC-Books (New York, London: 2001).
R. and J. Barber, Tournaments: Jousts, Chivalry and Pageants in the Middle Ages (Woodbridge: 1989) p. 114.
Le Mortifiement de Vaine Plaisance de René d’Anjou, ed. F. Lyna (Leyden: 1926).
J. d’Etiau, ‘Un Prélat Angevin: Jean Bernard, archevêque de Tours’, Revue de l’Anjou, 9 (1885) pp. 174–88.
Huizinga, especially chapters 11 and 12; M. Rubin, Corpus Christi: the Eucharist in Late Medieval Culture (Cambridge: 1991).
C. Sterling, Enguerrand Quarton: Le peintre de la Pietà d’Avignon (Paris: 1983) pp. 181–3.
See, for example, M.L. Evans, ‘Jean Fouquet and Italy: buono maestro, maxime a ritrarre del naturale’, Illuminating the Book: Makers and Interpreters, Essays in Honour of Janet Backhouse, ed. M. Brown and S. McKendrick (London, Toronto: 1998) pp. 162–89.
N. Reynaud, ‘La lettre de la veuve de Barthélémy d’Eyck au roi René’ Bulletin de la Société de l’Histoire de l’Art français (1986) pp. 7–10.
M. Laclotte and D. Thiébaut, L’École d’Avignon (Tours: 1983) pp. 69–75.
J. and Y. le Pichon, Le mystère du Couronnement de la Vierge (Paris: 1982) p. 30.
P. Binski, Medieval Death: Ritual and Representation (London: 1997).
V. Grozdanovic, ‘The Dalmatian Works of Pietro da Milano and the beginnings of Francesco Laurana’, Arte Lombarda, 42–3 (1975): 113–23.
J. Pope-Hennessy, Italian Renaissance Sculpture (Oxford: 1986), p. 67.
But see O. Pächt, ‘Dévotion du roi René pour sainte Marie-Madeleine et la sanc¬tuaire de Saint-Maximin’, Chronique Meridionale: Arts du Moyen Age et de la Renais¬sance (1981) pp. 15–28.
C. Damianaki, The Female Portrait Busts of Francesco Laurana (Rome: 2000) p. 12.
Robin, Le château du roi René à Tarascon (Paris: 2005), p. 46.
C. Seymour, Sculpture in Italy, 1400–1500 (Harmondsworth: 1966) p. 165.
J.J.G. Alexander, Italian Renaissance Illuminations (London: 1977) p. 59.
M.G.A. Vale, War and Chivalry: Warfare and Aristocratic Culture in England, France and Burgundy at the End of the Middle Ages (London: 1981) pp. 34–5, 62.
J. Burckhardt, The Civilization of the Renaissance in Italy, trans. S.G.C. Middlemore (Harmondsworth: 1990) passim.
L’Abuzé en court, ed. R. Dubuis (Paris-Geneva: 1973).
Copyright information
© 2008 Margaret L. Kekewich
About this chapter
Cite this chapter
Kekewich, M.L. (2008). René’s Court. In: The Good King. Palgrave Macmillan, London. https://doi.org/10.1057/9780230582217_5
Download citation
DOI: https://doi.org/10.1057/9780230582217_5
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-54201-7
Online ISBN: 978-0-230-58221-7
eBook Packages: Palgrave History CollectionHistory (R0)