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 BibliothÃ¨que 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 BibliothÃ¨que 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 SMITHâS EDITION OF âFROISSART,â 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 LâERMITE 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 VIáµÊ°.] 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 Franceâs 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 Baptistâs 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 Baptistâs Day, 1390; and Froissart says, âIt 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.â 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. âIt 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;â and, âit was a fine sight to view their various banners and pennons fluttering with gentle gales, and glittering in the sun.â 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 dâEu 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 Sáµ. 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 Froissartâs account of one of the encounters, each of which he describes minutely. âSir Henry Beaumontâ (an Englishman) âthen came forward, and sent to have the target of Sir Boucicautâ (one of the French knights) âtouched, 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 Saimpiâ (another of the French knights) âthen presented himself, and they tilted two courses very handsomely, without hurt to either.â 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 hÃ´tel 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 hÃ´tel 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 hÃ´tel 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 VIáµÊ° 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 Kingâs 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 TÃªte-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 TÃªte-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 âGeoffrey TÃªte-noire, duke of Ventadour, count of Limousin, sovereign lord and commander of all the captains in Auvergne, Rouergue, and Limousin.â 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, âmade a signe to him who bore the horn to sound for their ambuscade;â these, putting spurs to their horses, galloped into the castle, the gate being open, and the nephews were instantly arrested in the kingâs 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 Williamâs 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 âall sorts of spicery became enormously dear.â 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 VIáµÊ° 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, âthe town and the ladies afforded him much pleasure.â However, he was impatient to return to Paris, and the following dialogue with his brother is quaintly narrated:-- ââFair 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.â âMy Lord,â replied the Duke, âwe shall never get there by wishing it, the distance is too great.â âThat is true,â answered the King, âbut I think, if I pleased, I could very soon be there.â âThen it must be by dint of hard riding,â said the Duke of Touraine. âI also could do that, but it would be through means of my horse.â âCome,â said the King, âwho will be first, you or I?--let us wager on this.â âWith all my heart,â answered the Duke, who would at all times exert himself to get money.â 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 GarenciÃ¨res, 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 âthe ladies of the court made great joke of the adventure;â and also adds, âyou must know, that the Duke of Touraine insisted on the wager being paid in ready money.â 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 âhe 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.â From Froissartâs information, it appears that de Clisson was in no way connected with Sir Peterâs 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:--âThe 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].â 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 âif it was so, Sir Peter behaved most shamefully.â 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--âne jamais la paix tant que je vive ne me accorderayâ--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:--âDe Messire Pierre de Craon, et comment il enchey en lâindignation du roy de France et duc de Thouraine son frere et commeât il fut recoeilles du duc de Bretagne[3].â--Chappâre XXV. The chapter commencing with a richly-ornamented capital, begins:--âEn ce temporal dont je parolle estoit trop gran[4].â [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 OrthÃ©s. Having called for water to wash, his two squires, Raymonet de Lasne and Raymonet de Copane, advanced, Emaudon dâEspaign 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; âbut,â says Froissart, âno sooner had his fingers, which were handsome and long, touched the cold water, than he changed colour, from an oppression at his heart, exclaiming, âI am a dead man; Lord God have mercy on me!ââ 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, âthat his horse should eat his oats on the altar of St. Peterâs.â 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 dâEu. 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 VIáµÊ° 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 Kingâs uncles, were, in a council[7] of the principal barons and prelates of the kingdom, appointed regents of the realm during the Kingâs 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 sÃ©mÃ© 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 dâallemaigue 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 _naÃ¯vetÃ©_, 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 âhe (the king) opened it, and looked into it with much pleasure;â and continues, âhe 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, âOf love!â 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,â &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 Dukeâs 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 oâclock. He came so suddenly to the castle[9] that no one knew of it, until the porter cried out, âHere is the King!â 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 dâEu 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: âupwards of three hundred gentlemen of different nations,â says Froissart, âwere thus pitilessly murdered.â 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 dâEu 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. Richard II. having, as related in the description of Plate XVIII., decoyed his Uncle from his castle of Pleshy, under pretence of wishing his presence at a conference with the citizens, proceeds, conversing with him, towards London, when, on arriving at Stratford, at the top of a lane leading to the Thames, where an ambuscade had been prepared, he suddenly galloped forward, leaving the Duke behind, who was instantly surrounded by a
{'title': 'Illuminated illustrations of Froissart; Selected from the ms. in the British', 'source': 'Project Gutenberg', 'lang': 'en'}