240 8 13MB
English Pages 232 Year 2019
Medieval Art in Motion
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M a r i a h P r o c t o r - T i f f a n y
Medieval Art in Motion The Inventory and Gift Giving of Queen Clémence de Hongrie
The Pennsylvania State University Press | University Park, Pennsylvania
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This book is made possible by a collaborative grant from the Andrew W. Mellon Foundation. Library of Congress Cataloging-in-Publication Data Names: Proctor-Tiffany, Mariah, 1971– author. Title: Medieval art in motion : the inventory and gift giving of Queen Clémence de Hongrie / Mariah Proctor-Tiffany. Description: University Park, Pennsylvania : The Pennsylvania State University Press, [2018] | Includes bibliographical references and index. Summary: “Reconstructs the art collection and material culture around the fourteenth-century French queen Clémence de Hongrie. Examines how she moved her objects in a deliberate strategy to build her identity and create a lasting legacy for herself and her family in medieval Paris” —Provided by publisher. Identifiers: lccn 2018026636 | isbn 9780271081120 (cloth : alk. paper) Subjects: lcsh: Clementia, of Hungary, Queen, consort of Louis X, King of France, 1293–1328—Art collections. | Clementia, of Hungary, Queen, consort of Louis X, King of France, 1293–1328—Art patronage. | Art—Collectors and collecting—France—Paris—History—To 1500. | Art Patronage—France—Paris—History—To 1500. | Art, Medieval—France—Paris. | Gifts—France—History— To 1500. Classification: lcc N5262.C56 P76 2018 | ddc 709.402—dc23 lc record available at https://lccn.loc.gov/2018026636
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Copyright © 2019 Mariah Proctor-Tiffany All rights reserved Printed in China Published by The Pennsylvania State University Press, University Park, PA 16802–1003 The Pennsylvania State University Press is a member of the Association of University Presses. It is the policy of The Pennsylvania State University Press to use acid-free paper. Publications on uncoated stock satisfy the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Material, ansi z39.48–1992. Additional credits: Cover, attributed to Jean de Touyl, reliquary shrine of Elizabeth of Hungary (fig. 55); frontispiece, detail, reliquary head of one of the Eleven Thousand Virgins (fig. 56); pp. vi–vii, detail, first page of the inventory of the belongings of Clémence de Hongrie (fig. 4).
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For Scott, Maquelle, and Corinn
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Contents
List of Illustrations | ix Acknowledgments | xi A Note on Terminology and Nomenclature | xiii
Introduction | 1 1 The Life, Times, and Art of an International Queen | 14 2 Systems of Exchange: Moving Art and Material Culture | 32 3 The Body, the Altar, and the Table: Possessions and Sites of Identity Proclamation | 53 4 The Queen’s Manuscripts and Identity | 80 5 Gift Giving in the Gothic World | 104 6 The Queen and Ritual Gift Giving | 112 7 Gifts to Individuals, Near and Far | 126
Conclusion: Good and Glorious Exchange | 141
Appendix 1 The Testament of Clémence de Hongrie | 145 Appendix 2 The Inventory of Clémence de Hongrie | 151 Appendix 3 Glossary | 177 Notes | 181 Bibliography | 197 Index | 211
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Illustrations
Figures 1. Marble tomb effigy of Clémence de Hongrie, detail. Photo © Genevra Kornbluth | 3 2. Marble tomb effigy of Clémence de Hongrie. Photo © Genevra Kornbluth | 4 3. Sculpted dog at the feet of the tomb effigy. Photo © Genevra Kornbluth | 4 4. The first page of the inventory of the belongings of Clémence de Hongrie. Photo: BnF | 7 5. Jean Fouquet, The Coronation of Louis X and Clémence de Hongrie. Photo: BnF, Dist. RMN–Grand Palais / Art Resource, New York | 17 6. View of the Temple estate. Photo: BnF | 19 7. Engraving of the exterior of the Temple Church. Photo: BnF | 20 8. Engraving of the city of Corbeil. Photo: BnF | 22 9. The impression of Clémence’s seal. Photo: Archives nationales | 24 10. Tomb effigy of Charles I d’Anjou. Photo © Genevra Kornbluth | 25 11. Tomb effigy of Charles I d’Anjou, detail. Photo © Genevra Kornbluth | 25 12. Tomb effigy of Jean I. Photo © Genevra Kornbluth | 26 13. Tomb effigy of Jean I, detail. Photo © Genevra Kornbluth | 26 14. Marble tomb effigy of Louis X. Photo © Artists Rights Society (ARS), New York, ADAGP, Paris / Art Resource, New York (Antoine Schneck) | 27 15. Marble tomb effigy of Louis X, detail. Photo © Genevra Kornbluth | 28 16. Image of the reliquary of Saint Spire at Corbeil. Photo: Getty Research Institute, Los Angeles (92-B21690) | 30 17. Châsse of Saint Romain, 1270–90. Photo © RMN– Grand Palais / Art Resource, New York (Henri Graindorge) | 31 18. Ivory casket with scenes from romances, 1310–30. Photo: The Metropolitan Museum of Art, http:// www.metmuseum.org | 39 19. Ewer with a noix d’Inde, 1300. Photo © Ville de Versailles, Musée Lambinet | 40 20. Langue de serpent, fifteenth or sixteenth century. Photo: Schatzkammer und Museum des Deutschen Ordens | 41
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21. Petrus Christus, A Goldsmith in His Shop, 1449. Photo: The Metropolitan Museum of Art, http:// www.metmuseum.org | 42 22. Historiated initial showing the translation of the head of Saint Martin into a new reliquary made by Simon de Lille, and the royal family in prayer, 1340– 50. Photo © Bibliothèque municipal de Tours | 48 23. Tomb effigy of Philippe VI. Photo: Photothèque- Zodiaque DR | 59 24. Rings from the Colmar treasure, late thirteenth–mid- fourteenth century. Photo © RMN–Grand Palais / Art Resource, New York (Jean-Gilles Berizzi) | 60 25. Fermail from the Colmar treasure, ca. 1320–40. Photo © RMN-Grand Palais / Art Resource, New York (Jean-Gilles Berizzi) | 60 26. Tomb effigy of Rudolphe de Habsbourg. Photo: Erich Lessing / Art Resource, New York | 61 27. Silver-gilt clasp in the form of an M, 1350. © Courtesy of the Warden and Scholars of New College, Oxford / Bridgeman Images | 62 28. Illumination showing a woman kneeling before a sculpture of the Virgin and Child, 1280–90. Photo: Morgan Library and Museum, New York | 65 29. Ivory comb with scenes of lovers in a garden, second quarter of the fourteenth century. Photo © Victoria and Albert Museum, London | 69 30. Ivory mirror case depicting hunters in a forest, 1350– 75. Photo: The Metropolitan Museum of Art, http:// www.metmuseum.org | 70 31. Limbourg brothers, January calendar page, 1412–16. Photo © RMN–Grand Palais / Art Resource, New York (René-Gabriel Ojéda) | 72 32. Rock-crystal nef, or saltcellar, mid-thirteenth century. Photo: The Metropolitan Museum of Art, http://www.metmuseum.org | 73 33. Hanap with central bosse, fourteenth century. Photo: The Metropolitan Museum of Art, http://www .metmuseum.org | 74 34. Madre cups, first half of the fifteenth century. Photo © Ville de Versailles, Musée Lambinet | 74 35. Two écuelles from the Maldegem hoard, second quarter of the fourteenth century. Photo © RMAH, Brussels | 75
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36. Rock-crystal baril, sixteenth century. Photo © Prague Castle Administration (Jan Gloc) | 76 37. Psalm 1, with Beatus initial, before 1318. Photo © Bibliothèque royale de Belgique | 82 38. Psalm 109, before 1318. Photo © Bibliothèque royale de Belgique | 84 39. Castle of Love. Photo © Bibliothèque royale de Belgique | 85 40. A page from the table of contents of the Ovide moralisé, ca. 1315–20. Photo: Collections of the Bibliothèque municipale de Rouen | 86 41. The Fauvel Master, Juno Ascending, ca. 1315–20. Photo: Collections of the Bibliothèque municipale de Rouen | 87 42. The first page of the text from the Ovide moralisé, ca. 1315–20. Photo: Collections of the Bibliothèque municipale de Rouen | 88 43. The Fauvel Master, The Annunciation, ca. 1315–20. Photo: Collections of the Bibliothèque municipale de Rouen | 90 44. The Fauvel Master, Hecuba Taking the Eyes of Polymestor, ca. 1315–20. Photo: Collections of the Bibliothèque municipale de Rouen | 91 45. The Thomas de Maubeuge Master, Phases of the Moon and The Influence of the Sun and Moon on the Earth, 1303–4. Photo: Bibliothèque de Rennes Métropole, Les Tablettes rennaises | 93 46. The Thomas de Maubeuge Master, Demonstration of Gravity, 1303–4. Photo: Bibliothèque de Rennes Métropole, Les Tablettes rennaises | 94 47. Goldene Rössl, Paris, before 1405. Photo: Bayerisches National Museum (Walter Haberland) | 107 48. Eleanor of Aquitaine Vase, sixth–seventh century and before 1147. Photo © RMN-Grand Palais / Art Resource, New York (Daniel Arnaudet) | 109 49. Nicholas Wurmser of Strasbourg (?), wall painting in the Chapel of Our Lady in Karlštejn Castle, ca. 1357. Photo: National Historic Institute, The Regional Historic Sites Management in Prague | 110 50. The Reign of Louis X. Photo courtesy Dept. of Special Collections, Stanford University Libraries | 114 51. Fermail, first half of the fourteenth century. Photo © RMN-Grand Palais / Art Resource, New York (Daniel Arnaudet) | 117 52. Simone Martini, Saint Louis de Toulouse Crowning Robert d’Anjou, ca. 1317. Photo: Alinari / Art Resource (Luciano Pedicini, 1999) | 118
x
53. Diasper cloth, late thirteenth century. Photo: The Metropolitan Museum of Art, http://www .metmuseum.org | 119 54. Follower of Tino di Camaino, travel altar of Robert d’Anjou, early fourteenth century. Photo: The Moravian Gallery in Brno | 130 55. Attributed to Jean de Touyl, reliquary shrine of Elizabeth of Hungary, 1320–40. Photo: The Metropolitan Museum of Art, http://www.metmuseum.org | 133 56. Reliquary head of one of the Eleven Thousand Virgins, late fourteenth century. Photo: Pinacoteca Comunale, Castiglion Fiorentino | 136 57. Sculpture of Saint Blaise as a bishop, 1280–1300. Photo: Erich Lessing / Art Resource, New York | 138 58. Reliquary arm of Saint Louis de Toulouse, 1336–38. Photo © RMN–Grand Palais / Art Resource, New York (Jean-Gilles Berizzi) | 139 Maps 1. The estates and domains of Clémence de Hongrie | 21 2. Sources of the materials in Clémence’s inventory | 38 3. Sources of the coats of arms on objects in Clémence’s inventory | 43 4. Plan de Bâle, 1550 map of Paris with the route of the 1318 procession and the locations of Clémence’s estate and burial site. Photo: Basel University Library | 115 5. International gift giving of objects documented in the inventory and testament of Clémence de Hongrie | 127 Charts 1. Genealogy chart of the Capetian, Angevin, and Valois Dynasties | 15 2. Relative values of the belongings of Clémence de Hongrie listed in her inventory | 57 Table 1. Values of Clémence’s belongings in the inventory by section, showing 1328 sale prices in Parisian pounds | 56
Illustrations
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Acknowledgments
Over the years of working on this project, I have
have been so important in developing my work.
gathered many debts and many dear friends.
Chris Woolgar gave helpful comments on my
To Sheila Bonde and Evelyn Lincoln at Brown Uni-
article about Clémence de Hongrie for the Journal
versity, I owe many of the questions I asked of the
of Medieval History, as did Elena Woodacre on the
testament and inventory of Clémence de Hongrie,
essay I wrote for her volume Queenship in the Med-
and Barbara Drake Boehm was a constant source
iterranean. Tracy Chapman Hamilton, with whom
of knowledge about these documents and medieval
I have collaborated since 2014 on digital mapping
art. I am grateful to nineteenth-century historian
projects and the volume Moving Women Moving
and archivist Louis Douët-d’Arcq for editing the
Objects (500–1500) for Brill, has given me valuable
inventory, enabling me to spend my time putting
suggestions; I have grown as a scholar in working
the data in spreadsheets and analyzing it. Joan
with her.
Branham commented on parts of my project early
on, and Désirée Koslin generously spent a day
land, Asa Mittman, Eileen McKiernan González,
discussing the textiles in the inventory with me.
and Matthew Clear as well. Anne McEnroe and
Alice Klima, Anne Heath, Andrea LePage, Melissa
Marie Kelleher assisted me with the Latin quota-
Katz, Nathaniel Stein, Eva Allan, and Joseph Silva,
tions, and Pascale Rihouet vetted the translations
my friends from graduate school, helped me pro-
from French, which are my own unless otherwise
cess much of this information. My faculty writing
noted. While performing in Bari, my cousin Nina
group at Rhode Island School of Design was sim-
Warren kindly went to the treasury of the church of
ilarly pivotal: Hannah Carlson, Suzanne Scanlan,
St. Nicolas to search for any of Clémence’s objects
Pascale Rihouet, and Dalia Linssen all asked dif-
that might have survived. I thank my undergrad-
ficult questions and were a sounding board as I
uate research assistants, Rebeca Sanchez and
organized my ideas.
Jacqueline Peña. Genevra Kornbluth went to Saint-
Denis to make the images of the tombs there, Lynn
Joan Holladay was a consistent support
I am grateful to Miriam Shadis, Jennifer Bor-
from the beginning, and she offered invaluable
Carlson (GISP–Brown University) made my study
comments on the manuscript at a late stage. I am
maps, and Tom Paradise graciously made the maps
grateful to Elizabeth A. R. Brown for her excellent
for the book.
research on the Capetian dynasty and her gener-
osity in sharing sources and advice with me. Anne
dation for funding the early stages of this proj-
Stanton and Theresa Earenfight offered crucial
ect in France, and to the Salomond family for
insights on the manuscript, and lengthy conver-
supporting my writing through a fellowship in
sations with Marguerite Keane were pivotal as
2006–7. An International Center of Medieval Art /
well. I thank Brigitte Buettner, whose advice and
Samuel H. Kress book research award also moved
research on gift giving and the sumptuous arts
the project forward. I advanced my thinking on
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I am thankful to the Samuel H. Kress Foun-
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women and space as a fellow at the Samuel H. Kress Digital Mapping and Art History Institute at Middlebury College in 2014, expertly led by Anne Knowles and Paul Jaskot. I am also deeply grateful for the Mellon Art History Publication Grant through the Pennsylvania State University Press, which paid for the image rights for this book. And I appreciate the support of my colleagues at California State University, Long Beach, in particular Karen Kleinfelder and Catha Paquette. CSULB College of the Arts course releases helped me finish this book. I am grateful to Eleanor Goodman and the PSUP editorial board for bringing the book to press, and to the excellent professionals Keith Monley, Regina Starace, and Matthew Williams for bringing the book through copyediting, design, and typesetting.
I appreciate the librarians and archivists at
the Bibliothèque nationale de France, the Archives nationales de France, the Bibliothèque royale de Belgique, the Bibliothèque municipal de Rouen, and regional archives in Corbeil and Évreux, and professionals at sites in Naples and Budapest. I thank the librarians at Brown University, Rhode Island School of Design, and California State University, Long Beach, for keeping me buried in interlibrary loan books.
Finally, I am thankful for the support and
kindness of my family—my parents, Keith and Mauna Proctor, and my sister, Brook. Most of all, I appreciate my husband, Scott Tiffany, and my daughters, Maquelle and Corinn, who have always had Clémence in their lives.
xii
acknowledgments
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A Note on Terminology and Nomenclature The inventory of Clémence de Hongrie was made to document the belongings of the queen and to record their appraisals, purchasers, and prices upon her death. As such, terminology of weights, measures, and money is important in understanding the movement of her objects. Goldsmiths weighed works in precious metals and gems, like jewelry, plate, and reliquaries (joyaux as they are called in the inventory), in units of marcs, onces, and estelins and set a price per marc based on the materials and the quality of workmanship. A marc was equal to 8 onces, or 160 estelins, or 192 deniers. Textiles were measured in aunes, and prices were recorded in the documents as Parisian livres, sous, and deniers. One livre (or pound) was equivalent to 20 sous, or 240 deniers.
Nomenclature is particularly tricky in a proj-
ect such as this. Apart from a few exceptions, I have elected to include most names in French, though all these people appear in medieval documents and modern scholarship in a variety of forms. For example, Clémence de Hongrie can also be Clementia of Hungary, Clémence d’Anjou, or Clemence of Hungary.
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Introduction
In the summer of 1315 Princess Clé-
her sumptuous works in silver, gold, and precious
mence de Hongrie and her entourage
gems had been either washed or thrown overboard.
prepared to set sail from Naples to
It is from this low point that over the next thirteen
Marseille, where they would travel by land to meet
years, until her death, in 1328, Clémence amassed
her fiancé, Louis X, king of France. The twenty-
one of the most resplendent collections of art in
two-year-old princess was the youngest of three
France.
children, who had been raised in Naples by their
grandmother Marie de Hongrie after the deaths
mence de Hongrie (1293–1328) speaks to three
of their parents when Clémence was a young girl.
essential facts about medieval works of art. First,
As she and her attendants prepared her jewels,
medieval sculptures, textiles, jewels, and manu-
manuscripts, and clothing, Clémence surely real-
scripts were in constant motion. As we gaze today
ized that she might never see Naples or her family
upon these objects, anchored and spotlighted in
again. Any anxiety she felt would soon have been
their museum vitrines, it is tempting to imagine
confirmed: a massive storm struck during the
them similarly fixed in the residences or chapels
voyage, and the ship seemed doomed to sink in
of their original patrons. However, in truth, these
the Mediterranean. The poet Geoffroi de Paris
functional objects were bought and sold, carried
writes that Clémence pleaded with God to spare
when their owners traveled, pawned, and sent as
the members of her entourage, recognizing that
long-distance gifts. Second, the possessions that
their loyalty to her had placed them in peril, and
Clémence lost in the water were essential markers
he bemoans Clémence’s treasures, “For in the sea
This frightening episode in the life of Clé-
of her identity. Because sumptuary laws restricted
she lost many joyaux, her best and most beautiful.”
the wearing or display of luxurious cloth, precious
Although the wind and waves finally subsided and
gems, and objects in silver and gold to the nobility,
the travelers arrived in Marseilles alive, many of
such jewels, reliquaries, and silks instantly signaled
1
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a woman’s high place in late medieval social net-
her large household, she had to maintain her iden-
works. Finally, this perilous sea voyage represents
tity through careful performance; to this end she
just one of the ways works of art could perish.
employed the visual power of her possessions, dis-
As only a small percentage of the sumptuous works
playing them and offering them as gifts. Adorning
extant in the Middle Ages have survived, it is rare
her body, the altars of her chapels, and her dining
to be able to study the objects, composition, and
tables with jewelry, vessels, reliquaries, extravagant
contents of a medieval collection. Such an oppor-
textiles, manuscripts, sculptures, and paintings—
tunity is provided by two documents: the testament
the exclusive accoutrements of royalty—she argued
and the inventory of Clémence de Hongrie—evi-
for her place at court, her status, and her income
dence that has not been thoroughly studied until
by embodying the role of queen. Giving her works
my research. Indeed, while the inventories of many
of art as gifts, both locally and internationally, she
medieval men have been the subjects of scholar-
reminded the larger society of her importance.
ship, Medieval Art in Motion is the first book to
Ultimately she prevailed, successfully ruling her
analyze the inventory of a medieval woman.
domain and, most importantly, maintaining res-
Upon her arrival in France, Clémence mar-
idence in Paris to promote the reputation of her
ried King Louis X (1289–1316), the oldest son of
husband, her son, and her natal family through
Philippe IV and Jeanne de Navarre. As the new
patronage and art collecting.
queen, Clémence provided the hope of a male
heir to the throne, and to the joy of the court, she
and moving numerous works of art were keys to
quickly became pregnant. But during her preg-
the success that she saw as a widow. Clémence
nancy her husband died suddenly, leaving the court
was buried at the church of the Jacobins in Paris,
and kingdom waiting to see if the queen’s baby
and her tomb effigy survives today at the basilica
would be a boy. The chroniclers record that Clé-
of Saint-Denis. The sculpture depicts the queen
mence was often ill and depressed during the end
in full-length dress with her hands in prayer. Her
of her pregnancy. When the baby was born, it was
crown is decorated with leafy fleurons, and she
a boy, whom Clémence named Jean. However,
wears both a veil and wimple, appropriate for her
he was not well. The pope promised indulgences
status as widow (figs. 1–3).2
Commissioning art that glorified her family
for those who prayed for the infant, but even these prayers could not save the child. Jean died within a few days of his birth.
