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قراءة كتاب King René d'Anjou and his Seven Queens
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KING RENÉ D’ANJOU AND HIS
SEVEN QUEENS
CHAPTER I
INTRODUCTORY
“René, King of Jerusalem, the Two Sicilies, Aragon, Valencia, Majorca, Sardinia and Corsica; Duke of Anjou, Barrois, and Lorraine; Count of Provence, Forcalquier and Piemont,” so runs the preamble of his Will. To these titles he might have added Prince of Gerona, Duke of Calabria, Lord of Genoa, Count of Guise, Maine, Chailly, and Longjumeau, and Marquis of Pont-à-Mousson!
He was famous as a Sovereign, a soldier, a legislator, a traveller, a linguist, a scholar, a poet, a musician, a craftsman, a painter, an architect, a sculptor, a collector, a sportsman, an agriculturist, and incidentally a chivalrous lover. About such a many-sided character there is much to tell and much to learn. His times were spacious; the clouds of Mediævalism had rolled away, and the Sun of Progress illuminated the heyday of the Renaissance; art and craft had come into their own. Venus disarmed Mars, Diana entranced Apollo, and Minerva restrained Mercury, and all the hierarchy of heaven was captive to the Liberal Arts. René d’Anjou, figuratively, seems to have gathered up in his cunning hand the powers of all the spiritual intelligences alongwith the life-lines of practical manifestations. He has come down to us as the beau-ideal Prince of the fifteenth century.
“A Prince who had great and pre-eminent qualities, worthy of a better future. He was a great Justicier and an enemy to long despatches. He said sometimes, when they presented anything to signe, being a-hunting or at the warre, that the Pen was a kinde of Armes, which a person should use at all times”—so wrote the historian Pierre Mathieu, in his “History of Louis XI.,” in 1614. He goes on to say: “The reign of so good a Prince was much lamented, for he intreated his subjects like a Pastor and a Father. They say that when his Treasurer brought unto him the Royale Taxe,—which was sixteen florins for every kindled fire, whereof Provence might have about three thousand five hundred,—hee enformed himselfe of the aboundance or barenesse of the season; and when they told him, that a mistrall winde had reigned long, hee remitted the moiety and sometimes the whole taxe. Hee contented himself with his revenues, and did not charge his people with new tributes. Hee spent his time in paintings, the which were excellent, as they are yet to be seen in the city of Aix. Hee was drawing of a partridge when as they brought him newes of the loose of the Realme of Naples, yet hee could not draw his hande from the work and the pleasure hee took here in.… They relate that he dranke not wine, and when as the noble men of Naples demanded the reasons, he affirmed that it had made Titus Livius to lie, who had said that the good wine caused the French to passe the Alps.… He was perhaps better suited to make a quiet State happy than to reduce a rebellious one.”
King René’s career and work as a Sovereign, a soldier, a legislator, a traveller, a poet, and a lover, are treated in full in the letterpress of this volume. His work as an artist, a craftsman, an agriculturist, and a collector, is here given under different headings, as introductory to the expression of his personal talents.
I. Artistic Works of King René.
René’s first efforts as a designer and painter were exhibited upon the walls of his prison-chamber at Tour de Bar, near Dijon, 1431-1435. Thence forward he decorated the walls and stain-glazed the windows of his various castles and palaces—Bar-le-Duc, Nancy, Angers, Saumur, Reculée, Tarascon, Marseilles, and Aix. Every bastide and maison inhabited by his Queens and himself was also similarly adorned, and many coloured church windows were due to his gentle art. Alas that so few vestiges of these admirable labours remain! French mobs are proverbial for iconoclastic propensities, and no land has suffered more than France from the suicidal mania of her sans-culottes.
To fresco-painting, portraits, and glass-staining, the Royal artist added miniatures and penmanship. His “style” was formed and developed successively under such personal tuition as that of the brothers Van Eyck and Maistre Jehannot le Flament. Later on Jean Focquet of Tours and Nicholas Froment influenced him. A letter is extant of King René, addressed in 1448 to Jan Van Eyck, in which he asks for two good painters to be sent to Barrois.
Visits to Rome, Florence, Naples, Milan, and other art cities of Italy, very greatly enlarged René’s métier. Intercourse with Fra Angelico da Fiesole, Fra Filippo Lippi, Paolo Ucello, the Della Robbia, and many other Tuscan artists, quickened his natural talent and guided his eye and hand. Leon Battista Alberti, Francesco Brunellesco, and Cennino Cennini, and their works in materia and literature, produced great results in the receptive faculties of the King-artist. At Naples he came in contact with Colantonio del Fiore, Antonio Solario—Il Zingaro—and Angiolo Franco, and gathered up what they taught.
Besides these immense advantages as a personal friend of great ruling Italian families, the Medici, the Pazzi, the Tornabuoni, the Visconti, the Sforza, the Orsini, and many others, René had opportunities enjoyed by very few. His own amiable individuality and his ample knowledge were the highest credentials in the pursuit of art and craft. René witnessed the consecration of the Duomo of Florence and the completion of the guild shrine of Or San Michele, and he was enrolled as an honorary member thereof. At Florence also he was thrown in contact with world famous scrivani—writers and illustrators of manuscript. The subsequent excellence of French miniaturists was largely due to King René’s example and encouragement.
René’s more considerable paintings, which have been preserved, are as follows:
1. The Burning Bush, part of an altar triptych, at the Cathedral of Aix. Projected and begun by the King, it was finished by Nicholas Froment, 1475-76, and for it the artist received no more than 70 gulden (see illustration).
2. Souls in Purgatory, an altar-piece (7 × 5½), originally in hospital chapel at the Chartreuse of Villeneuve les Avignon. It is really a “Judgment,” with Christ and saints above the clouds, and twenty-four little figures in and out torment. The building was destroyed in 1793.
3. La Divina Commedia, an altar-piece (8 × 6), in the church of the Célestins at Avignon in distemper. It was due to René’s vision of his mistress, Dame Chapelle,