Abstract
The previous chapter described France’s situation at the close of 1428. For Yolande of Aragon, circumstances were just as serious, if not more pressing; to avoid the annihilation of her House’s fortunes, she needed to regain her influence over her son-in-law and ensure that the army and loyal territories reunified under his banner. With Richemont effectively outlawed by Trémoïlle and Charles VII temporarily out of her reach, a shock tactic was required.
Sapiens vincit virtute fortunam
(The wise conquer fortune through virtue)1
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Notes
Cf. Karl Alfred Blüher, “Les Origins antiques d’un ‘art de prudence’ chez Baltasar Gracían,” Astérion 3 (2005): 301–23, 322–3, and Peter Stacey, Roman Monarchy and the Renaissance Prince, 2nd ed., Cambridge: Cambridge University Press, 2012, 101.
L’Estrange, Holy Motherhood, 28. Cf. Michael Baxandall, Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style, 2nd ed. Oxford: Oxford University Press [1972], reprint 1986: 31–2, 38–9, 48–56, 87.
Cf. Piroska Nagy, Le Don des larmes au Moyen Age: un instrument spirituel en quête d’institution Ve-XIIIe siècles, Paris: Albin Michel, 2000; and Damien Boquet and Piroska Nagy, eds, Politiques des émotions au Moyen Age, Florence: Sismel, 2010.
Pierre Janvier, La Bienheureuse Jeanne-Marie de Maillé, Baronne de Sillé, Paris: Albert Larcher, 1888, 208–9.
Enea Silvio Piccolomini (Pius II), Luigi Totario, ed., I commentarii 2 Vols, Milan: Adelphi Edizioni, 1984, I, 1110; and Florence A. Cragg, trans. and Leona C. Gabel, ed., The Secret Memoirs of a Renaissance Pope: The “Commentaries” of Aeneas Sylvius Piccolomini, Pius II, London: The Folio Society, 1988, 201.
Patrick Gilli, “Les Eléments pour une histoire de la gallophobie italienne à la Renaissance: Pie II et la nation Française,” in Mélanges de L’Ecole franfçaise de Rome. Moyen-Age, Temps Modernes, 106, 1 (1994), 275–311, 304–8.
Samantha Riches, St George: Hero, Martyr, Myth, Stroud, UK: Sutton Publishing, 2000,
Quicherat muses on the trigger for Joan’s first vision in the summer of 1425, which coincided with Yolande’s sponsorship of Richemont—a time of relative optimism in greater France. Quicherat, Aperfçus nouveaux, 1. Cf. Luce, Jeanne d’Arc à Domremy, lxxv–lxxxiv, lxxxix–cxx, esp. xcii–xciii, cxlv; and Siméon Luce, Chronique du Saint-Michel (1343–1468), 2 Vols, Paris: Firmin Didot, 1883.
Johan Huizinga and Julia Bastin, trans., Le Déclin du Moyen Age [L’Automne du Moyen-Age], Paris: Editions Payot, 2002, 137.
Joseph Stevenson, ed., Letters and Papers Illustrative of the Wars of the English in France During the Reign of Henry the Sixth King of England, 3 Vols, London: Longman, Green, Longman, Roberts, and Green 1861–1864, II, ii, 530.
Doncoeur and Lanhers, Documents et recherches relatifs V, 212; and Pierre Duparc, Procès en nullité de la condamnation de Jeanne d’Arc, 3 Vols, Paris: Librairie C. Klincksiek, 1977–1986, I, 317–58.
Cf. René Achille Joseph de Brisay, La Maison de la Jaille avec tables généalogiques (…), Paris: Honoré Champion, 1910.
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© 2016 Zita Eva Rohr
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Rohr, Z.E. (2016). The Art of Prudence. In: Yolande of Aragon (1381–1442) Family and Power. Queenship and Power. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137499134_5
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DOI: https://doi.org/10.1057/9781137499134_5
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