2
A Queen’s Position and Identity
To make matters worse, Clémence soon
offended the new king, Philippe V. He refused
Queens did inherit crowns and rule in some places
to pay her the income Louis had promised her,
and, when married to kings, were a central compo-
and Clémence entered the fight of her life. Her
nent in medieval monarchies, yet their individual
high social status became slippery; she needed to
statuses varied widely. One of the most visible ways
harness the power of her art treasures to fight the
medieval queens practiced power was through
social extinction that now stalked her in widow-
biological reproduction: bearing and educating
hood. In order to collect her income and support
heirs to the throne and other children who might
Medieval Art in Motion
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Figure 1 Marble tomb effigy of Clémence de Hongrie (d. 1328), detail.
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3
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Figure 2 Marble tomb effigy of Clémence de Hongrie. Originally at the Dominican church in Paris, now at the basilica of Saint-Denis. Figure 3 Sculpted dog at the feet of the tomb effigy of Clémence de Hongrie.
4
Medieval Art in Motion
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increase the importance of the dynasty through
from many sides could incentivize a widowed
leadership or their own politically advantageous
queen to live out her days on her dower lands or
marriages. Theresa Earenfight indexes the many
to take the veil at a convent of her choosing; if she
other roles queens played: monarch; queen con-
sought to remain near the center of power, she
sort, when a woman ruled in conjunction with
often needed to be highly prudent and avoid any
her husband; queen mother; queen regent, when
apparent desire for control.
a woman ruled for her minor child; or finally
Some women negotiated the transition to
queen dowager, upon the death of her husband.
widowhood with skill (and they will be important
Although their names were not always present with
comparative examples throughout this study).
their husbands’ on governmental charters, queens
Clémence’s sister-in-law, the famous bibliophile
exercised real political power: advising, sometimes
Jeanne d’Évreux (1310–1371), was the third wife
ruling, acting as intercessors, and serving as repre-
of Charles IV of France (1294–1328), and during
sentatives of the Crown.
more than four decades as a widow, Jeanne cul-
3
tivated a reputation as a generous benefactor of
Queens were active not only politically and
charitably but also culturally, often bringing their
religious institutions and a careful administrator
sensibilities, tastes, and artists to their new courts.
of her lands, thereby retaining political influence.7
In her pioneering 1982 article, “Medieval Women
For example, she mediated the conflict between
Book Owners: Arbiters of Lay Piety and Ambas-
Charles le Mauvais, king of Navarre and count of
sadors of Culture,” Susan Groag Bell establishes
Évreux, and Jean le Bon, king of France in 1354,
the importance of women as readers and patrons
and she brought messages to the pope during the
of medieval manuscripts and argues that through
Hundred Years War.8 Jeanne is well known for the
their own movement and book patronage they
tiny book of hours that her husband gave her. Also
effected cultural change. Therese Martin argues
important is the silver-gilt-and-enamel sculpture of
that as patrons of the arts such women should be
the Virgin that she offered to Saint-Denis in 1339.
4
considered “makers” of art themselves, even as much as the artists who made their commissions.
Her skill as a diplomat and her carefully managed 5
wealth and foundations made her a key figure at
Elena Woodacre, in her Queenship in the Medi-
the court of France long after her husband died.
terranean: Negotiating the Role of the Queen in the
Medieval and Early Modern Eras, looks at multiple
contemporary, was Mahaut d’Artois (1268–1329).
women who brought their distinctive Mediter-
Twenty-five years older than Clémence, she ruled
ranean cultures with them when they married
over the counties of Artois and Bourgogne, two
men in other regions, particularly in the north of
realms separated from each other by great dis-
Europe.6
tance. She actively participated in court life and
ruled her lands with enthusiasm and diligence.
As they moved into widowhood, queens often
Another formidable widow, also Clémence’s
found this period more treacherous than the years
Although Mahaut was not a queen herself, through
of their reigns. More than ever, the widow’s influ-
the advantageous marriages of her daughters
ence and reputation were closely related to her skill
she became the mother of two queens, and the
in negotiating the political landscape. Pressures
extensive records of her expenditures reveal an
Introduction
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5
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enthusiastic patron interested in manuscripts, the
and her other estates (fig. 4, appendix 2).11 This
sumptuous arts, and monastic endowments.
document allows a rare glimpse of the relationship
9
Blanche de Navarre (1331–1398) was another
between a medieval queen’s works of art and her
fourteenth-century queen who outlived her
identity. The inventory does not simply list objects;
spouse. Blanche married Clémence’s cousin King
it contains a wealth of information about the ori-
Philippe VI de Valois in 1349. The age difference
gins, sizes, weights, materials, appraised and sale
of almost forty years meant that Blanche outlived
prices, and buyers of 748 individual lots, many
her husband by almost five decades. During this
comprising numerous objects. In order to analyze
time Blanche lived in Paris and spent her days at
the overwhelming amount of information in this
the convents she favored. She and her aunt Jeanne
ninety-nine-page manuscript, I entered the lots
d’Évreux were extremely close and spent much
into spreadsheets with a column for each data type
time together. The two highly regarded queens
and then sorted the list by buyer, price, or material.
had to vigilantly defend their domains through
Through this process, it became clear that apprais-
legal action when others claimed ownership of
als were made by weight for most works in metal.
their lands. When Blanche died, in 1398, she left
Some buyers chose numerous objects of the same
an extensive will documenting her collection. Bri-
materials, which led me to suspect that they were
gitte Buettner analyzes this dowager’s testament,
specialized dealers, and the frequent appearance
noting that as the queen stipulated legacies to be
of their names in the documents of other patrons,
distributed at her death, she couched the lengthy
as sellers of the types of objects they bought from
descriptions to sound as if she were tenderly part-
Clémence’s estate, confirmed this. That there were
ing with her beloved objects, and Marguerite Keane
sometimes differences in appraised and sales prices
writes of the testament that it was a sentimental
led me to investigate the possibility that, remark-
biography.
ably, some of the items were auctioned, making the
10
The status and respect Clémence and each of
inventory the first studied example of an auction
these women gained were highly individual, and a
occurring in France. It also became apparent that
queen’s ability to thrive was dependent on a num-
many of the queen’s objects were moving from her
ber of factors, including the traditions of the court
private chapel to ecclesiastical settings, suggesting
into which she married, her own personality, the
objects could easily move between the lay world
length of her reign, the breadth and depth of her
and churches. This data-driven approach to study-
support from courtiers, her income, and her sur-
ing a large group of objects is key to my analysis.
viving progeny, if she had any.
Clémence’s document is one of only a few surviving inventories from a fourteenth-century French queen, making it invaluable in analyzing medieval
A Queen’s Possessions
art, material culture, and economy.12
6
It is exceptional to have both the extensive
When Clémence de Hongrie died, in 1328, at the
inventory made after the queen’s death and the
age of thirty-five, a detailed inventory was made
queen’s testament (appendix 1), which she dictated
of her belongings and property at her Paris home
days before her passing.13 These records provide
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Figure 4 The first page of the inventory of the belongings of Clémence de Hongrie. The first paragraph identifies the jewelers who appraised Clémence’s collection, and the first item describes Clémence’s best crown with rubies, emeralds, and pearls. Bibliothèque nationale de France, Paris, Clairambault 471.
us two different descriptions of many objects.
identity during the years of her widowhood.
We can look into the queen’s collection and her
I include both the testament and the inventory in
closet through these detailed documents, which
the appendixes of this book to allow readers to
often together reveal where Clémence received
consider objects in their textual contexts and to
individual works of art and where they went upon
make these important documents more accessible
her death. So we can trace the trajectories of her
and thereby encourage their continued study.
objects through time and space, which I accom-
Object numbers in parentheses throughout this
plish using geospatial mapping, another data-based
study refer to the inventory in appendix 2.
approach to art history. The trails of her cherished
works of art reveal her relationships and how she
ber 13, were filled with activity as the inventory was
deployed her objects to buttress her endangered
made at the queen’s Paris residence. The kingdom’s
The days following Clémence’s death, on Octo-
Introduction
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foremost jewelers, including Simon de Lille, the
reveals that more than 55 percent of her net worth
goldsmith of Charles IV, were called to appraise
was held in works in metal. This inventory provides
the jewels and objets d’art that had belonged to the
an understanding of both individual pieces and the
queen. Artists, scribes, and bureaucrats worked
composition of the collection as a whole, in addi-
for five days, weighing, assessing, and describing
tion to the supremacy of the so-called minor arts in
Clémence’s worldly possessions, carefully docu-
the Middle Ages.
menting the queen’s golden crowns, studded with
rubies, emeralds, and pearls. They meticulously
in French, was edited in the nineteenth century
measured artworks and textiles, such as one set
and has been used widely in dating the first use
of tapestries depicting a hunting scene in a forest;
of particular objects in Europe and in tracing
and they described dozens of her manuscripts. The
the provenance for works of art. Now, I bring the
group catalogued reliquaries that held pieces of the
document to life, analyzing the group of objects
True Cross, and they counted the sapphires on the
as a whole and the manner in which the queen
queen’s paternosters. Under orders from the reign-
moved them. Even when the physical jewels, pre-
ing king, Philippe VI, the inventory process then
cious sculptures, and textiles are lost to us today,
continued at her twelve other estates and proper-
comparison of the descriptions in the inventory
ties south of Paris and in Normandy.
and testament with existing works made in early
The inventory reveals more information about
fourteenth-century Paris and Naples allows me
how objects changed hands than do most inven-
to make valuable suggestions about what some
tories made for medieval kings. For example, the
of Clémence’s objects looked like. One can study
inventory of the belongings of Charles V made
comparanda much as one might make a recon-
in 1363, before he came to the throne, includes
struction of a destroyed building based on its
the weights and descriptions of objects but not
footprint, characteristics of neighboring buildings,
appraised values or information about transfers,
and historical descriptions of the destroyed build-
because the works of art were to stay in his collec-
ing. Particularly useful as comparative examples
tion. Clémence’s inventory is vitally important
are objects commissioned by members of the
because it helps us to understand the movement
queen’s family or made by artists who did work
of medieval possessions and the composition of
for her. Clémence’s inventory and testament both,
a royal person’s collection, in spite of the fact that
for example, describe a special shrine that the
Clémence’s objects that have survived represent
queen received from Naples and then gave to her
only a small percentage of those that she originally
sister (89). Although this shrine does not survive,
14
8
Clémence de Hongrie’s inventory, written
owned. Works in metal were particularly vul-
another made at the same place and time does.
nerable to destruction because their materials were
That shrine, now in Brno, in the Czech Republic,
inherently valuable and re-formable as financial
fits the description and conveys the general char-
emergencies arose and styles changed. Yet joyaux,
acteristics of the important piece that traveled
or works of the goldsmith (reliquaries, plate, and
from Naples to Paris and then to Vienne as a gift
jewels), were the centerpieces of a courtly art
between women in this royal family; this work of
collection. My analysis of Clémence’s inventory
art figures prominently in chapter 7 (see fig. 54).
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Although the exact characteristics of pieces
emphasizing the importance of books in women’s
described are elusive, the appearances of many of
roles as educators of their families.17
Clémence’s lost possessions may be approximated
by considering them as examples of classes of
inventory of her husband, Louis, who died in 1316,
objects.
just twelve years before her own death, provides
a helpful comparative document, which I ana-
Any discussion of a queen’s inventory or testa-
In the case of Clémence, the survival of the
ment must address how her collecting and giving
lyze throughout this book. Louis’s inventory was
activities differed from those of contemporary
begun after his death, and the finalized document
kings and princes. In recent decades, scholars have
rendered in 1321, after his belongings had been
begun to write about gender within the scope of
liquidated to pay his debts and fund his testamen-
their different inquiries. In her analysis of gifts
tary gifts.18 Patterns of similarity and difference in
given at the New Year at the Valois court, Brigitte
the two inventories might relate to gender. Even
Buettner finds that both men and women were
while considering gender in these inventories,
giving the same types of objects, but the women
though, I do not see people like Clémence or her
had smaller gift-giving budgets. Also, while women
husband as passive actors, unwittingly playing out
did give gifts to men, most of women’s gifts were
the gendered expectations of their courts. Rather,
to other women: ladies-in-waiting, washerwomen,
they acted as individuals with agency and unique
seamstresses, and women who cared for children.
personalities and interests in dialogue with their
Women were more likely to be the recipients of
cultures in regard to objects they gathered.
gifts from their fathers and husbands than to be the givers of gifts to these men, since the women were dependents of men. This makes sense because men
A Queen’s Gifts
had ready access to the full coffers of their holdings, whereas women received a small portion of
After analyzing Clémence’s collection and in a way
these same monies to cover their annual expenses.15
rematerializing many of the objects she owned, this
Anne Stanton examines the differences in subject
study follows their motion. During her lifetime and
matter of the books documented in the collections
upon her death, Clémence gave many luxurious
of Isabelle de France and her husband, Edward II
gifts. She named more than one hundred different
of England, and finds that Isabelle’s library, which
people in her testament, and she offered donations
aligned with those of her female relatives, con-
to numerous institutions. The list of objects she
sisted largely of French romances and Franciscan
gave to her loved ones in her testament demon-
service books, while the books documented in her
strates her important social links:
husband’s collection often related to law and governance.16 Marguerite Keane examines gender differences in the testament of Blanche de Navarre. She sees that Blanche gave women more than twice as many books as she gave men and wrote differently about the books she gave to women, particularly
• Shrine with a silver sculpture of the Virgin and Child to her sister, Béatrice, dauphine de Viennois • Sculpture of Saint John the Baptist to Béatrice, dame d’Arlay
Introduction
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• Tabernacle of the Annunciation to her
examines gift giving and identity in Oceania, focusing on objects that cannot be given to out-
confessor • Jeweled clasps to the comte d’Alençon, the duc de Bourbon, and Robert d’Artois • Her best crown to her nephew and heir, Humbert, dauphin de Viennois • Reliquary head of one of the Eleven Thousand
siders because they are closely associated with revered previous owners.23 And Arjun Appadurai studies the social lives of things to understand how the transfer of objects reveals the social networks through which they travel.24
Virgins to Jeanne de Bourgogne, queen of
France
patterns of gift giving in relation to power struc-
• Sculpture of Saint Louis de Toulouse to Philippe de Valois, king of France
Historians of art have begun to look closely at
tures and identity in medieval society, and significant studies have emerged. Gift giving was a key feature of personal and intergroup relations, and
To interpret her generous gifts, I turn to the liter-
as Brigitte Buettner points out, many of the most
ature she owned or would have known—didac-
luxurious objects made during the Middle Ages
tic works written for members of her family
were either commissioned or later served as gifts.25
that taught about the practice of gift giving. For
Buettner argues that when Blanche de Navarre gave
example, the behavior manual written for her
her works of art to the Valois rulers in her 1396
father-in-law by Gilles de Rome, Le livre du gou-
testament, she bestowed her Capetian lineage on
vernement des rois et des princes, which was in
them, and that the circulation of objects should be
the queen’s library, taught that royal people could
considered an important component of patron-
benefit politically as they offered rich gifts.19 Simi-
age.26 She interprets the gifts as tokens of affection
larly, the Speculum dominarum (Miroir des dames)
between family members.27 Marguerite Keane’s
written by Durand de Champagne for Clémence’s
Material Culture and Queenship in 14th-Century
mother-in-law encouraged queens to act benev-
France studies Blanche de Navarre’s carefully cho-
olently, modeling their lives on that of the Virgin
sen gifts of manuscripts, jewels, textiles, and money
Mary.
to ascertain the manner in which this queen delib-
erately lodged herself in the memories of her loved
20
Not only writers of her day but modern
philosophers, anthropologists, and sociologists
ones at the French court.28 Joan A. Holladay studies
have examined the movement of objects and the
the manuscripts of Jeanne d’Évreux, Clémence
creation of social ties through gift giving. Marcel
de Hongrie, and Mahaut d’Artois and sees patterns
Mauss argues in The Gift that reciprocity elicited
of collecting, with books as important and consis-
through mandatory mutual giving ties commu-
tent gifts among late medieval aristocrats.29
nities and clans together.21 Pierre Bourdieu exam-
ines gift giving as well in The Logic of Practice
erature and addresses important questions about
and hypothesizes that although the reciprocity of
gift giving: How did a woman give her objects to
gift giving seems to be mandatory, givers exer-
increase her realm of influence and the repute of
cise agency throughout the process, since acts of
her family through her patronage? Which were the
gift giving unfold over time. Annette Weiner
most appropriate gifts for a queen to give different
22
10
Medieval Art in Motion engages with this lit-
Medieval Art in Motion
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people? How did queens perform their identities
characteristic of widespread trends in late medieval
through ritual gift giving? This study investigates
court culture.
the early fourteenth century and argues that through gift giving women built their own personal
Medieval Art in Motion examines the identity,
and family identities. As they repeated the earlier
possessions, and gift giving of Clémence de Hon-
queens’ performances of generosity, they could
grie. The first chapter details the life and times of
argue for their own elevated status, privilege, and
this fourteenth-century queen, who inhabited the
income.
intersection of three pivotal European dynasties:
While the field of art history has focused great
the Capetians, the Angevins, and the Valois. As I
attention on the necessary work of identifying
examine her key relationships within them, I reveal
the original places, dates, and patrons of works
how she moved her objects to develop links and
of art, I argue that studying the movement of
maintain allegiances.
these works in addition to their origins is useful.
Clémence herself left Naples for Paris, her body
numerous systems of exchange that functioned
a beautiful diplomatic gift, and she moved her
to transfer objects between people and groups.
works of art in numerous skillful ways to people
My analysis demonstrates that materials from as
of a wide range of social classes, from the king of
far away as India, Africa, and the Near East were
France to a washerwoman. The records have her
transported to France and used in the queen’s
processing through the streets of Paris to the abbey
works of art. At the time of her death, the executors
of Saint-Magloire, where she offered a jeweled
of her testament followed codified procedures to
clasp and golden textiles at the church. I also trace
liquidate her collections, sending objects to her
the international trajectories of her works of art;
friends and family and selling everything else.
the objects in motion reveal international social
networks and demonstrate the importance of the
proclamation in late medieval courtly society.
far-flung relationships of medieval aristocrats. Here
The queen’s body, the altars in her chapels, and
the queen expressed her generosity, moving finely
her residence were the sites where she displayed
made objects to her friends and family, both during
most of her works of art. A close reading of the
her lifetime and upon her death. Her most intimate
inventory reveals the manner in which material
associations with people in her household and her
culture argued for the queen’s identity in these
relationships with her social equals in Paris and
visible zones. Her best objects were financially out
throughout Europe become apparent. This wid-
of reach for members of lower social classes, and
owed queen deputized her works of art to promote
in fact, these objects were often legally controlled
her own identity in shrines in distant lands. The
signifiers of status. Clémence’s father-in-law had
movement of the queen’s objects signals the tran-
decreed that gold and silver vessels and jewelry,
sitory nature of ownership in the Middle Ages and
as well as expensive clothes, could be used and
beyond. Thus, although Medieval Art in Motion is a
worn only by royalty, making the sculptures,
microhistory focusing on one queen’s works of art,
crowns, silk gowns, and even the plates on Clé-
her relationships and her movement of objects are
mence’s table legislatively controlled markers of
The second chapter closely examines the
The third chapter examines sites of identity
Introduction
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12
identity. Her body was the locus of spectacle when
asserting her claim to the rights, respect, and
she appeared publicly. So by wearing, displaying,
money due her.
and using these objects—even when she could not
afford to—she spoke a language of luxury that was
and the queen’s performance of her royal identity
reserved for royalty, thereby asserting her rights to
within the urban framework of Paris. The best-
her title and income.
documented instance of Clémence’s public perfor-
The next chapter examines the queen’s library.
mance of queenly behavior occurred when in 1318
Chapter 6 examines public ritual gift giving
She owned forty-four books, and the composition
she led a retinue of royal women to the altar of the
of her library and the texts and images of her books
church of Saint-Magloire in a nighttime proces-
reveal much about her identity. Her manuscripts
sion. There, among the flickering lights of candles,
demonstrate how she located herself within sacred
she publicly offered extravagant textiles and a
and secular history and reveal much about her
jewel. What is striking about this procession and
tastes. Her church books, romances, and behavior
donation is the timing: at the very moment when
manuals all offer a window into her reading pat-
she was having to pawn her best jewels, her most
terns, visual culture, and acts of generosity. Her
concentrated signifiers of status, she offered these
books provide clues to her financial woes, her rela-
extravagant gifts. When she could least afford to
tionships, and women’s performance of identity to
give, she needed to give in order to argue publicly
maintain their status.
for her identity and promised income.
A wise queen needed to carry out works of
Not only did Clémence de Hongrie partici-
mercy and charity in order to be seen as righteous
pate in local ritual giving in Paris, but she was also
and not to appear to overstep her place, and often
a member of an international network of people
works of art were the mobile props in the theater
across Europe who exchanged gifts. Chapter 7
of visible charity. Royal gift giving and generosity
maps the international trajectories of her gifts of
dated back to antiquity and were deeply enmeshed
art, offering concrete evidence of the movement of
with late medieval conceptions of aristocratic
individual items. Her works moved between Paris
etiquette. Chapter 5 examines a variety of textual
and England, Avignon, Buda, and Naples, and
sources that paint a picture of the cultural sig-
other foreign locations. The paths and descriptions
nificance of generosity in the late Middle Ages.
of Clémence’s objects demonstrate that women
Romances such as Chrétien de Troyes’s Erec and
maintained their relationships and constructed
Enide and Guillaume de Lorris and Jean de Meun’s
their families’ identities through international gift
Romance of the Rose, as well as writers like Chris-
giving.
tine de Pizan, all celebrated the art of gift giving.
Medieval Art in Motion uses behavior manuals in
de Hongrie enables us to analyze the possessions
the queen’s own library to explain how she con-
of a fourteenth-century queen in Paris. When we
structed her magnificence through the gifts that
examine the group of objects as a whole, we can
The remarkable inventory of Clémence
she gave. As Clémence de Hongrie performed the
see just how important her works of art were in
art of giving, she repeated the actions of gener-
the queen’s proclamation of her status. Through
ations of queens who had preceded her, thereby
chronicles, the inventory, the testament, financial
Medieval Art in Motion
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accounts, and surviving works of art, we can analyze the queen’s possessions, trace the paths of her objects through geospatial mapping, and see how her jewels, textiles, reliquaries, sculptures, and manuscripts were primary signs of her royal status. As Queen Clémence launched them into motion locally and internationally, publicly and privately, they represented her identity and enabled her to establish an enduring reputation for herself and her family.
Introduction
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The Life, Times, and Art of an International Queen
Chapter 1
Clémence de Hongrie exemplified the
ruled Naples during most of Clémence’s life, and it
pan-European royal culture of the late
was they who arranged her marriage. Clémence’s
Middle Ages. Born in Naples on Febru-
years in and around Naples were a formative time
ary 7, 1293, Clémence was a member of the Angevin
in which she established lasting relationships that
branch of the Capetian dynasty, which descended
became her central social and political connections.
from Charles I d’Anjou (1227–1285), the younger
These relationships formed Clémence’s dynastic
brother of Saint Louis IX of France (chart 1). With
ties and family identity, which were paramount to
his wife Béatrice de Provence (ca. 1234–1267)
aristocrats of fourteenth-century Europe. In 1307,
he ruled Provence, and then with the pope’s blessing
as a teenager, she also became close to Jacques
and influence, he conquered Naples and Sicily in
d’Euse, who later became Pope John XXII. Born in
1266. Charles II (1254–1309) and Marie de Hongrie
1249 in Cahors, he had served as the chancellor to
(1257–1323), Clémence’s grandparents, continued
Clémence’s grandfather King Charles II in Naples,
the construction of the Angevin dynasty, then with
and then Charles helped d’Euse become bishop of
its capital in Naples. Clémence’s father, who was the
Fréjus in 1300.5 Additionally, Clémence’s aunt, Mar-
titular ruler of Hungary, Charles Martel d’Anjou,
guerite d’Anjou, was married to Charles de Valois,
and her mother, Clémence de Habsbourg, both
the brother of King Philippe IV of France, so there
died in 1295. Clémence’s paternal grandmother,
was already an Angevin woman in Paris. Charles
Marie de Hongrie, became the legal guardian of the
was among the counselors who suggested that
children and took responsibility for the education
Louis marry Clémence. Then when Charles’s son
and rights of Clémence and her older brother and
Philippe VI de Valois came to power in 1328, Clé-
sister, Carobert (1288–1342) and Béatrice (1290–
mence had a close cousin who became king.6
1354).4 Clémence’s uncle and aunt, Robert d’Anjou
(1275–1343) and Sancia de Majorque (1286–1345),
ents, uncle, and aunt led a court in Naples that
1
2
3
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Clémence’s great-grandparents, grandpar-
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Jean, duc de Berry 1340–1416 m. Jeanne d’Armagnac m. Jeanne de Boulogne
Humbert, dauphin de Viennois 1312–1355
Béatrice, dauphine de Viennois 1290–1354 m. Jean, dauphin de Viennois
Charles Martel d’Anjou 1271–1295 m. Clémence de Habsbourg
Louis d’Anjou 1339–1384 m. Marie de Châtillon
Jean le Bon 1319–1364 m. Bonne de Luxembourg m. Jeanne de Boulogne
Philippe de Valois 1293–1350 m. Jeanne de Bourgogne m. Blanche de Navarre
Charles de Valois d. 1325 m. Marguerite d’Anjou m. Catherine de Courtenay m. Mahaut de Châtillon
Carobert d’Anjou 1288–1342 m. Elizabeth of Hungary
Charles VI 1368–1422 m. Isabeau de Bavière
Charles V 1338–1380 m. Jeanne de Bourbon
Genealogy chart of the Capetian, Angevin, and Valois dynasties.
Chart 1
Jean I d. 1316
Charles IV 1294–1328 m. Blanche de Bourgogne m. Marie de Luxembourg m. Jeanne d’Évreux
Philippe V 1294–1322 m. Jeanne de Bourgogne
Isabelle de France 1292–1358 m. Edward II
Louis X 1289–1316 m. Marguerite de Bourgogne m. Clémence de Hongrie
Philippe IV 1268–1314 m. Jeanne de Navarre
Philippe III 1245–1285 m. Isabelle d’Aragon m. Marie de Brabant
Louis IX “Saint Louis” 1214–1270 m. Marguerite de Provence
Clémence de Hongrie 1293–1328 m. Louis X
Charles de Calabre 1298–1328 m. Marie de Valois
Robert d’Anjou 1275–1343 m. Yolande d’Aragon m. Sancia de Majorque
Charles II 1254–1309 m. Marie de Hongrie
Robert III d’Artois 1287–1342
Marguerite d’Anjou d. 1299 m. Charles de Valois
Mahaut d’Artois 1268–1329
Robert II d’Artois 1250–1302
Robert I d’Artois d. 1250 m. Mahaut de Brabant
Philippe d’Artois 1269–1298
Charles I 1227–1285 m. Béatrice de Provence m. Marguerite de Bourgogne
Saint Louis de Toulouse 1274–1297
Louis VIII 1187–1226 m. Blanche de Castile
patronized architects, goldsmiths, painters, and
Aragon, of a family with which Sancia had ties.9
poets, and her inventory reveals that she too appre-
They also had discussions with nobles in Hungary,
ciated the arts. During the reigns of Charles I and
but none of these matches materialized. After these
Charles II, Naples was revitalized and established
failed endeavors, Clémence was twenty-two, not
as the capital of the dynasty. They strengthened city
at all young for a princess, when discussions took
fortifications and constructed major monuments.
place about her proposed marriage to Louis X of
During the years Clémence spent in Naples, she
France, son of Philippe IV.
would have gone frequently to the great churches
built by her family. Her grandfather commissioned
much to professionalize bureaucratic systems to
the rebuilding of the cathedral of Naples. Marie
administer the governmental affairs in France.
de Hongrie, her grandmother, rebuilt the convent
At the same time, Philippe’s reign is well known for
of Santa Maria Donna Regina (1307–20), where
several violent incidents. As Elizabeth A. R. Brown
Marie was buried in an elaborate tomb by Tino da
writes, it was not a time when cool heads pre-
Camaino in 1323. And Sancia de Majorque, Clé-
vailed.10 Philippe banished the Jews in 1306 and
mence’s aunt, commissioned the Clarissan convent
oversaw the destruction of the Knights Templar,
church of Santa Chiara in Naples (1313–40). The
the powerful bankers to whom he owed large
artists Giotto di Bondone and Simone Martini
debts. Philippe was outraged when he learned that
both worked for the family, and Dante Alighieri,
Louis X’s first wife, Marguerite, and her sister had
in Canto ix of Paradiso, calls Clémence’s mother
both taken lovers. Philippe chose to punish them
7
“bella Clemenza.” Petrarch too wrote for Clé-
publicly, having their lovers executed and dismem-
mence’s family, dedicating his work Africa to
bered and imprisoning the women. Philippe passed
her uncle Robert. The Angevins were also great
away in 1314, but the consequences of his actions
patrons of jewelry and goldwork, as evidenced
still rippled throughout France.
by reliquaries like that of Saint Gennaro, still in
Naples, commissioned by Clémence’s grandfather
marry, despite the fact that his first wife was still
Charles II. Later, Clémence continued the courtly
alive—imprisoned in the Château Gaillard in
patronage traditions of her family and affiliated
Normandy for adultery.11 Although Louis and Mar-
herself with members of the Angevin dynasty
guerite had a daughter, Jeanne, Louis needed to
through her own commissions, the sculptures she
remarry in order to produce a male heir untainted
owned, and her testamentary request to be buried
by the adultery charges and so continue the
across from her great-grandfather.
Capetian dynasty. On December 8, 1314, Hugue
King Louis’s counselors encouraged him to
Within royal medieval families, younger
de Boville traveled to Naples to negotiate the mar-
daughters often joined a convent, and Clémence’s
riage of Louis and Clémence.12 This was unusual,
grandfather hinted at this possibility for Clémence
but as there was no pope in office to annul his first
in his testament. However, when Clémence’s uncle
marriage or to reprimand him, Louis pursued a
Robert came to power in Naples, he and his wife,
new wife. Less than five months later, on April 30,
Sancia, actively negotiated Clémence’s marriage.
1315, Louis’s first wife, Marguerite, died under harsh
At first they pushed for her to marry Ferrante of
circumstances in the Château Gaillard.
8
16
During his long reign, Philippe IV had done
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After the marriage negotiations in Naples, Clé-
mence prepared to leave her homeland. Petrarch wrote of Clémence’s perilous departure from Naples in language suggesting that the princess herself was a diplomatic gift—her body a beautiful thing sent to an ally’s court: “She was transported amidst tears and weeping as a rare and select object of distinction.”13 It was during the tumultuous sea voyage to Marseille that Clémence lost so many of her belongings. Her hasty wedding to Louis took place on July 31, 1315, in the town of Saint-Lyé, near Troyes.14 Geoffroi de Paris writes that Clémence was very beautiful and describes her humble and courtly manner with approval.15 Anne-Hélène Allirot points out that the chronicler emphasizes Clémence’s appropriate behavior over her physical beauty—perhaps to highlight the differences between the new bride and the one she replaced.16 Yet the drama of Louis’s previous marriage as well as his ongoing battles with his rebellious Flemish vassals cast a shadow over the royal wedding. The chronicler writes that there were few guests at their marriage and little dancing. However, hurried as Clémence’s marriage may have been, her inventory demonstrates that she still cherished a reminder of the day. Remaining in her possession when she died was an embroidered purse decorated with pearls that she had worn the day of her marriage (183).17 Clémence and Louis were crowned on August 3, 1315, by the archbishop of Reims, Robert
Figure 5 Jean Fouquet, The Coronation of Louis X and Clémence de Hongrie at the Cathedral of Reims. From the Grandes chroniques de France, ca. 1455–60, Bibliothèque nationale de France, Paris, ms fr. 6465, fol. 326r.
de Courtenay, and an image of the coronation in the cathedral appears in a fifteenth-century copy of the Grandes chroniques de France illuminated by
Clémence later remembered this region in her
Jean Fouquet (Bibliothèque nationale de France,
testament, ordering that up to four thousand
ms fr. 6465, fol. 326r) (fig. 5).
pounds—twice the amount she allocated for the
construction of her own burial chapel—should be
18
King Louis established Clémence’s dower
lands and properties in Normandy, from which
distributed to the poor of her lands in Normandy.20
she was to draw income throughout her life.
Louis promised Clémence the large income of
19
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twenty-five thousand pounds tournois per year in
child, and her high place at court. The six-month
the event of his death.
transition from reigning queen to pregnant widow
to childless dowager placed Clémence in a liminal
21
The queen may have felt secure in her new life,
but the months that followed were extremely diffi-
zone in which she was left to navigate the complex
cult. Continual rain plagued the land, widespread
and treacherous terrain of the French royal court.
floods caused crops to fail, and disease spread
throughout the malnourished country. Govern-
members of the court reveal that in November
mental finances were also affected because much
1316, while she was ill and then grieving the death
of the royal income came from the agriculture on
of her son, tension erupted between Clémence and
royal lands. The only good news seemed to be that
her brother-in-law Philippe V. Clémence enraged
Clémence became pregnant, bringing alive the pos-
Philippe by supporting her friend Robert III d’Ar-
sibility that the Capetian dynasty might continue
tois in his fight to take possession of the county of
father to son as it had for generations. Then, only
Artois from his aunt, Mahaut.27 Philippe’s mother-
ten months after their marriage, the situation sud-
in-law, Mahaut d’Artois, had held the property
denly took a turn for the worse. In May 1316 Louis
since the death of her father, Robert II d’Artois,
reportedly played a tennis game and then went
when Robert III was still a minor. King Philippe
into a cold cellar for a drink of wine.22 He quickly
felt that Clémence was endangering the peace
became ill, and on June 5, 1316, Louis died. Clé-
of the country by supporting Robert’s rebellion.
mence, who was then four months pregnant,
Philippe oversaw the payments to Clémence, and
was grief stricken, and the attention of the court
so he withheld the income that her husband Louis
quickly turned to the child in her womb.23 During
had promised her.
her pregnancy, political negotiations for the throne
ensued. Louis’s brother, Philippe V, angled to
ing for his help in the conflict and in securing her
become the regent for the child, and then Philippe
payments. Philippe also wrote to the pope, stating
and Clémence reached an arrangement whereby,
that Clémence had no knowledge of politics and
if she had a son, that son would marry Philippe’s
so was meddling in a political question of which
daughter, promising them both descendants who
she had no understanding. He also accused Clé-
would wear the crown.
mence of dressing inappropriately and of keeping
The Grandes chroniques indicates that during
bad company.28 The pope counseled Clémence to
this time Clémence was in very poor health.
live chastely and to avoid conflict with Philippe.29
24
Clémence wrote to the pope repeatedly, ask-
Chroniclers wrote of her crying continually in
In order to maintain her royal identity, she was
what was clearly a state of lasting depression. And
to dress and speak modestly and to moderate
she suffered from recurring malarial fevers before
her taste for expensive clothes. He counseled her
she gave birth to a sickly baby boy at the Louvre
to surround herself with mature advisors and
on November 14, 1316. Clémence’s protector, Pope
administrators so that thieves did not deplete her
John XXII, established an indulgence for those who
resources. It is unlikely that Clémence and her
would pray for the baby, Jean, but he died after only
entourage were starving. Nevertheless, her social
a few days. She was left to mourn her husband, her
status was in real jeopardy.30
25
26
18
Letters from the pope to Clémence and other
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Figure 6 View of the Temple estate. The donjon, the so-called Tour de César, the Temple Church, and other buildings were on the site when Clémence owned the property. Bibliothèque nationale de France, Paris, H26551.
Louis’s young daughter by his first marriage,
Florentine Bardi banking family. Then, almost two
Jeanne, also saw her status fluctuate during this
years after her husband’s death, Clémence received
tumultuous period. To gain power, Philippe nego-
a residence of her own. On August 15, 1317, King
tiated with the princess’s representative, Eude de
Philippe contracted with Clémence to leave the
Bourgogne, exchanging any claim the girl might
royal château de Vincennes and in return receive the
have had to the throne for the promise that Eude
estate of the Knights Templar, whom Philippe IV
could marry Philippe’s daughter. Philippe was
had expelled and killed in 1312 (map 4).31 The wid-
crowned as the new king of France at Reims cathe-
owed queen’s new home, a compound outside the
dral on January 9, 1317.
city walls, was large and heavily fortified. The com-
plex covered 120–30 hectares (296–321 acres) and
By July 1317 Clémence and Philippe had offi-
cially settled their differences, but her financial
had once housed four thousand men (fig. 6).32 The
and social situation remained unstable. During
most prominent feature of the enclave was a mul-
these years she went into crushing debt with the
tistory donjon, a fortified square tower built before
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Figure 7 Engraving of the exterior of the Temple Church. Bibliothèque nationale de France, Paris, H26562.
1310 that was used to secure the money the knight-
This “great hall” was probably in the Tour de César.
bankers had circulated. The donjon had round tow-
Presumably the military theme was no longer
ers at each of its corners, and each of its sides was
dominant in the decoration of the buildings by the
nineteen meters long, including the corner towers.
time Clémence lived there. The compound included
It was four stories tall and also had an attic and a
the Temple Church as well, also constructed by
basement. The donjon was built in the style of the
the Templars, and it served as Clémence’s private
massive fortifications the Templars had built in the
church while she owned the complex (fig. 7).
Levant.
and 1319 gave Clémence several cities and lands for
33
The Templars had built another fortified struc-
ture on the site. A three-story building later referred
income (map 1).36 She collected rent on much of
to as the Tour de César had more interior space.
this land, and farms and vineyards of her domains
The English historian Matthew Paris writes that
supplied her and her household with food and
when Henry III of England visited Paris in 1254,
wine. It was in one of these cities, Corbeil (fig. 8),
he stayed at the Temple because it was the only
that Clémence enriched a newly created reliquary
place that could accommodate his large entourage
for the bones of the municipal saint, Saint Spire.
and army. Matthew describes numerous apartments
for the brethren of the order and details the feast
period, Clémence actively participated in the
34
Despite major financial woes during this
that was held in the great hall of the Temple, a large
social and religious life of the royal court in Paris.
room whose four walls were covered with shields.
In 1318 Clémence was the first of five royal women
35
20
In addition to the Temple, Philippe in 1318
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Dampierre-en-Bray Forêt-de-Bray
Rouen
Martagny
Lyonsla-Forêt Plessis
inset
Mainneville Verclives
Vardes
FRANCE
Beauvais vais
Hébécourt
Saint-Denis-le-Ferment pte
Ecouis ’E
L
Eu r e
e
M
Sein
ar n e
The Temple
Paris Tigery Corbeil
Bière
Samois
Fontainebleau
Moret Flagy
Grez-sur-Loing Nemours
Yèvre le Châtel Neuville
Montargis Le Chaumontois Vitry-au-Loges ChâteauneufLorris sur-Loire
25 miles 40 kilometers
Mez-le-Maréshal Paucourt g
in
Beaugency
L
e oi r
Boiscommun
e
Lorrez
Lo
Orléans
Château-Landon
Se i n
Yo n n
e
Auxerre
Map 1 The estates and domains of Clémence de Hongrie.
21
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Figure 8 Engraving of the city of Corbeil, showing the church of Saint- Spire in the center and the church of Notre-Dame on the left. Clémence gave both of these foundations money in her testament. The château is on an island in the river. Bibliothèque nationale de France, Paris, B6055.
participating in a procession that culminated
the translation of the relics of her other uncle, Saint
in the bestowal of gifts at the church of Saint-
Louis de Toulouse, into reliquaries that Robert,
Magloire (a ritual that is the subject of chapter 6).
Sancia, and Marie had commissioned.38
Through this public gift giving, she called attention
to her identity as a generous royal queen. Later
and enter her family’s convent of Notre-Dame-de-
that year Clémence left Paris for her family’s lands
Nazareth, spending her days in the temperate cli-
in Provence, where she stayed at her family’s royal
mate of Aix-en-Provence, but instead she returned
convent of Notre-Dame-de-Nazareth in Aix-en-
to Paris, probably in 1321, when a contract indicates
Provence. She spent three weeks with Marie, her
she hired men to transport twenty containers of
grandmother, and met with Pope John XXII on
her clothing and linens from Aix-en-Provence to
November 28, 1318. On November 8, 1320, she was
Paris.39 Fortunately for Clémence, Louis’s second
probably with her aunt and uncle, Sancia and Rob-
brother, Charles IV, came to power in 1322, and
ert d’Anjou, and Marie de Hongrie in Marseille at
he quickly made several payments to Clémence
37
22
Clémence might have chosen to take the veil
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that appear to have helped stabilize her financial
world and especially of the two kingdoms where
situation. That year an anonymous chronicler
she [lived], she herself is happy . . . because she
writes that with Jeanne de Bourgogne, the wife
has crossed over the frightening threshold of
of Philippe V, Clémence attended the funeral of
death.”44 At her passing, certainly those in Naples
Blanche de France, daughter of Louis IX. In 1323
nostalgically remembered Clémence at the pivotal
Clémence was a guest at the marriage of her cousin
moment of their separation from her only thirteen
Marie de Valois and Charles de Calabre. In con-
years before, when she had been sent as a bride to
tinuing her public role, she and her sister-in-law
France.
40
41
Isabelle (1308–1358) and Isabelle’s son Edward laid the first stone for a hospital affiliated with the church of Saint-Sépulcre on the rue Saint-Denis
A Queen’s Works of Art
in 1325. On August 1, 1328, Clémence acquired a 42
canonry at Chartres for her esteemed clerk Gérard
In addition to the numerous works of art that are
de Montague.
the subject of the next chapters, several surviving
works of art and evidence of other patronage relate
43
That year Clémence’s brother-in-law King
Charles died while his wife, Jeanne d’Évreux, was
to the queen’s life and her construction of identity.
pregnant. Jeanne eventually gave birth to a baby
As Kathleen Nolan writes, one of the most potent
daughter, ending the Capetian dynasty. Philippe VI
proclamations of identity that a medieval queen
ascended to the throne, beginning the Valois
used was her seal, designed and carved by a gold-
dynasty in France, and since Philippe’s mother was
smith and pressed into hot wax to sign documents.45
Marguerite d’Anjou, he and Clémence were cous-
An impression of Clémence’s ovoid seal in wax
ins. Clémence’s close relationship with Philippe
surviving from a 1317 document depicts the queen
and his wife is evident in the luxurious gifts that
in her regal dress, with her coats of arms flanking
Clémence left to them in her testament. Perhaps if
her (fig. 9). The escutcheons of her arms were dec-
Clémence had lived longer, she would have played
orated with the alternating red and white stripes of
a larger role during Philippe’s reign.
Hungary and the repetitive fleur-de-lys of France.
However, she was clearly ill when she dictated
The queen stands in a Gothic architectural niche,
her testament, on October 5, and then she passed
and ornately decorated pinnacles sit above her coats
away on October 13, in her room in the Temple in
of arms. A crown with protruding fleurons adorning
Paris. She was buried in the church of the Jaco-
her head, she holds a scepter topped by a fleur-de-
bins. It was at this point that her testamentary
lys in her elongated hand. Around the outside of
executors and the king’s representatives oversaw
the seal, a Latin inscription identifies her as queen
the inventory and sale of her possessions. After
of France and Navarre.46 The iconography of the
the queen’s death, the poet Francesco Petrarch
queen’s seal is a compact semiotic representation of
consoled Clémence’s uncle, Robert d’Anjou, back
the most important elements of the queen’s identity,
in Naples by writing of her: “although she was
including her royal Angevin lineage and her Cape-
snatched away in the flower of her age and of her
tian marriage, her royal dress and jewels, and her
beauty, and with the lament of almost the entire
name and titles inscribed in the border of the seal.
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fig. 55), to Elizabeth (called Elisabeth de Pologne in French), her sister-in-law in Buda.47
But little else represents her desire to fulfill
obligations and to promote her family more than the queen’s careful attention to funerary sculpture. She commissioned a tomb effigy for her great- grandfather’s heart for the church of the Jacobins in Paris (figs. 10–11).48 A brother of Louis IX, Charles d’Anjou, who conquered Sicily and brought Naples to the French domain, had wanted his heart transported to Paris, and it was Clémence who fulfilled this desire in 1326. Clémence’s effigy for Charles, which is now at the basilica of Saint-Denis, was a history-writing gift, one that honored the Angevin patriarch and drew Parisian attention to her great- grandfather’s achievements. The effigy is inscribed in Gothic French lettering: “Here lies the heart of the great King Charles who conquered Sicily, who was the brother of Monseigneur St. Louis of France, and this tomb was placed by the queen Clémence, Figure 9 The impression of Clémence’s seal. Archives nationales, Paris, D158.
his niece.”49 This commission and its inscription clearly educated fourteenth-century aristocrats about the accomplishments of a local son. Clémence acted as a representative of the Angevin branch of the dynasty in Paris and through this
24
One of Clémence’s most notable surviving
sculptural gift encouraged the French to honor the
works of art is the Peterborough Psalter (Biblio-
branch and to recognize Naples for the interna-
thèque royale de Belgique, ms 9961–62). A richly
tional court of power, art, and learning that it was.
illuminated Ovide moralisé now in Rouen most
likely belonged to her too (Bibliothèque munici-
d’Anjou, the youthful king lies in rest. Unlike
pale de Rouen, ms 1044). A large compendium of
other effigies of the last Capetian kings, this one
In the almost life-size Parisian effigy of Charles
religious, medical, and scientific works illuminated
emphasizes Charles’s military accomplishments
by the Thomas de Maubeuge Master that survives
through his knightly dress and adornment. In addi-
in Rennes is associated with her as well (Biblio-
tion to his crown with leafy fleurons, he wears
thèque municipale de Rennes, ms 593). Addition-
mail, a sword, and a shield decorated with fleur-
ally, Clémence may have sent the reliquary shrine
de-lys ornaments. Remaining paint suggests the
of Elizabeth of Hungary, now at the Cloisters (see
crown was painted gold and the shield azure.
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Figure 10 Tomb effigy of Charles I d’Anjou that Clémence de Hongrie commissioned in 1326 for the church of the Jacobins in Paris. Now at the basilica of Saint-Denis. Figure 11 Tomb effigy of Charles I d’Anjou, detail.
25
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Figure 12 Tomb effigy of Jean I (d. 1316). Basilica of Saint-Denis. Figure 13 Tomb effigy of Jean I, detail.
26
The prominent inclusion of the king’s arms with
tomb effigy to depict a person holding a bag for
their three-dimensional fleur-de-lys decoration
his or her heart, showing innovation in Clémence’s
reinforces the link to the Capetian family that
commission.50 The drapery is less voluminous than
Clémence emphasized in the inscription on the
that on the effigy of Clémence’s husband, Louis
effigy. He grips the sword in his right hand and a
(figs. 14–15), but the details of Charles’s face are
bag for his heart in his left, and two lions at his feet
finely executed. His bangs are cut short and his
emphasize his bravery and power. This is the first
hair curls up on the end, in contemporary fashion.
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Figure 14 Marble tomb effigy of Louis X (d. 1316). Basilica of Saint-Denis.
27
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Figure 15 Marble tomb effigy of Louis X, detail.
The effigy’s recognition of Naples and the Angevins
the style of the small effigy is markedly different
called attention to Clémence’s own ancestry and
from that of the adult kings, where the drapery is
inserted her great-grandfather into the history of
crisply defined and angles of the hands are some-
the French dynasty and the royal consciousness in
times awkward.53 Instead, the delicate effigy of Jean
Paris.
shows the round cheeks and hands of a toddler.
The baby has a small mouth, broad forehead, and
It seems unlikely that Clémence would com-
mission a tomb effigy of her great-grandfather
almond-shaped eyes. The highly polished effigy
before her own son, Jean, had one, and therefore
emphasizes roundness of forms both in the body
I argue that in all likelihood the queen was the
and in the clothing. This commemorative sculpture
patron of her own son’s tomb effigy as well (figs.
publicly proclaimed the importance of Clémence’s
12–13). In it the boy wears a small jeweled circlet
family line and of her performance of her duty in
on his head and a surcoat with three bands on
producing a son. Her Angevin great-grandfather
the upper sleeves. Mothers often commissioned
and her son each needed a commemorative king-
effigies for their young children. For example,
maker in Paris to propel them into the ranks of the
in 1315 Mahaut d’Artois paid Jean Pépin de Huy
remembered through funerary sculpture, and Clé-
twenty-four pounds for the effigy of her son.
mence kept herself in the public eye through these
Some scholars suggest that the effigy of Clémence’s
important commissions.
son may have been commissioned by Charles IV
along with those of Jean’s grandfather, father, and
own tomb effigy as well during this period (figs.
uncle—Philippe IV, Louis X, and Philippe V—
1–3). In her testament she carefully set aside two
in 1327, the year before Clémence’s death (figs.
thousand pounds for her tomb in Aix-en-Provence,
14–15).52 However, Jean’s name does not appear
even while specifying that if she died in Paris, her
with those in the 1327 commission documents, and
body should be buried at the church of the Jacobins
51
28
The queen may have been the patron of her
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there and just her heart transported to the lavish
part of a campaign before her death to strengthen
tomb she envisioned in Aix-en-Provence. Since she
the relationship between her family and the abbey,
was clearly already ill as she dictated the document,
the burial site of her husband and son, and to keep
she had to know that Paris would probably be the
herself, again, in the public eye and in the prayers
resting place of her body. So it seems likely, since she
of the monks. Tension had marked the relation-
did not at the end of her life allocate at least some
ship between the queen and the abbey in the years
funds for her tomb in Paris, that she had already
before her death, as they were on opposite sides in
taken care of the commission of her own effigy.
legal cases in 1317 and 1323. Nevertheless, they seem
to have been on better terms when in 1328 Clé-
54
Clémence was probably also the patron
of a now-lost image of herself, Louis, and their
mence named Gui de Castres, the abbot of Saint-
son, Jean, at the feet of the Virgin painted in the
Denis, as one of the executors of her testament and
chapel of Saint Louis at the abbey of Saint-Denis.
gave the abbey a yearly annuity of thirty pounds
A seventeenth-century description of the paint-
to sing daily Masses for the dead.57 “The canons
ing survives in the letters of Nicolas-Claude Fabri
will take [this money from the rents] on our lands
de Peiresc: “The chapel of Saint Louis . . . where
in Normandy to have a Mass of the dead sung
there is against the wall a large painted Notre
each day perpetually in a determined chapel . . .
Dame, with the figure of Louis Hutin kneeling on
for the souls of our beloved lord, the king Louis,
the right, assisted by his little crowned Jean behind
god absolve him, and ours and the souls of all our
him, and on the left side the kneeling crowned fig-
friends.”58 With the abbot of Saint-Denis as one of
ure of Clémence de Hongrie, his second wife. And
the executors of her testament and this annuity,
below, painted as if tapestries, are lozenges with
she had every reason to think that her donation
the arms of France and Hungary. . . . The clothes of
and request for daily Masses would be accepted.
the king are like those in his image in the hours of
But after her death the abbey turned down the
his first wife, although they are brown.” The fact
request, writing that their calendar was too full to
that the arms described in the painting are those
accommodate the queen’s wishes. Instead, three
of Clémence, not Louis, points to her patronage
years later they accepted an agreement wherein
as well. This was probably a freestanding painting,
Clémence’s annuity would establish a chaplaincy to
since the document says it was “contre le mur,”
sing just three requiem Masses for Clémence and
or “against the wall.” Significantly, Jean was painted
her family each week.
wearing a diadem, although he was never crowned
during his short life. Like his tomb effigy, in which
celebrate Masses for Louis and Clémence, it seems
the boy is also depicted wearing a diadem, this
highly unlikely that they would have sacrificed the
painting argued for his kingship, which would have
prime wall space in their lavish new chapel for the
been of particular interest to Clémence.
glorification of this family, a genealogical dead end.
It seems probable that the phrase in Clémence’s
55
Elizabeth A. R. Brown writes that the monks
If the canons could barely bring themselves to
probably had the painting with this image made
testament referring to the location of the Masses,
after Clémence’s death, in gratitude for her dona-
“en une déterminée Chapelle,” meant not that the
tion. I think it more likely that the painting was
executors could negotiate the site of the Masses
56
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Figure 16 Image of the reliquary of Saint Spire at Corbeil. From Millin, Antiquités nationales, 2:25.
but that the Masses were to be said in a chapel that
Mary, of this church; around this reliquary stand
had already been determined—and decorated—for
twelve silver-gilt statues.”59 An eighteenth-century
the purpose, with the family portrait described by
engraving shows the finely worked reliquary châsse
Peiresc. The most likely donor of this painting was
that sat above the altar in the church of Corbeil
Clémence de Hongrie.
(fig. 16). On one side of the reliquary were the arms
30
In addition to the paintings and sculptures
of Queen Clémence de Hongrie. The architectural
through which she augmented the standing of
châsse shown in figure 17 is a member of the same
her family, Clémence also embellished a pre
class of objects. The Corbeil châsse had been com-
existing reliquary in Corbeil. An inventory of 1424
missioned by Godefroy de Plessis, and the relics
describes the elaborate châsse holding the relics
of Saint Spire and Saint Loup were transferred to
of Saint Spire, the patron saint of the city: “Item,
this new reliquary on May 13, 1317, the year before
a large beautiful and noble reliquary of gilded brass
Corbeil came into Clémence’s domain.60 According
or copper standing on four stone pillars above the
to a theory by the seventeenth-century writer Jean
altar, in which lie and rest the relics of the precious
de La Barre, Clémence added the twelve silver-
body of our lord Saint Spire, principal patron,
gilt figures around the exterior. This seems like a
after our Lord Jesus Christ and the glorious Virgin
plausible explanation for the prominent position
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Figure 17 Châsse of Saint Romain, Paris or Rouen, 1270–90. Gilded copper, champlevé enamels. Musée du Louvre, Paris, OA 10413.
of Clémence’s arms on the side of the reliquary.
to represent her Angevin family from Naples in the
By embellishing the principal reliquary of the
French capital. The social place that she inhabited
church, Clémence presented herself as a gener-
was difficult to negotiate as a newcomer to Paris,
ous new ruler of the area. The châsse stood in the
and she became the keeper of her husband’s mem-
visual focal point of the church of Saint-Spire.
ory and her own family’s pride in her new home
Corbeil had historically been in the possession of
country. Although she struggled during the first
queens, and Clémence surely knew that other kings
years of her widowhood, she came to embrace
and queens would continue to inhabit this space
her role at the court of France. The records of her
after her death and, when the city reverted to the
actions, her lands, her social difficulties, and her
Crown, see the object she had embellished.
generosity reveal the meaning of the movement
of her works of art to that role during her life and
With her high-profile marriage to the king of
France, Clémence de Hongrie had the opportunity
after her death.
The Life, Times, and Art of an International Queen
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Systems of Exchange
Chapter 2
Moving Art and Material Culture
Aristocrats in Clémence de Hongrie’s
that works of art were in constant motion in
native Naples, her adopted home of
fourteenth-century Europe.
Paris, and throughout Europe sought luxurious materials and works of art to demonstrate their status and their access to the bounty of
Making the Testament and the Inventory
exotic lands. Sumptuous objects were constantly moved through a variety of systems of exchange.
Little scholarly work has been done to examine the
A noble person’s death was a particularly active
massive transfer of works of art occurring upon
time of object movement, allowing works of art to
the death of a nobleperson in the European Middle
change hands. And indeed, the record of the sale
Ages. This procedure was not random or haphazard
of Clémence’s prized belongings reveals a codified
but systematic and standardized. The imminence of
system that executors immediately enacted. This
death must have been clear to her when, on Octo-
multistep process launched the queen’s posses-
ber 5, 1328, the queen made her will, saying that she
sions into motion. The inventory and testament,
was of sound mind but of infirm body.1 Medieval
as well as other evidence from the early fourteenth
testaments often shared a common format, but they
century, also reveal the import of raw materials,
were highly individualized documents, and while
the creation of extravagant works of art, and the
the people around the queen certainly could have
wide distribution of material culture in primary
had influence on the bequests she gave, the level of
and secondary markets upon the death of a noble
detail and specificity of her wishes clearly reveals
person. Artists, dealers, merchants, and aristo-
her own agency. She foresaw that her belongings
crats all played parts in the circulation of desired
would change hands upon her death, as she directed
objects. The records document art markets and
that everything except her gifts to friends and
key actors in the circulation of objects, revealing
family be sold. The proceeds of the sale were to go
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to her nephew after her promised monetary gifts
metalwork was weighed in units of marcs, onces,
were distributed and debts completely paid: “we . . .
and estelins; then the jewelers assigned to the
leave . . . in the best manner that we can to our uni-
object a cost per marc based on the quality of the
versal heir all that which will be left from our goods,
materials and workmanship. For example, the most
as much in movable possessions as in heritages, . . .
expensive works per marc were made in pure gold,
[after] our last will, as written above, is entirely and
like a gold hanap, or drinking dish, with a cover
perfectly paid and accomplished, our dear nephew
and a foot that King Philippe de Valois bought
Humbert, dauphin, son of our sister the dauphine.”
from Clémence’s estate. The inventory records that
the hanap weighed seven marcs, four onces, and
2
The dowager queen Clémence did not want
important people to use their status and titles to
twelve estelins, and that it was appraised at the high
take objects at the sale, promising to pay later.
cost of sixty-four pounds per marc, which made
She also tried to prohibit deep discounts on her
the hanap worth 485 pounds, more than half the
precious objects. Clémence asked her executors to
cost of Clémence’s best crown (188).
immediately collect payment for the full value of
her objects, no matter how elevated the status of
objects. It is possible that Jeanne d’Évreux actually
the prospective new owner: “We expressly enjoin
went and selected her purchases herself rather
our executors and others not to give or deliver any
than send agents, for when agents were used, their
of our possessions—jewels of gold or silver, horses,
names were recorded. For example, representa-
precious stones or other things, whatever they
tives are listed as purchasing objects for the queen,
might be—to anyone whomsoever, whatever their
Jeanne de Bourgogne (385–88, 566, and 539). King
authority, until they have received the full money
Philippe de Valois purchased many of the best
due, the just price for the things that they would
objects, and these were delivered to him at Saint-
give and deliver.” One reason for this request was
Germain-en-Laye on October 23. Clémence’s sister,
to save her executors months of work collecting
nephew, and others received their legacies from
the payments for her belongings. We do not know
Clémence on October 30. The sale continued at the
whether such leveraged transactions ultimately
queen’s multiple estates at least until November 8,
occurred—only that Clémence knew it was a pos-
when carpets and other textiles were sold.6
sibility and tried to prevent it. Clémence’s sister-in-
law Jeanne d’Évreux took a particularly aggressive
is that sixteen lots were appraised at one price and
approach to obviate potential disconnects between
then sold at a greater price (76, 181, 235, 239, 245,
her wishes and their fulfillment after her death
246, 255, 258, 260, 276, 277, 278, 393, 424, 425, and
when she gained special permission to execute her
427). For example, a violet velvet fur-lined suit of
testament, or carry out her own wishes, before she
clothes that included five garments was appraised
4
died.
at 120 pounds but sold for 180 pounds to Madame
After Clémence’s death, on October 13, the
de Beaumarchès (276). The range of increase of
3
Aristocrats acquired the best of Clémence’s
One of the most intriguing details of this sale
king’s representatives, Clémence’s aides, and six
the selling prices over the appraised prices in these
master goldsmiths gathered, between October 18
examples could be slight, for example 10 percent,
and 21, to appraise her belongings. Each piece of
or up to 75 percent. Most of the increases are in
5
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the 20–30 percent range. A concentration of these
of Wards in Florence held auctions as it managed
examples occurs in textiles and clothing. Buyers
the estates of widows and orphans. These sales
of a variety of backgrounds all saw increases in
were one of the many ways goods appeared on the
the prices they paid: Pierre des Essars and Johan
public market.8 The auction system, called metter
Billouart, men who bought things for the king and
al’incanto, was implemented in order to help the
others; a noblewoman, Madame de Beaumarchès;
poor access the wealth tied up in their movable
two of Clémence’s clerks, François de Montflascon
property when they needed to liquidate it and
and Guillaume de Fourqueux; clerics like “Johanne
without being cheated by merchants.9
l’aumosnière”; and other less identifiable people all
paid more than the appraised value. The variety of
tions with ascending prices were also used to sell
buyers who paid prices over appraisal values sug-
the rights to partner with the state in, and thereby
gests that increases were not reserved for a particu-
benefit from, large sailings on important trade
lar class of buyers.
routes.10 Auctions were usually advertised several
Could these higher sale prices reflect com-
weeks in advance, and then people would gather in
missions for buyers’ representatives? This seems
public places such as the Loggia dei Lanzi and later
unlikely because one of the buyers who pur-
the Mercato Nuovo. Here an auctioneer stood on
chased things above appraised prices, M. François
a stand and called out, accepting clear bids from
de Montflascon, was present at the sale according
participants. Undoubtedly the benefits of the for-
to the introduction of the inventory, so he was not
mat would have been apparent to the French who
using an agent. Additionally, the price increase
witnessed these affairs.
went into sale funds, not the agent’s hands, as a
commission would, so this could not account
later markets. Records of seventeenth-century
for these increases. Did the executors of the sale
probate inventories reveal that sales were common
override the appraisers’ valuations, insisting on a
then. In 1690 a body of huissiers-priseurs et ven-
higher price? Since the administrators were repre-
deurs de meubles was created, legitimizing their
sentatives of the king (a buyer of numerous works),
role in probate sales.11 The inventory of Clémence
not of Clémence’s heir, it seems less likely that they
de Hongrie, however, documents an auction
would be motivated to increase the prices. Rather,
occurring in Paris early in the fourteenth century.
these higher sale prices suggest that for some items
A few price changes also appear in the inventory of
a type of auction occurred in which buyers paid
Jean, duc de Berry, in 1416, but many more objects
more than the appraised price.
changed in value in the inventory of Clémence
de Hongrie.12 Comparison with Italian examples
Until now, auctions have not been docu-
Scholarship on French auctions focuses on
mented in France at this time, although they do
suggests that the pattern evident in Clémence’s
appear in records from Italian cities. At Saint
inventory was similar to that in other inventories
Mark’s cathedral in Venice in the thirteenth and
elsewhere in Europe, and perhaps Clémence even
fourteenth centuries, a person called the gastaldo
envisioned liquidating her belongings for her
received a salary as well as a small commission for
nephew in this way because she was familiar with
running auctions and collecting rents. The Office
the practice back home on the Italian peninsula.
7
34
In fifteenth-century Florence, call-out auc-
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Although auctions have not been studied in
his father, Jean le Bon. Objects in that inventory are
early fourteenth-century France, I believe that they
described as they moved into the royal collection
may not have been uncommon—largely because of
of Charles V.18 Inventories of Jean, duc de Berry’s
the highly organized manner in which the process
jewels and those of Louis d’Anjou, another of
was executed in Clémence’s inventory. The inven-
Charles’s brothers, also survive and have been pub-
tory includes no discussion that aims to justify a
lished.19 Although the information in each of these
new practice, and the routine manner in which
inventories is different, studying them together can
the inventory records the appraised and sale prices
enrich our understanding of individual items as
for objects suggests that this was not an unusual
well as entire collections.
procedure.
Clémence’s inventory is distinctive in the
extent of the information it records about her objects and their movement to new owners— the materials, types of gemstones and pearls, the
Comparison of Inventories
weight or length of pieces, the appraised and sale Inventories and testaments of other fourteenth-
prices, and the buyers are all detailed for each lot
century nobles enable us to see the exceptional
in Clémence’s inventory. Similarly, the inventory
level of information that Clémence’s documents
of Charles V records the weight of each piece and
hold, as well as trends and differences in the circu-
gives extensive descriptions of the objects, but in
lation of objects. The 1328 inventory of Clémence
contrast it includes no buyer information, since the
de Hongrie is one of a group of detailed royal
objects remained in his collection.20 Some invento-
inventories that survive from fourteenth-century
ries lack detail in whole segments. The inventory of
France. The process of weighing and measuring
Jeanne de Boulogne made upon her death does not
treasures documented in the inventory repeats pat-
record the weights or the appraised values of the
terns that appear in the inventories of many other
objects.21 That inventory was made at her chateau
nobles. The unpublished inventory of Clémence’s
at Vadans, near Poligny, north of Geneva. Three
husband, Louis X, made after his death, in 1316,
royal agents—Monseigneur de Grancy, M. Joce-
is such an example. Also dense in detail is the
ram de Lugny, and Maistre Pierre Curet—made a
inventory of Isabelle de France, made upon her
speedy inventory of the dowager’s belongings that
death, in 1358.14 The inventory of Jeanne de Bou-
were to be shipped to the king, Charles V. The offi-
logne, the second wife of Jean le Bon, was made
cers simply secured a whole room with their seal
when she died, in 1360. Jeanne d’Évreux, widowed
to safeguard the contents, “because they had to
queen of Charles IV, died in 1371, and an inventory
go elsewhere to prevent the loss of other things,”
of her belongings was made when her testament
suggesting how readily luxurious objects could
was executed. In 1363, before Charles V became
disappear when the authority in a household might
king, he had his collection inventoried. In 1364
have been in question and when few would know if
Charles’s younger brother, Jean, duc de Berry,
something went missing.22
traveled to London to oversee the inventory of the
jewels, sculptures, and textiles that had belonged to
extremely thorough for her estates in northern
13
15
16
17
Clémence’s inventory appears to have been
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France, although one reference in her testament,
bankers purchasing objects from her collection.26
to a jeweled clasp that she bequeathed to the
Nevertheless, Clémence referred to her outstanding
king’s brother—“our best . . . clasp that we have in
debts as she dictated her will, stipulating that they
France”—hints that she may have had other pos-
all be paid. It is possible that the Bardi returned
sessions, outside France.23 If she had belongings
her collateral to her estate upon her death and
elsewhere, they were probably in Naples or Aix-en-
then accepted payment for any of her debts from
Provence, which was not part of France at this time
the proceeds of the estate sale and also bought her
but rather part of the domain of her Angevin fam-
most expensive jewel, her best ruby ring.
ily. It was here that she stayed while in her family’s
domains, and here that her pawned jewels were
could have depended less on lenders. She would
locked, so she still may have had belongings here at
have had more money to outfit her entourage as
her death.
well as to acquire new objects in silver and gold.
Had Clémence received more income, she
Her jewels, plate, sculptures, and other luxurious possessions were liquid capital that had been trans-
Clémence’s Financial System
formed into beautiful and functional objects, and the fact that she still had so many of these objects
Clémence’s income, her expenses, and her art col-
when she died is a testament to her abiding efforts
lection were constantly in flux. Clémence’s works
to keep them. Clémence was not simply shoring up
in metal were essential collateral for loans she had
collateral, however. Gold bullion would have been
to acquire, because she, like many nobles of the
sufficient for this purpose. Rather, the goldsmith
Middle Ages, used credit to finance her expenses.24
converted her liquid wealth into exquisite objects
She relied heavily on loans from the Bardi banking
for her household, visibly proclaiming her rights,
family. Even at the time of her death, the Bardi
taste, and identity.
(“Bardes”) appear to have been holding ten of her
silver-gilt hanaps decorated with enameled coats of
aged was the main source of income that enabled
arms of France and Hungary (102). Hanaps would
her to buy works of art and to retain those she
make excellent collateral because their value was so
already owned (map 1). An aristocrat’s domain
easy to measure. Unlike jewelry, which the queen
changed over the years as he or she acquired new
had also used as collateral, hanaps could be val-
lands through gifts and negotiations or lost terri-
ued by establishing the price per marc and simply
tories to those who claimed them through legal
weighing them.
actions. The belongings Clémence had at each of
the thirteen estates listed in her inventory suggest
25
36
The Bardi family purchased Clémence’s most
The land that Clémence acquired and man-
extravagant jewel upon her death, “Madame’s
the types of activities that took place at each site.
large balas ruby,” listed among her rings (18). The
She had chapels or churches in Paris, Mainneville,
fact that they purchased this jewel led A. M. Huf-
Saint-Denis-le-Ferment, Ecouis, and Plessis. She
felmann to conclude that Clémence’s debts to
owned orchards in Paris and Fontainebleau and
the Bardi were paid before she died; otherwise
vineyards in Fontainebleau, Châteauneuf, and
she would have owed the Bardi, rather than the
Mainneville, as well as forests in Normandy, a lake
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to supply her household fish in Moret, and a mill in
names even reinforcing their exoticism. Ports and
Plessis. Clémence’s farms grew oats, wheat, and rye
markets of the Eastern Mediterranean were the
and raised sheep, cows, and swine in Tigery, Ples-
conduits through which finely made silks, precious
sis, Grez-sur-Loing, Nemours, Lorris, and Bière.
spices, gemstones, and works in metal reached the
The numerous bed linens and other belongings
West from the Middle and Far East. This changed
recorded at her château in Corbeil suggest that this
only in the fifteenth century with the Portuguese
was the residence Clémence favored most after her
discovery of a sea route around the tip of Africa.28
main estate at the Temple in Paris (540–80). The
income gained from the rents, tolls, and fines on
resources to fighting Muslims in the Crusades
these lands enabled her to spend money on works
beginning in 1096, they sought out Muslim textiles
of art. If she had less income, she could purchase
in which to wrap the bones of their saints. They
fewer works of art and might even have to pawn
sometimes enshrined Middle Eastern or North
her art in order to meet her household costs.
African textiles embroidered with Arabic writing as
Even as Europeans devoted enormous
relics. For example, the textile thought to be the veil of Saint Anne, today in Apt, France, is decorated
Foreign Origins of Materials in the Collection of Clémence de Hongrie
with the name of the Fatimid caliph Al-Musta‘li, the date of 1096/97, and the origin of the linen cloth, Damietta, Egypt.29 As Europeans enshrined
Not only did Clémence’s belongings circulate
this tiraz inscription, they recontextualized it, har-
within her own local financial system but her
nessing the beauty and exoticism of the textile and
resources allowed her to purchase objects made
authenticating the physicality of the contact relic
of materials that had traveled great distances by
thought to have actually touched Saint Anne.
the time they came to her in Paris, some of their
origins captured in the exotic names that appear
was seen as evidence of tangible connections to the
throughout the inventory, such as “Oriental
Holy Land. Especially in Italy from 1300 to 1600,
pearls,” “Indian rubies,” and “rubies of Alexandria.”
pseudo-Arabic was used in paintings to connect
Throughout the late Middle Ages, exotic objects
depicted New Testament figures to the Holy Land.30
from the “Orient” were among the most elite pieces
A distinctive example of this practice appears in
available to patrons. Rosamond Mack argues that
Giotto’s Madonna and Child at the National Gal-
this appellation, although technically inaccurate,
lery of Art, from 1320–30, in which the artist has
is still of use today because it captures the impre-
painted pseudo-Arabic writing on the trim of the
cise and nebulous European understanding of the
Virgin’s garment. Patrons and artists were correct
sources of their most precious collectables.27 While
that Arabic was the language in use in the Levant
it is difficult to ascertain where Clémence’s individ-
during the late Middle Ages, but they wrongly
ual pearls actually originated, their description in
assumed that this had been the language in use at
her inventory as “Oriental” pearls reveals the even
the time of Jesus.31
more important point that medieval Europeans
believed these pearls came from the East, their
the late Middle Ages are increasingly a topic of
Arabic and pseudo-Arabic writing on cloth
Cross-cultural systems of exchange during
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SCOTLAND freshwater pearls ENGLAND Opus Anglicanum
BRUSSELS marbré de Bruxelles REIMS PARIS cloth of Reims TRAPANI coral
ANATOLIA sapphires CYPRUS diamonds Mediterranean Sea cloth of Cyprus EGYPT rubies emeralds
PERSIA (Nishapur) turquoise AFGHANISTAN balas rubies (spinel)
PERSIAN GULF saltwater pearls Arabian Sea AFRICA gold ivory copper
Atl anti c O c e an
INDIA emeralds sapphires chalcedony
MYANMAR diamonds Bay of Bengal
Indian O c e an
CAPE COMORIN saltwater pearls
CEYLON rubies sapphires
Map 2 Sources of the materials in Clémence’s inventory.
scholarly study. For example, the essays in Heather
were the products of perpetual recycling as jewelers
Grossman and Alicia Walker’s volume Mechanisms
broke down older works of art, melted the exotic
of Exchange: Transmission in Medieval Art and
materials, and reset the gems. Ronald Lightbown
Architecture of the Mediterranean, ca. 1000–1500
has analyzed medieval and early modern invento-
suggest the numerous ways in which art and archi-
ries, travelers’ writings, merchants’ accounts, and
tectural styles, motifs, and models moved around
lapidaries to find the sources of medieval gems.33
the Mediterranean and from culture to culture
I cross-reference these origins with the gems,
among the Latin West, Byzantine, and Islamic
textiles, ivory, and precious metals that appear in
regions. The inventory of Clémence de Hongrie
Clémence’s inventory to chart the probable origins
makes a further contribution to this inquiry as it
of these materials. When I map the locations, the
offers evidence of the circulation of raw materials.
striking geographical scope of the origins of the
Her inventory acts as a core sample of the foreign
queen’s belongings emerges (map 2). The sump-
luxury materials available to a royal woman in
tuous materials she enjoyed in Paris originated in
Paris in the early fourteenth century. Of course,
places as various as Africa, India, Myanmar, the
many of the materials incorporated directly into
Persian Gulf, and Afghanistan, as well as points
the queen’s works of art were not imported but
around Europe and the Mediterranean Sea.
32
38
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Figure 18 Ivory casket with scenes from romances, Paris, 1310–30. The Cloisters Collection, New York, 1988, Gift of J. Pierpont Morgan, 1917.
Ivory was one of the most obviously imported
“an ivory casket with images, garnished with silver.”
materials in Clémence’s collection. Elephant ivory
While her ivory casket has not survived, we can
was a luxury material that arrived from eastern
visualize this piece by looking at figure 18, which
Africa during the Middle Ages. The high point of
shows one of the numerous extant members of this
this export was from 1250 to 1350, when skilled
class of object, a rectangular casket in the Metro-
Swahili seafarers brought the precious elephant
politan Museum of Art. It displays popular images
tusks from Africa to ports in Europe.34 Paris
like Phyllis riding Aristotle, the storming of the
emerged as a significant center where ivory was
castle of love, and other courtly romantic tableaux.
carved into sculptures, used to decorate boxes, and
Objects such as this, so clearly made of imported
made into mirrors, combs, and other small objects.
materials, testify to thriving international systems
Ivory items in Clémence’s inventory included
of exchange.
mirror backs and a comb, sculptures of saints, but-
tons, and a backgammon set, as well as a chess set
exotic locals also populated Clémence’s collection.
that had pieces made in ivory and ebony (66, 156,
The queen had toile from Reims and Compiègne,
320, 379, 387, 414, 416, 420, 425). She also owned
as well as fabric from Brussels, Ghent, and Louviers
three ivory boxes, one of which was described as
(569, 570, 580). She also had tartaire cloth, as well
Textiles from both western Europe and more
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as cloth from Cyprus (369, 380, 383). She owned fabrics with Opus Anglicanum embroidery, from England, and woven textiles “in the work of the Levant” (79, 73).
Coral, pearls, and precious gems also came
from foreign locations. The origins of the pearls named in the queen’s inventory correlate with the prime locations named by travelers like Marco Polo, who wrote of his voyages in the thirteenth century. Three types of pearls appear in the queen’s inventory. Small, freshwater pearls were called “Scottish pearls” and were lower quality, while Indian pearls and “Oriental” pearls were much larger and more lustrous (470). The most abundant sources of these high-quality pearls were Cape Comorin in India and the Persian Gulf, where large commercial operations organized the gathering,
Figure 19 Ewer with a noix d’Inde, France, 1300. Musée Lambinet, Versailles.
sorting, and cleaning of the valuable commodities.35
this type of object. Chalcedony, which originated in
inventory, usually came from Ceylon, Persia,
India, and balas rubies, commonly from Afghani-
Afghanistan, and Egypt, while diamonds came to
stan, also appear throughout the inventory. Addi-
the West from Cyprus and from Myanmar through
tionally, the queen had coral branches, which were
India. The queen’s sapphires probably came from
usually fished from the waters off Clémence’s home
Turkey, India, and Ceylon; her turquoise proba-
city of Naples, as well as Trapani in Sicily and in the
bly originated in Nishapur, in northern Persia.36
Gulf of Lyons.38 At the time of her death, in 1323,
Another exotic collectible, thought to originate in
Clémence’s grandmother Marie de Hongrie owned
India, was a noix d’Inde, or nois musguette, that had
“a quantity of pierced corals,” and the brightly col-
been fashioned into a drinking goblet. Figure 19
ored material was often used in the production of
shows an example of this class of object, a ewer
paternoster beads.39
featuring a coconut, now at Versailles.
40
Rubies, which appear throughout the queen’s
37
Some of the most interesting and exotic pieces
Many of these exotic materials appear in the
famous painting A Goldsmith in His Shop by Petrus
Clémence owned were langues de serpent, which
Christus from 1449 (fig. 21). The goldsmith holds
one could thrust into food to detect poison (170,
a balance with which he weighs the materials,
177). These were fossilized shark teeth that were
much as the goldsmiths did as they appraised Clé-
frequently attached to coral branches, as seen
mence’s exotic materials and works of art. On the
among the objects in Clémence’s inventory. The
wall behind him are beads, a rock-crystal piece,
fifteenth- or sixteenth-century piece shown in fig-
a hanap, a cup made from a noix d’Inde, metal
ure 20, surviving today in Vienna, is an example of
ewers, rings on cylinders (like those described in
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Figure 20 Langue de serpent, fifteenth or sixteenth century. Silver-gilt, gold, rubies, sapphires, coral, fossilized shark teeth. Schatzkammer und Museum des Deutschen Ordens, Vienna, K-037.
Clémence’s inventory), a foldable packet of pearls,
Distant Coats of Arms in the Queen’s Collection
and shark teeth and coral, as well as fermaux made of gems and pearls, all of which were prized in
In addition to raw materials that had traveled great
late medieval Europe and appear in Clémence’s
distances, Clémence held numerous objects that
inventory.
bore the arms of other European nobles, suggesting
that these were either presents or purchases from
Exotic gems, natural materials, and textiles
traveled great distances to decorate the queen’s
previous owners. Again, mapping the probable
body and households in Paris. They broadcast
origins of these items reveals that they may have
her wealth, taste, and access to the world’s bounty
moved into the queen’s collection from distant
and labor, and they demonstrate the abundance of
friends and relatives (map 3). Her husband had
exotic materials that had moved to the queen from
only one object decorated with the arms of an
all over the known world through codified systems
earlier patron, a silk cloth embroidered with the
of exchange.
arms of France and Castile, pointing to Blanche
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41
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Figure 21 Petrus Christus, A Goldsmith in His Shop, 1449. Oil on wood. Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975.
42
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North Sea ENGLAND casket
POLAND
HOLY ROMAN EMPIRE Bar purse
Paris
HUNGARY
FRANCE Vienne bedspread canopy
NAVARRE CASTILE
ARAGON
KINGDOM of NAPLES GRANADA
Mediterranean Sea
Apulia saddle
100 mi 160 km
Map 3 Sources of the coats of arms on objects in Clémence’s inventory.
43
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de Castile.40 In contrast, by 1363 sixty-three of the
enameled with the arms of Apulia and Hungary
964 items in the inventory of the future French
(467). Apulia was in the holdings of Clémence’s
king Charles V bore arms that were not his own—
Angevin family in Naples, indicating that this was
indicating that he, like Clémence, collected or
an object that came to Clémence through her fam-
inherited works that had belonged to previous
ily. Mapping the origins of these gifts or purchases
prestigious owners.41 Acquiring an object marked
sheds light on her relationships, suggesting these
with the arms of an earlier collector enriched the
bonds were both international and personal.
present owner’s collection, proclaiming the noble lineage of a work of art and honoring the social connections or courtly taste of the new owner.
The queen owned an expensive small purse
with the arms of Bar and England (407). The
Collectors, artists, dealers, and other buyers appear
dukes of Bar, whose lands were in northeastern
prominently throughout the inventory; they were
France, in the Meuse valley, aligned themselves
key in creating Clémence’s works of art and launch-
with England by the 1294 marriage of Henry III,
ing them into motion through systems of exchange.
comte de Bar, with Eleanor of England, the daugh-
Clémence and her fourteenth-century peers were
ter of Edward I of England.42 Eleanor or one of her
definitely collectors. Most general scholarly dis-
daughters might have been the original owner of
cussions of collecting focus on the early modern
Clémence’s purse, which could have been a gift,
to contemporary periods, but connoisseurs had
though it may have been a simple purchase. Yet
been gathering objects and using collections for
other objects stand out in the queen’s inventory as
enjoyment and to establish identity during the
markers of memory.
Middle Ages and much earlier. The types of objects
people acquired and the ways in which they used
A silver-gilt casket enameled with the arms of
France, England, and Hungary was perhaps given
their collections have changed, but the tendency
to Clémence by her sister-in-law Isabelle de France,
to group, study, and enjoy objects has frequently
queen of England (57). Isabelle could have had it
manifested itself throughout history. In an import-
decorated with the arms of France and England,
ant 1987 article, Danielle Gaborit-Chopin examines
to which those of Hungary could have been added
fourteenth-century inventories and writes per-
by either Isabelle or Clémence. A bedspread and
suasively that the esprit du collectionneur existed
bed canopy made of samit and decorated with
throughout the fourteenth century, not just in
dolphins and bordered with the arms of Hungary
the famed collection of Jean, duc de Berry. She
appear in the inventory as well (332). This bedding
identifies Clémence de Hongrie, Mahaut d’Artois,
very probably came to Clémence from her sister,
Robert II d’Artois, the dauphin Charles V, and
Béatrice, in the Dauphiné, because these were
Jeanne d’Évreux as collectors. Their possession of
the symbols of her sister and her sister’s husband,
family souvenirs, remnants of dispersed treasur-
Jean II, dauphin de Viennois.
ies, and objects of curiosity of ancient or foreign
provenance all testify to their collecting.43 Cam-
Finally, the queen had a saddle covered with
purple velour and decorated with silver blades
44
Collectors, Artists, and Buyers in the Inventory
eos, or stones engraved with images, stand out as
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Suger continues in his De administratione to
examples because they were often ancient in origin,
so their presence in the collection of Clémence and
describe his own joy in handling and admiring
others marks them as collectors’ items. Many of
the objects he amassed for the abbey church of
these fourteenth-century connoisseurs were inter-
Saint-Denis:
ested in animals and fantasy as well.
One of the best-documented collectors in the
Often we contemplate, out of sheer affection for the
late Middle Ages was Abbot Suger of Saint-Denis.
church our mother, these different ornaments both new
Renowned for his patronage of the abbey church,
and old; and when we behold how that wonderful cross
he was no less an avid collector of jewels and relics
of St. Eloy—together with the smaller ones—and that
for his institution. In 1144, in his account of his
incomparable ornament commonly called “the Crest”
administration, Suger wrote about how he worked
are placed upon the golden altar, then I say, sighing
to collect these gems and how thrilled he was to
deeply in my heart: Every precious stone was thy covering,
purchase a large lot of stones from the monks of
the sardius, the topaz, and the jasper, the chrysolite, and
Cîteaux and Fontevrault:
the onyx, and the beryl, the sapphire, and the carbuncle, and the emerald. To those who know the properties of
For when I was in difficulty for want of gems and could
precious stones it becomes evident, to their utter aston-
not sufficiently provide myself with more (for their scar-
ishment, that none is absent from the number of these
city makes them very expensive): then, lo and behold,
(with the only exception of the carbuncle), but that they
[monks] from three abbeys of two Orders—that is, from
abound most copiously.45
Cîteaux and another abbey of the same Order, and from Fontevrault—entered our little chamber adjacent to the
Suger thought he had a nearly complete set of the
church and offered us for sale an abundance of gems such
available gems of the world and was pleased when
as we had not hoped to find in ten years, hyacinths, sap-
those who knew gems recognized the breadth of
phires, rubies, emeralds, topazes. . . . We, however, freed
the collection. These gems enabled him to escape
from the worry of searching for gems, thanked God and
the profane world of the earth and to hope for the
gave four hundred pounds for the lot though they were
sacred world of Heaven. It was not incidental that
worth much more.
these heavenly gems were themselves mined in the
44
earth: Here Suger reminisces about the exhilaration of the successful hunt for rare and precious objects. Their
Thus, when—out of my delight in the beauty of the
beauty and value infused them with desirability,
house of God—the loveliness of the many-colored gems
and Suger sees it as a miracle that he was able to
has called me away from external cares, and worthy
purchase a large group of assorted precious stones
meditation has induced me to reflect, transferring that
at a good price. Financial resources, discerning
which is material to that which is immaterial, on the
taste, and authority over an environment in which
diversity of the sacred virtues, then it seems to me that I
to display and house a group of cherished objects
see myself dwelling, as it were, in some strange region of
are all characteristics Suger shared with many of
the universe which neither exists entirely in the slime of
today’s collectors.
the earth nor entirely in the purity of Heaven; and that,
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by the grace of God, I can be transported from this infe-
aristocratic owners before they came into her
rior to that higher world in an anagogical manner.
collection.
46
Suger describes a physical, emotional, and spiri-
her belongings were inventoried, several of her
tual experience as he admires the furnishings and
possessions were described in ways that reveal they
vessels he has adorned with his collection of gems.
were significant to her not only because of their
This admiration is transformative, helping him,
aesthetic qualities but because they were devices
and probably others, to escape the care-laden world
of memory.50 The expensive purse she wore at her
and enter an uplifting realm filled with goldsmiths’
marriage, the Peterborough Psalter given to her
creations displaying colorful gems.
by Pope John XXII, her sculpture of Saint Louis
The 1398 testament of Blanche de Navarre
de Toulouse, and her best crown are just a few of
describes this queen’s similar interaction with her
the objects in Clémence’s collection that acted as
objects, and one recognizes the voice of the col-
links with cherished events and people in her life
lector who had drawn objects into her possession.
(1, 86, 183, 198).
The lengthy descriptions of each of the cherished
objects she detailed in her testament sound like she
Clémence’s estate in the inventories of later col-
was lovingly examining them one last time before
lectors, but I have not found those that Jeanne
she parted with them forever. She says, “Item,
d’Évreux purchased from Clémence’s estate in the
to our very dear cousin the Count of Estampes,
list of Jeanne’s belongings. Similarly, as tempting as
a gold fermail with a gold chain, which is both a
it might be to imagine that the sculpture of Saint
reliquary and a fermail, with a stag in the middle,
Louis de Toulouse mentioned in the testament of
and the body of the stag is a sapphire, and around
Blanche de Navarre could have come to Blanche
it are three rubies, three diamonds, thirteen pearls,
through her husband, Philippe de Valois, to whom
and six emeralds, and in it are several good relics;
Clémence bequeathed it, as Marguerite Keane
and the queen Jeanne gave it to us.”48 Blanche also
points out, Blanche almost certainly would have
often recorded how she received her jewels and
mentioned this important provenance, since she
books.
was so meticulous in noting the previous owners of
47
46
Even though Clémence was not present as
Individual taste is frequently visible in the
It would be intriguing to see objects from
her objects.51
inventories of fourteenth-century collectors. For
Like collectors, artists were key in circulating
example, Clémence’s preference for ivory, which
luxury goods in Paris, and goldsmiths were the
appears throughout her inventory, is markedly
most acclaimed artists of the day, creating opu-
different from that of her sister-in-law Jeanne
lent works of art for the aristocracy out of luxury
d’Évreux, who had little of it.49 Both of these
materials from around the world. These artists
women appreciated enamels, however, and this
played an active part not only in the sale of original
material decorated many of Clémence’s reliquaries
objects to their first owners but in the resale of pre-
and pieces of her plate. She collected objects with
cious works to subsequent owners. The successful
history; like Jeanne, she owned antique pieces, such
goldsmiths who worked for the king and queen of
as cameos, and other objects that had had previous
France as well as members of the aristocracy were
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skilled in making and repairing a variety of vessels
new reliquary made by Simon, which features a
and objects. Some medieval pieces were valued
removable stone-inlaid miter that a canon holds
even more because they originated with top artists
above the rest of the reliquary; access to the inte-
of the day. The description of Jeanne d’Évreux’s
rior of the bust was probably then through the top
tiny book of hours in the account of the execution
of the saint’s head.
of her testament indicates that it was illuminated
by Jean Pucelle, a revered painter. Not mere hired
in Paris in 1305, and he made a fermail for the
artisans, such artists were respected bourgeois who
Countess of Hainaut in 1310.56 Simon appears in
ran businesses and participated in guilds.
the accounts of Mahaut d’Artois, indicating that in
1322 his atelier produced a silver cross on a copper
52
At the beginning of Clémence’s inventory,
Simon rented a forge on the Grand-Pont
six goldsmiths are named as having been called
base decorated with enamels for Mahaut to give to
to appraise Clémence’s works: Simon de Lille,
the nuns of Saint-Claire.57 In 1323 Simon supplied
Jean Pascon, Félix d’Auxerre, Jean de Touyl, Pierre
the house of Hainaut with fourteen jewels before
de Besançon, and Jean de Lille. These were all
the marriages of their daughters. Of the six crowns
excellent goldsmiths, and royal inventories and
the family purchased, the most extravagant was a
accounts reveal that at least four of them were in
gold crown that cost two thousand pounds. It was
royal employ. Clémence’s testament states that
set with large sapphires, high-quality rubies and
Simon de Lille was the goldsmith who made her
emeralds, and large, “Oriental” pearls.58 In addition
luxurious “best” crown.53 The fact that he made
to this most elaborate crown, Simon furnished the
the crown appears to have added value to the
family with two crowns that cost 1,000 pounds
object, pointing to the growing status of the most
each, another for 200 pounds, one for 180 pounds,
sought-after artists of the day. Simon was the head
and one that cost 100 pounds.
of a multigenerational bourgeois family of gold-
smiths and was listed as the orfèvre du roi, or royal
the goldsmiths named in Clémence’s inventory,
goldsmith, of Charles IV, and he continued his
went to Hainaut to deliver or adjust the jewels for
Simon and his son, Jean de Lille, another of
services during the reign of Philippe de Valois.
the wedding. The Count and Countess of Hainaut
He received a retainer from one king and then the
continued to purchase pieces from these gold-
other of sixty pounds per year, starting as early as
smiths from 1325 to 1331. Documents of 1335 reveal
1325 and ending with his death, in 1348.55
that Simon had contracted to supply the king of
Bohemia with jewels as well.59 That Simon’s son,
54
One of Simon’s most important commissions
was a reliquary for the head of Saint Martin of
Jean, was also invited to appraise Clémence’s sump-
Tours. In 1323 the tomb of the fifth-century saint
tuous possessions indicates the status of this family
was opened and the saint’s head extracted to be
in the guild of Paris at this time. Jean followed in
enshrined in a reliquary made of gold. Although
his father’s footsteps and became a renowned gold-
the reliquary has not survived, a picture of it is in a
smith in his own right. Jean was listed as a garde of
history of the saint’s life (Bibliothèque municipale
the guild of goldsmiths in Paris in 1337.60 In 1352 a
de Tours, ms 1023, fol. 101r) (fig. 22). In the image,
gold crown that he made for the queen was deliv-
the bishop of Tours moves the saint’s skull to the
ered to King Jean II. In 1353 Jean made a gold collar
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Figure 22 Historiated initial showing the translation of the head of Saint Martin into a new reliquary made by Simon de Lille, and the royal family in prayer. From Recueil de textes sur S. Martin, 1340– 50, Bibliothèque municipale de Tours, ms 1023, fol. 101r.
for the king’s dog and made a base for a madre cup
Cloisters (see fig. 55). The same year he participated
for the king. That same year, he repaired a cup
in the appraisal of the jewels of Clémence de Hon-
and pitcher that had belonged to Saint Louis and
grie he appraised works for the Sainte-Chapelle.65
had been passed down to Louis X, then his brother
The Chalice of Jean de Touyl in the church treasury
Philippe V, before it reached the hands of Jean II
in Wipperfürth is also his work.
le Bon. In 1354 Jean de Lille repaired two fermaux
61
62
for the king and also made a siège for the holy
as an appraiser in Clémence’s inventory, also participated in object creation and circulation. He was
an aspersory and a necklace for the king and dishes
an artist who did much work for Mahaut d’Artois.
for the queen.
In 1322 he made chalices and patens and silver and
48
Pierre de Besançon, another goldsmith named
relics of the Sainte-Chapelle, and in 1355 he made
63
64
Another goldsmith listed in Clémence’s inven-
silver-gilt burettes, or vessels used in the celebra-
tory, Jean de Touyl, was the probable artist of the
tion of the Mass, for Mahaut to give to the monas-
reliquary shrine of Elizabeth of Hungary at the
teries of Saint-Claire and Gosnay.66 In 1323 he made
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morses (front clasps for copes) and a silver goblet
guild in Paris in 1337.71 The mention of their names
as presents for the countess’s daughter Jeanne, the
in Clémence’s inventory nevertheless indicates
widow of Philippe V. He repaired and regilded
their importance in Paris at the time, their key role
an aiguière, the cross, the holy-water vase, the
in creating new objects for royal consumption, and
aspersory, and the pax of Mahaut’s chapel.68 Pierre’s
their expertise in materials and workmanship as
name again appears in Mahaut’s accounts in 1324,
objects moved in secondary markets.
when Mahaut purchased for the nuns of Thieulloy
basins, burettes, a censer, twelve silver spoons,
appraise the queen’s metalwork were all men, it is
several reliquaries and crosses, a silver-gilt head of
probable that some of her objects were made by
Saint Louis held by two angels, two statues of Saint
women. Therese Martin invites readers of her Reas-
Louis, an image of the trinity, a sculpture of Saint
sessing the Roles of Women as “Makers” of Medie-
John, three wood crosses covered with silver-gilt,
val Art and Architecture to forsake the inherited
each supported by a large copper stand, and four
assumption that works of art were usually made
other entablements decorated with lions.
by men. She persuasively argues that women were
more likely to go unnamed because of their lesser
67
69
In 1326 Pierre de Besançon supplied Mahaut
Even though the artists who were called in to
with silver hanaps, some of which had enamels and
status in society, and so it is more likely that anony-
one of which had an enameled trépied, or three-
mous works of art were made by women.72
footed base. Mahaut gave two enameled hanaps
made by Pierre to the nurses of the queen, Jeanne
objects before their transfer, professional dealers
d’Évreux. In 1327 Pierre sold two hanaps to Mahaut
also used their expertise at the queen’s estate sale.
for the nurses of the son of the duc de Bourgogne.
Between the eighth and the thirteenth centuries
He also repaired vessels and a vase for holy water
in Europe, trade was frowned upon by church and
for Mahaut and applied her arms to forty silver
state; merchants were suspect precisely because
écuelles, or bowls. And he produced two clasps
of their itinerancy.73 Agricultural labor was more
for her little book of hours and sold her four
acceptable, tethering people to their plots of land.
Like professional artists who appraised
other pairs of silver boucles (probably clasps).
Nevertheless, by the end of the thirteenth century,
The variety of objects that the workshop of Pierre
mercantilism had matured so far that through its
de Besançon made for Mahaut d’Artois reveals
own critical mass it became commonplace and
the versatility of medieval goldsmiths. Creating
overcame the negative stigma.
head reliquaries, basins, clasps, crosses, vessels,
and jewelry in materials like gold, silver, copper,
Clémence’s sale were specialized merchants. A man
and enamels and doing repairs on all these objects
named Laude Belun bought nine lots of the queen’s
would have demanded a wide range of skills.
fabric, including velvet, taffeta, and samit (367–75).
His name also appears in the financial registers of
70
The last two goldsmiths who appraised Clé-
Evidence suggests that several of the buyers at
mence’s joyaux were Félix d’Auxerre and Jean
Mahaut d’Artois, where he is listed as selling her
Pascon. They do not appear in surviving records
textiles. The volume of his purchase at Clémence’s
as frequently as the other goldsmiths, but Félix
sale and the fact that he appears in other royal
d’Auxerre was elected a garde of the goldsmiths’
account books selling similar wares suggest that he
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was a dealer attending the dowager’s estate sale to
religious textiles reveal how readily the objects of
buy a specific type of commodity.
private chapels could be interchanged with those of
74
Pierre Neelle and Guillaume le Flament
churches and monasteries. A new set of vestments
bought seventy-two lots, a massive group of her
went to the bishop of Chartres cathedral. The samit
objects. These were all works in precious metals,
cloth of the pieces was lined with cendal, another
purchased by weight (105–77, 182, 184–87, 190–95).
light silk fabric. This set had three copes, a cha-
The merchandise they acquired was worth a total
suble, a tunic, and a dalmatic for priests to wear
of 3,654 pounds, or 17 percent of the total pro-
(266). A man named Suplicet le chasublier also
ceeds from the sale. The large number of objects
purchased a large group of priestly vestments for
and the fact that these men did not buy works in
the bishop of Chartres cathedral. These included
other media indicate that they too were specialized
three copes with enameled silver clasps, a chasuble,
dealers, who profited by buying and selling specific
a tunic and dalmatic, two estoles, three fanons,
types of luxury objects. Textiles and works in metal
three albs, three amiz parez, a frontal, a dossal, and
were clearly commodities to merchants such as
a textile decorated with fleurs-de-lys. Another cha-
Belun, Neelle, and le Flament.
sublier named Eustace purchased a smaller number
of similar vestments, in addition to two gold tex-
Martha Howell argues that unlike capitalism,
which developed later in Europe, where commod-
tiles for an altar and another textile for use in Lent,
ities were fungible assets that fueled the growth of
a cloth decorated with images of apostles, and a
individual businesses, traditional forms of exchange
carpet for a chapel (234, 238, 249, 262, 264). And
such as gift giving, tribute, and inheritance coex-
the bishop of Laon bought extravagant works of
isted with monetary exchanges from 1300 to
art—the queen’s set of eight tapestries depicting a
1600. She argues that the concept of “money” was
hunt in a forest. In all likelihood these were for use
abstract for most medieval people and was racked
in his residence, where an abbot would entertain
75
50
with uncertainty, since the value of different coin-
important visitors (324).
age could change quickly, based on factors like the
strength of the minting government, the fineness of
purchased two other lots of Clémence’s litur-
the coin, and the availability of the precious metals
gical textiles (252–53).76 The church of Saint-
Separate buyers from Notre-Dame de Paris
of which it was made. While gift giving, inheri-
Germain l’Auxerrois also benefited from the sale
tance, and tribute are all evident in the inventory of
of Clémence’s belongings when Pierre des Essars
Clémence de Hongrie, the purchase of commodi-
purchased several of Clémence’s books for this
ties by specialized merchants working in monetary
church. He also acquired liturgical textiles that
instruments accounts for the vast majority of the
were probably for Saint-Germain. These included
exchanges after the queen’s death.
two custodes, or containers, made with silk, a silk
embroidered handkerchief, two altar frontals and
Not only did commercial merchants purchase
objects at the queen’s estate sale, but representa-
a dorsal, and cloth “worked with the needle” (247,
tives of many ecclesiastical foundations appear
250, 258). Thus, the queen’s inventory reveals that
in the records as well, drawing objects through
fine objects from her private chapels could easily be
systems of exchange. The buyers of Clémence’s
moved into ecclesiastical contexts.
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The Market for Ready-Made Accessories in Paris
which is formed like a street of an astonishing length, are displayed all the objects that serve
While many of the objects that appear in the
to adorn the different parts of the human body:
queen’s inventory were probably commissioned
for the head, crowns, braids, caps, ivory combs for
from artists, other contemporary evidence indi-
the hair; mirrors for looking at oneself; belts for
cates that people could acquire premade objects
the loins, purses to hang at the side; gloves for the
through highly developed commercial systems
hands; necklaces for the breast.”78 Of course,
of exchange. In an account written in 1323, the
we cannot know if Clémence herself walked the
historian Jean de Jandun describes the Halles des
halls of such markets, but it is possible that some
Champeaux and alludes to other markets where
of her belongings were purchased premade from
one might find everything to adorn the body. With
markets in Paris.
great detail he describes the joys of the promeneurs, whose eyes could delight in what they saw at these markets, which in design sound very much like the multilevel shopping malls of today. If one had the
Learning from the List of Buyers: Object Ownership and Class
will and the funds, exquisite objects with which to decorate the body were readily available in the
The inclusion of buyers in Clémence’s inventory is
Halles des Champeaux:
unusual, so this document provides an excellent opportunity to examine object ownership and
This joyful abode of the most pleasing diversions offers,
class. Although the wealthy were able to purchase
in the form of very large displays full of inestimable
exquisite luxuries through artists, dealers, or shops,
treasures, all the most varied sorts of precious objects
people from a wide range of social classes, as the
brought together in the building called the Halles des
inventory indicates, were also able to become the
Champeaux. There, if you have the desire and the means,
new owners of some of the queen’s objects as these
you will be able to buy all the types of ornaments that
pieces changed hands and moved through systems
the most practiced industry and the most inventive spirit
of exchange.
hasten to imagine to gratify all your desires. . . . Amid the
lower parts of this market, and as it were beneath some
she gave gifts in her testament and often specified
heaps, some piles of other merchandise, are found drap-
his or her household rank or function, such as
eries, one more beautiful than the other; in others, some
“Jehan Druget, knight,” the testament serves as
superb pelisses, some made of animal skins, others of silk
a key to decoding buyers and their professions
materials.
in the queen’s inventory. Similarly, the rank of a
77
Since Clémence named each person to whom
noble purchaser is often included in the inventory. Shoppers could walk along a corridor where they
For example, Madame de Beaumarchès, a noble-
could purchase items perhaps similar to those in
woman, purchased Clémence’s most extravagant
Clémence’s inventory, including crowns, ribbons,
dress for sale, as well as one of her carriages, two
bonnets, ivory combs and mirrors, belts, purses,
saddles, and other items (276, 504).79 The man who
and gloves: “In the upper part of the building,
purchased Clémence’s primary carriage, Pierre
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de Maucourt, was also identified by his social rank
of knight, perhaps to validate his right to purchase
systems of exchange operated in early fourteenth-
it (502). Together, the testament and inventory
century France. Collectors, artists, dealers, and
reveal that in addition to the king and queen of
buyers all played a part in bringing materials to
France, other nobles and high-ranking people pur-
France from around the world, forming them into
chased pieces from her estate.
works of art, and circulating them. Objects eas-
However, the evidence from the inventory
The inventory demonstrates that multiple
ily crossed class lines and moved back and forth
and testament suggests that people in the queen’s
between lay and ecclesiastical spheres. Moreover,
employ who were not noble purchased many of
ecclesiastical leaders purchased lavish courtly
Clémence’s possessions. These people even bought
items. Time and again the inventory testifies to
or were given things that in other circumstances
professionalized, organized, codified systems of
would have denoted high class: Clémence’s wash-
exchange in which experts valued works based on
erwoman received a fur-lined mantle, just as her
their qualities. Precise measurements of weight for
husband’s washerwoman had received his mantle
objects and of length for cloth were in use. This
upon his death (273). The queen’s squire, Johan
liquidation of the queen’s luxurious belongings
de Bouchon, bought her most costly horse (483).
at more than a dozen sites required the practiced
The concierge of Clémence’s property in Lorrez
expertise of specialists. The inventory can be seen
purchased all of the linens and household items
as a percolate of the systems of exchange in use in
in her property there (653–66). What is clear is
Clémence’s time and place, allowing us to study the
that not all of Clémence’s possessions were deluxe
systematized processes through which a variety of
and that people who were not of the aristocracy,
people moved both utilitarian objects and the most
or even the bourgeoisie, were able to purchase
luxurious works of art.
80
many of them.
52
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The Body, the Altar, and the Table
Chapter 3
Possessions and Sites of Identity Proclamation
Luxury objects and materials were
and rich gowns for social occasions. The queen’s
such potent signifiers of class that in
body, the altars in her chapels, and her residences
1294 Philippe IV, Clémence’s father-
were the sites on which she displayed most of these
in-law, passed sumptuary legislation that limited
works of art. Her body was the locus of spectacle
carriages, expensive clothing, and jewels of gold,
when she appeared publicly, so by wearing, display-
silver, and precious stones to members of the roy-
ing, and using these objects—even when she could
alty. He decreed, “No bourgeois man or woman
not afford to—she spoke a language of luxury that
shall wear gold, or precious stones, or crowns of
was reserved for royalty, thereby asserting her
gold, or silver.” Clémence’s mother-in-law, Jeanne
rights to her title and income. This chapter exam-
de Navarre, is said to have proclaimed upon a
ines the inventory as a whole, studies the compo-
visit to Ghent, where she saw numerous women
sition of the queen’s collection, and argues that
wearing crowns, “I believed myself to be the only
she used her sumptuous works of art and material
1
queen, and here I am seen with hundreds.” Kings
culture to proclaim her reginal identity.
and queens wished to distinguish themselves from
those who could afford the accoutrements of the
of cultures.3 Greek sumptuary laws beginning
aristocracy but did not have a legal claim to royal
in the early sixth century b.c.e. focused atten-
status. During Clémence’s lifetime, Philippe’s
tion on funeral services, restricting the clothing
sumptuary laws were still in effect, establishing
women could wear on such occasions, as well as
many of her belongings as legally controlled mark-
their mourning actions. Early Roman legislation
ers of royal identity.
also addressed funerals and mausoleums but also
restricted the conspicuous consumption of expen-
2
Clémence’s inventory details the movement of
Sumptuary legislation appeared in a variety
her fine objects, like gold reliquaries, elaborately
sive food and clothing. Byzantine laws regulated
made tableware, furnishings, jewelry, tapestries,
luxuries as well. Sumptuary law in China and
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Japan in the first millennium c.e. especially limited
individual in the late Middle Ages was actually a
the display expenditures of the merchant classes.
focus on the identity of the individual as a member
In Europe sumptuary laws proliferated beginning
of a specific community: the aristocracy, a religious
in the twelfth century, and they often dictated
order, a social class, or a profession, for example.
the sumptuous materials that were permitted in
Beginning in the twelfth century, people deliber-
men’s and women’s clothing according to rank.
ately performed actions befitting their standing in
The decrees of Clémence’s father-in-law fit into
these groups.5 Models and types became import-
these categories. As the urbanization of society
ant. By repeating predecessors’ royal behavior,
took place, people encountered strangers much
such as wearing, displaying, and giving sumptuous
more often than they had in rural society, and they
objects, men and women could anchor themselves
sought a system of visual signifiers by which they
into royal group identity and argue for their own
could identify others’ ranks and professions. Pro-
elevated status.
liferation of sumptuary legislation indicates that
aspiring people continued to push back against
mation was the body, on which material culture
the rules, which in turn spawned even more legis-
played a pivotal role as aristocrats like Clémence
lation. Even if the laws were not completely effec-
de Hongrie sought to affiliate themselves with the
tive in suppressing the illegal display of regulated
highest social groups and distinguish themselves
materials, what they did do was codify the visual
from people of lesser standing. Susan Crane writes
system of signifiers. By making people’s ranks visu-
that “clothes, rather than skin, were the frontiers
ally recognizable, such laws had the inverse effect
of the self in the Middle Ages.”6 Garments visu-
of making the recognition of rank conditional on
ally bespoke aristocratic status and knowledge of
visual display, mandating, for example, that Clé-
cultural fashion in the fourteenth century. Crane
mence, in order to be recognized as a queen, dis-
argues that group identity was not predetermined
play works in silver and gold, precious textiles, and
and assured but rather attained through expected
gemstones. It is no coincidence, therefore, that the
behavior, like wearing fashionable and creative
concentration of her wealth was in these regulated
clothing made with exotic materials and cutting-
precious objects. She needed to own them and to
edge technology.
wear and exhibit them in order to visually claim
her contested royal identity.
proclaimed their noble identity, gems and jewels,
reliquaries, and even gold and silver tableware
4
54
As much as silks, jewels, and pearl-laden tex-
One of the primary sites of identity procla-
While the silk velvet that many nobles wore
tiles proclaimed that the wearer had an identity dif-
also signified their status. Works in metal embla-
ferent from that of most other people, these objects
zoned with the queen’s arms affirmed her reginal
also emphasized that the owner was part of a
self. These were visible indicators of her class,
particular group. Choices about comportment, too,
pedigree, education, and wealth, and they linked
were significant indicators of status, so behavior
her into a social network. Thus, the queen’s cloth-
became increasingly standardized with the writing
ing, as well as her jewels and sumptuous objects,
of numerous behavior manuals. Caroline Walker
worked as a material frame for and physical focus
Bynum argues that an increased emphasis on the
of the queen’s performance of identity. Especially
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because Clémence’s brother-in-law Philippe V had
set, but analysis of it is valuable because the results
accused her of dressing too lavishly and behaving
establish a starting point that can be qualified and
inappropriately after her husband’s death, it was
adjusted.
essential that she perform the role of dowager
queen correctly in order to argue for her identity
visualizing the queen’s lost collection is to under-
and acceptance at the royal court.7 It was a fine line
stand the concentration of wealth in different
to walk. On the one hand she needed to be modest
media or locations. To that end, I break down the
With these cautions in mind, a first step in
and frugal; on the other she needed to appear regal
queen’s entire ninety-nine-page inventory and cat-
and luxurious.
egorize and analyze the contents, revealing where her net worth was focused. The largest challenge in accomplishing this is deciding how to categorize the objects. Should one sort them by material or
Objects in Clémence’s Inventory
according to religious or secular subject matter? In order to get a broad picture of the composition
Should one try to draw a line between objects that
of the queen’s estate and the many objects that have
are clearly collector’s items and those that are utili-
perished, I have analyzed the inventory as a whole
tarian things used in the maintenance of her estates
and examined the values of different groups of her
and properties (like scissors or wine bottles)?
belongings. Studying the inventory as an avenue to
Would it be helpful to separate them based on the
absolute understanding of what she owned, how-
buyers of the objects, revealing who was purchas-
ever, is problematic. First, there is the real possibil-
ing what from her estate?
ity that Clémence gave away some of her belong-
ings before her death, so these would not appear
748 groups of objects in this document is to use the
in the inventory. But she appears to have been
divisions already within the medieval inventory
sick for only a short time at the end, so this possi-
itself. The sections that the executors and clerks
bility is less pronounced than in an aging patron
used in recording the inventory usually have heads
like Jeanne d’Évreux, who knew for years she was
descriptive of the contents of the group, such as
approaching death. Second, as discussed above,
“Vestments, Cloth, and Other Things from the
she may have owned things that did not appear in
Chapel,” or “Chapel Books, Romances, and Other
the inventory, perhaps in Aix-en-Provence or in
Books.” The clerks noted subtotals of the sale prices
Naples, rather than in France. Or perhaps some
after each section of the inventory and numbered
objects were temporarily in the hands of artists,
each group. For example, after the list of the queen’s
such as one gift bequeathed in her testament that
books—the ninth section of the inventory—
was reportedly with a goldsmith, who was rework-
we read that the subtotal for this section was 530
ing it, and so it did not appear in the inventory.
pounds and 13 sous.9 The total sale value of all of
And even when her testamentary bequests were
the sections detailing her movable possessions was
documented in the inventory, they were not always
21,083 Parisian pounds.
appraised and included in the total value of her
estate. The inventory, therefore, is not a closed data
ings by section for the twenty-five sections of the
8
The clearest quantitative way to categorize the
Table 1 shows the values of Clémence’s belong-
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Table 1 Values of Clémence’s belongings in the inventory by section, showing 1328 sale prices in Parisian pounds Inventory section
Sale price
Major contents
1. Best Jewels
1,160
Gold, silver, precious stones: jewels, plate, and sculptures in metal
2. Jewels (crowns, rings, etc.)
2,380
Gold, silver, precious stones: jewels, plate, and sculptures in metal
3. Jeweled Clasps and other things
1,200.75
Gold, silver, precious stones: jewels, plate, and sculptures in metal
4. (Some textiles, pearls, foreign money)
97
Other
5. Jewels and silver plate (including reliquary sculptures and shrines, crosses, chandeliers, nefs)
1,971
Gold, silver, precious stones: jewels, plate, and sculptures in metal
6. Other jewels and plate (sold by weight)
3,661.50
Gold, silver, precious stones: jewels, plate, and sculptures in metal
7. (Belts, purses, wood vessels, etc.) 8. Gold jewels (gold goblet, plates, fork, spoons, etc.) 9. Books (church books and secular books)
195.50 1,258 530.75
Other Gold, silver, precious stones: jewels, plate, and sculptures in metal Books
10. Church vestments and other things
596.75
Church vestments
11. Madame’s clothing (and some cloth remnants)
648.25
Clothing
12. Bed covers
192
Textiles
13. Household textiles (bed decorations, carpets)
575.50
Textiles
14. Household textiles
192.75
Textiles
15. Velvet belts, purses (plus ivory sculptures and mirror sets)
657.25
Other
16. Boxes 17. Tin vessels
35 9.75
Other Other
18. Inventory of the kitchen
55
Kitchen and wine
19. Things from the Eschançonnerie
30
Kitchen and wine
20. Saddles and other things from the stable
378.50
Horses and carriages, etc.
21. Horses
692.75
Horses and carriages, etc.
22. Carriages
173
Horses and carriages, etc.
23. Wines
156
Kitchen and wine
24. Feather mattresses
60
Other
25. Other things at the Temple (bottles, pitchers, basins, tables)
38
Other
Textiles for the reigning queen
60
Textiles
Total at the Temple in Paris
17,005
Possessions at other properties (furniture, household animals, grain, equipment)
1,729
Other properties (household goods, animals, grain, equipment)
Other (especially money due to the queen for rent and fines)
2,349
Other (especially money due to the queen)
Total
21,083
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Church vestments and decorations 3%
Textiles 5%
Clothing 3%
Kitchen and wine 3%
Books 3%
Other possessions in Paris 5% Horses and carriages 6% Possessions at other estates and properties 8%
Other (especially rent and fines due to Clémence) 11%
Gold, silver, precious stones: jewels and plate (crowns, rings, reliquaries, sculptures, goblets, plates, bowls, spoons) 55%
Chart 2 Relative values of the belongings of Clémence de Hongrie listed in her inventory.
inventory made in Paris. The left column includes
for the table.10 It is no coincidence these objects
the title of the section if the medieval clerks
constitute the first and most important 195 lots of
included one, or if no title was given, a summary of
the 748 lots in the inventory or that these were the
the contents appears here. The middle column has
types of works Clémence bequeathed to her loved
the sale price for each section, and the right column
ones in her testament. They were truly her most
has an abbreviated description of the dominant
cherished and expensive pieces, often charged with
media from which the objects have been made or
spiritual and personal connections.
of the household area to which they pertain. These
summaries in the right column of the table—like
than 55 percent if all the precious metals and
“Books,” “Textiles,” and “Horses and carriages”—
gems were taken into account, because most of
are consolidated into ten regions in a pie chart
the queen’s bequests were valuable works of this
(chart 2). Of the total 21,083 pounds, 9,726 pounds,
kind and were given, not sold, and thus were not
or 55 percent, was for her metalwork—jewels, plate,
appraised and included in the section totals in
reliquaries, devotional pieces, and precious objects
the inventory. These objects are clearly where she
In actuality, the proportion would be greater
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displayed and stored her wealth and proclaimed
her elite identity, and sorting the objects in table 1
media and quality in her collection. Her posses-
into a pie chart visibly demonstrates the supremacy
sions—her reliquaries, her dresses, her books, her
of works in metal in an early fourteenth-century
tableware—suggest her royal identity and the social
collection. The category of precious metals and
patterns of her life and household, announcing
stones (“gold, silver, precious stones: jewels and
where and how she traveled, the sources of her
plate”)—the work of the goldsmith—far outweighs
income, where she spent most of her time, what
every other category, including textiles, manu-
she wore, what she did for recreation, what she
scripts (“books”), and all animals and equipment
read, her religious devotion, her tastes, and what
at the queen’s estates (“horses and carriages” and
she displayed on her dining table.
The queen had a range of objects in different
“possessions at other estates and properties”). The vast majority of goldsmiths’ works have not survived the centuries—largely because of the value
Jewels on the Queen’s Body
and recyclability of their materials—so this overwhelming focus on metalwork in the inventory
In a world coded by sumptuary legislation, Clé-
gives crucial insight into the actual composition of
mence’s most visible signifiers of privilege were
medieval collections, information that contradicts
her jewels. These pieces included her crowns, her
impressions based on the number of each type of
clasps used for fastening garments, her rings, her
object from the period surviving today.
pendants, and her paternosters. Clerks listed four
crowns in her inventory, while her sister-in-law Jeanne d’Évreux, who lived and collected income
of her net worth, while her clothing and her library
decades longer, had eleven crowns and chaplets.11
of forty-four manuscripts are worth 3 percent each.
Clémence favored rubies, pearls, and emeralds
Like metalwork, the category of clothing would
in her crowns (1–4). Jeanne, on the other hand,
be larger if the value of the sumptuous outfits Clé-
favored emeralds as the dominant stone, although
mence, as was customary, bequeathed to her atten-
the crowns of both women had combinations of
dants and staff was considered.
rubies, sapphires, and pearls.12 A queen would have
58
In chart 2, her large collection of textiles for
use in the house and chapel is valued at 5 percent
In chart 2 even categories that are clearly util-
received a crown at her coronation, and the num-
itarian are helpful in visualizing the composition
ber of crowns that these women had suggests that
of the queen’s belongings. These areas, by offering
they wore different crowns at a variety of occasions
comparative values, contextualize the amounts of
thereafter.
money Clémence devoted to collectible objects. For
example, the dowager’s horses and carriages were
that signified royal blood and God-given status.
worth 6 percent of the total, roughly equivalent to
Although Clémence’s “best crown” is lost, compar-
the combined value of her manuscripts and church
ison of the two medieval descriptions of the jewel
Crowns were legally controlled adornment
decorations. While monetary values seen in the pie
with surviving images of crowns from her day sug-
chart are only one indicator of importance, it is an
gests characteristics of the lost object. The inventory
indicator with an objective foundation.
describes Clémence’s elaborate crown—“A good
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Figure 23 Tomb effigy of Philippe VI. Basilica of Saint-Denis.
gold crown with ten large rubies, fifty small emer-
with unembellished fleur-de-lys as the fleurons,
alds, and forty large pearls, appraised at eight hun-
in contrast to the decorative leafy fleurons of the
dred pounds” (1)—and her testament notes that the
late Capetian crowns like Clémence’s (fig. 23). This
queen gave her nephew “our good, large crown that
overt symbolism would have reinforced the claim
Simon de Lille made.” Many of the fourteenth-
to legitimacy that Philippe made for the French
century tomb effigies of royalty at Saint-Denis have
Crown against his detractors.
a high degree of detail, especially in the clothing
and jewels, and since identity was rooted in signifi-
depicted on the queen’s effigy are nine voids that
ers like dress and adornment—probably more than
would have been filled with imitation gemstones.14
facial features—the clothing and jewels on many of
Since one additional stone would be out of sight on
the tomb effigies imitate the actual objects. In fact,
the back of the sculpted crown, where it contacts
I argue that Clémence’s effigy might depict the
the sculpted pillow on which it rests, these nine
queen’s actual “best crown” that she gave as a gift
sculpted voids plus the conjectural gem on the back
to her nephew (see fig. 1).
could correspond to the ten large rubies listed in
the inventory description of the crown. Whatever
13
The style of late Capetian crowns depicted on
Furthermore, around the band of the crown
the effigies of Philippe IV, Louis X, Charles IV, and
the appearance of the crown, Clémence, in giving it
Clémence de Hongrie is characterized by layered
to her nephew, symbolically reiterated that she had
fleurons in the shape of leaves with one smaller
chosen her nephew as her heir and was passing her
leaf in front of a larger one (see fig. 15). Such leafy
legacy to him through this gift.
fleurons also appear on sculptures of the Virgin
and in manuscript illuminations that depict queens
least thirty-three rings (5–12 and 18). The array of
of the time. The Valois crowns, beginning with
styles popular in France in the early fourteenth
Philippe de Valois, show a sharp break in style,
century is apparent in the numerous rings from
In addition to crowns, Clémence owned at
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Figure 24 Rings from the Colmar treasure, late thirteenth–mid-fourteenth century. Garnet, onyx, and sapphire set in gold. Musée national du Moyen Âge, Thermes de Cluny, Paris, Cl. 20659, 20667, 20668. Figure 25 Fermail from the Colmar treasure, France (Paris?), ca. 1320–40. Silver-gilt with precious stones and pierced pearls. Musée national du Moyen Âge, Thermes de Cluny, Paris, Cl. 20672.
60
the late thirteenth and early fourteenth centuries
settings described in Clémence’s inventory. Some
found in the Colmar treasure (fig. 24). Apparently,
stones, cabochons, were rounded and polished and
during a time of persecution, a wealthy Jewish fam-
would have been entirely encircled by metal at the
ily hid this group of about fifty precious objects,
base of the stone. Some of her rings had quarrez,
hoping to recuperate them later, at a more peaceful
or square-cut, stones, which would have been
moment. They were found during renovations of
held by prongs; this type of a setting allowed more
a building in Colmar in 1863. These pieces of jew-
light to enter the stone from beneath it, making it
elry nicely illustrate the many types of cuts and
flashier. And some stones are described as piercé,
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Figure 26 Tomb effigy of Clémence’s maternal grandfather, Rudolphe de Habsbourg (d. 1291). Speyer cathedral.
whereby the stone was riveted to the ring by drill-
have numerous fermaux. Both men and women
ing a cylindrical hole through the gem or pearl and
wore these clasps, used for fastening clothing.
then anchoring it to the metal with a decorative
Some medieval ceremonial fermaux were as large
spike, as seen in the fermail from the Colmar find
as a hand, like the one depicted on the chest
(fig 25). Some of the bands of the Colmar rings
of Clémence’s maternal grandfather, Rudolphe
also have creative details, like the hands clasping
de Habsbourg (d. 1291), in his effigy (fig. 26). Sev-
in the band of the ring on the right in figure 24.
enteen fermaux, or clasps, appear in Clémence’s
The queen’s most valuable belonging was an excep-
inventory (20–36). A variety of gems in different
tional ruby ring (18), which sold for one thousand
colors were often mounted on these fermaux. For
pounds, a value greater than that of her best crown,
example, one item was a square fermail with a ruby,
with its multiple “large” rubies. It is possible that
four emeralds, and sixteen pearls (21). The surviv-
this ring was the one given to Clémence by her
ing fermail from the Colmar find is a diamond-
grandmother Marie de Hongrie in her 1323 testa-
shaped piece with gems and pierced pearls (fig. 25),
ment, which notes that Marie had received it from
which conveys an idea of how these stones might
her husband, Charles II d’Anjou. These jewels pro-
have been organized on Clémence’s piece. While
claimed the queen’s reginal identity.
the queen’s crowns immediately proclaimed royal
privilege, her fermaux argued for her taste, dig-
15
While Clémence did not have any earrings,
bracelets, or chains in her inventory, she did
nity, wealth, and identity in other ways. Of all her
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Figure 27 Silver-gilt clasp in the form of an M, 1350. Enamel, rubies, emeralds, pearls, and a diamond, with figurines of Gabriel and Mary. New College, University of Oxford.
62
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jewels, her fermaux contained the most variety in
this name. I see the fashion of wearing letters,
theme and decoration. Several of them had not
as demonstrated in the queen’s inventory, as a
only precious gems but letters or figures of animals
precursor to the late fourteenth-century fashion
as well. For example, Clémence had a small fer-
of wearing words and mottos, which was closely
mail with an enameled image of a coronation; her
related to identity proclamation.17
sister-in-law Jeanne d’Évreux purchased this piece
(61). Since this enamel was figural in its design,
pent-à-cols, or pendants, which were jewels worn
it was probably made in the basse-taille technique,
attached to ribbons around the neck (37–44).18
in which artists drew figures that could be seen
Several groups of pearl strands also appear after the
through the glassy enameled surface. Jeanne also
pendants in the inventory (45–48). For example,
bought another small clasp that had four cameos,
she had “a set of pearls where there are twenty-one
four pearls, and an emerald and was decorated
strands and each strand has twenty pearls” (45).
with the arms of France (60). Clasps that depicted
In 1340 Francesco Balducci Pegolotti wrote of such
religious scenes, animals, or letters announced the
strands of pearls in his description of the theft of
queen’s taste, participating in courtly fashion of the
pearls from Yolande de Bar: “a great quantity of
day. Her whimsical fermaux were decorated with
new pearls of middling size threaded on silk strings
animals; one featured two parrots, while another
just as they come from the hands of the mer-
was in the form of a rooster (30, 35).
chants.”19 So Clémence’s numerous strands of pearls
16
Fermaux with symbols, letters, and figures
Clémence also owned eight items described as
match the description of pearls that were ready to
appear as well. One was decorated with the arms
be incorporated into jewels or sewn onto textiles.
of France; one was in the shape of an M, another
in the shape of a B, and another in the form of an
nosters, which visually proclaimed her piety (49–
A (26, 33, 34). The M was decorated with a large
52, 62, 63). These were strings of beads, often made
ruby and smaller stonework (26). Its letter could
into circlets, that were used to count the number of
have represented the name of the Virgin Mary or
prayers said; they developed into rosaries in the fif-
perhaps, if the fermail had once belonged to Clé-
teenth century.20 One might be worn hanging from
mence’s grandmother, Marie de Hongrie. The jew-
a person’s girdle or around the neck or held in the
eled M from 1350 shown in figure 27, depicting the
hand, as Francesco da Barberino described in 1318–
Annunciation, with figures of Gabriel and Mary,
20: “Many women go along the street with pater-
is an example of this type of object.
nosters in their hands, whose heart and thoughts
This surviving M clasp, with its standing
Among Clémence’s jewels were also six pater-
are vanity.”21 It might truly have been difficult to
figures, is also a good comparative piece for Clé-
avoid pride and worldliness as Clémence handled
mence’s fermail in the shape of a B, decorated
her paternosters. She had one that was made of
with an image of Saint John (33). If this were a
101 pearls and twelve gold beads (51). Another had
clasp that had belonged to a member of her fam-
forty-eight large pearls, six sapphires, and twelve
ily, the B might refer to Béatrice, a popular name
gold beads (49). The last listed paternoster was of
in her family. Her sister, Béatrice, as well as their
jet and gold and had a “sanctuary” attached—prob-
great-grandmother, Béatrice de Provence, shared
ably a receptacle for a relic (63). Such paternosters
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prefigured the numerous wearable objects that
numerous images of saints: a sculpture of Saint
held relics described by Blanche de Navarre in her
Louis de Toulouse, a sculpture of Saint John, three
testament. Clémence’s paternoster that could hold
sculptures or shrines of the Virgin Mary, a shrine
a relic moved to another royal widow upon Clé-
depicting the Annunciation, a sculpture of Saint
mence’s death when Jeanne d’Évreux purchased it.
John the Baptist, ivory sculptures of Saint John and
22
The materials of Clémence’s paternosters were
Saint Stephen, as well as a reliquary of the Eleven
exceptionally rich in comparison to the materials
Thousand Virgins (86, 87, 88, 89, 90, 107 114, 115,
listed for paternoster makers in Paris around 1260.
414, 416).24 The saints in the collections of the
The artisans were divided into three groups: those
nobility do not correlate with their respective gen-
who worked in bone and horn, those who made
ders, as demonstrated by the numerous male saints
beads of coral and shell, and those who worked
in Clémence’s collection or the many female saints
in amber and jet. Clearly the paternoster was a
in the collection of Charles V before he came to the
popular object of devotion for a range of classes of
throne.25 Late medieval images indicate that sculp-
people, but the form of the object was infused with
tures like those described in Clémence’s inventory
luxury when the materials were upgraded to pearls
were central to the devotion of noblewomen. For
and sapphires. They would immediately announce
example, the Psalter-Book of Hours of Yolande
two powerful identity traits for Clémence as a wid-
de Soissons, produced in Amiens between 1280 and
owed queen: piety and wealth.
1290, shows a woman kneeling in devotion before
23
The paternosters, like the books of hours in
a sculpture of the Virgin and Child, her prayer
Clémence’s library from which she and her ladies
book open before her (fig. 28).26 One can imagine
read at times throughout the day, signal the per-
Clémence kneeling before one of the sculptures
vasiveness of repetitive rhythms in daily life and
described in her documents, perhaps reading from
observance of devotion in an aristocratic house.
her book of hours.
The prayers verbally constructed an audible text
that might be heard as part of the queen’s daily life,
sculptures and images may reflect cultural expec-
an audio culture paralleling the visual culture of
tations of her gender in the early fourteenth cen-
her household.
tury as well as her own preferences. This type of
Clémence’s large number of these devotional
object is almost entirely absent in her husband’s inventory, even though he too had numerous
Objects of Devotion
textiles that decorated his chapels and the bodies of the priests who performed the Mass, as well as
64
Like the queen’s body, her altars were primary sites
liturgical crosses, aspersories, chalices, and patens
of identity proclamation. Her many expensive
similar to her own. The closest thing he had to the
devotional sculptures, which were often reliquar-
devotional objects that were so prominent in her
ies, indicate the importance of Clémence’s faith
collection was one enameled tableau, the subject
in her life. Her most costly piece was a reliquary
of which is not described.27 Nevertheless, shrines
with a part of the True Cross, which sold for eight
such as Clémence’s do not appear to be exclusively
hundred pounds (97). Clémence also owned
the domain of women at this point. For example,
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Figure 28 Illumination showing a woman kneeling before a sculpture of the Virgin and Child. From the Psalter-Hours of Yolande of Soissons, Amiens, 1280–90, Morgan Library and Museum, New York, ms M.729 (purchased in 1927), fol. 232v.
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Philippe V offered his wife, Jeanne de Bourgogne,
the example in Clémence’s inventory is among the
an opening shrine enameled with their arms and
earliest recorded on the Continent.
portraits before 1322. Yet the number of these 28
shrines and sculptures in Clémence’s collection in 1328 is impressive and might be linked to gender.
Clothing Luxurious clothing ornamented the queen’s body
Liturgical Pieces for the Altar and Chapel
and proclaimed her royal identity—her clothes were literally luxury material in motion. Clé-
66
Clémence’s inventory reveals she actively used the
mence’s inventory provides an excellent case study
chapel at her Temple estate in Paris, as well as those
of what a queen had in her closet, important since
in Corbeil and Mainneville. Having a correctly out-
clothing was one of the most highly regulated
fitted chapel argued for the queen’s righteousness
signifiers of class in fourteenth-century Paris.
and piety, important indicators of trustworthiness
The sumptuary legislation of 1294 had limited the
in late medieval Christendom. The numerous
number of outfits that people of different stations
priestly vestments and service books described in
could own. Dukes, counts, and barons, and their
Clémence’s inventory help us to animate this space
wives could have a maximum of four outfits per
in which Clémence and members of her household
year, while bourgeois women were limited to one
worshipped.
outfit, unless they were significant landowners.30
Moreover, a graduated scale dictated the maximum
Her crosses were essential in marking her
chapel as a proper religious space, and she had four
quality of cloth allowed to people of each station.
of them, two of which were enameled with images
For example, bourgeois men and women with
of Mary and Saint John, and another “large cross
estates valued above two thousand pounds were
with a crucifix” enameled with the arms of France
entitled to have robes made with material that
and Hungary (90, 106, 107, 116). This last cross,
cost twelve sous per aune, while other bourgeois
her most expensive, is described as a “cross with
men were limited to material that cost ten sous
a crucifix sitting on an a stand with four lozenges
per aune.31 Such legislation contributed to a visual
of France and Hungary” (116). It had a corpus on
system whereby one’s class, wealth, and status were
the cross, unlike her other crosses.29 Her crosses
instantly recognizable.
ranged in price from thirty-one pounds to sixty-
seven pounds.
outfit, usually made in undyed wool, Clémence
owned at least eighteen sets of clothing of which
In addition to her sculptures and crosses, the
While the majority of people owned only one
queen’s liturgical pieces included two chalices and
each included multiple garments, in addition
patens, four burettes, an incense burner, a bowl and
to numerous other cotes, surcoats, cotes hardies,
aspersory for holy water, and a portepais (94, 105,
corsets, mantelets, a mantel à Alemant ront, and
108, 110, 112, 113). The latter liturgical object held
chapes (267–302). Each of her suits of clothing was
the consecrated Host during the Mass and was first
referred to as a robe, and in her inventory each
documented in late thirteenth-century England;
robe is described by its materials, colors, how many
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garments it included, and if it was lined. Each robe
large illuminated two-volume Bible and almost a
probably included a cote, a surcoat, a mantel, and
quarter of the cost of her best crown, with rubies,
other garments. The best garments were lined,
emeralds, and pearls. This dress would probably
usually with menu vair—fur—but also sometimes
have been reserved for special occasions at court
with various colors of the light silk material cendal,
or other social functions. After this dress, her next
and in one instance rabbit fur. Again, sumptuary
most expensive suit was another velour outfit that
legislation dictated that menu vair was to be worn
sold for eighty pounds. Most of the other robes she
only by the aristocracy; nonaristocrats in pos-
owned were in the range of ten to thirty pounds.
session of this fur had until the Easter following
passage of the legislation to turn over transgressive
Rouen, which probably belonged to Clémence,
garments. Clémence’s 1317 seal, in fact, enables us
provide visual evidence about fourteenth-century
32
Illuminations from an Ovide moralisé in
to envision the style and decoration of some of the
clothing, enriching the interpretation of the doc-
gowns described in her inventory (see fig. 9). The
umentary record of the inventory. Many of the
queen’s dress fits her chest tightly, emphasizing the
illuminations show women wearing mantles that
S curve of her body. The dress is full length, gath-
contrast sharply in color with the surcoat worn
ering in folds at her feet, and small animal pelts,
underneath. For example, the Virgin Mary appears
or menu vair, line the inside. The materials of her
in an image of the Annunciation wearing a dress
clothing, the colors of her dresses, and the different
whose sheen clearly indicates silk (see fig. 43). And
types of dresses she owned demonstrate that vari-
in the image Hecuba Taking the Eyes of Polymestor,
ety was the norm in queenly apparel at this time.
the queen is depicted wearing a coral-colored sur-
The queen had a personal tailor, Johanot, who
coat over a dark rose cote (see fig. 44). In the image
brought all of her clothes to be appraised after her
of the Virgin, the Fauvel Master took great pains
death. A tailor was usually in charge of an aristo-
to show the delicate folds in the thin material and
crat’s closet, sewing and repairing rich outfits, and
the way that the same piece of cloth could have
Johanot and his wife also appear in Clémence’s
numerous hues, suggesting the style of garments
testament as important members of her house-
described in Clémence’s inventory and how they
hold. Analysis of the prices of Clémence’s gowns
may have fit Clémence’s body.
reveals that the most expensive gown Clémence
owned was a purple velour outfit that included
of these luxurious outfits to her ladies-in-waiting.
five garments, with a mantle lined in menu vair
She gave these women extravagant dresses, each
(276). Clémence was not alone in appreciating the
lined with menu vair, but they were not as costly
luxury of velour. In 1317 Philippe V wore an elab-
as her gown that sold for 180 pounds.36 They were
orate azure velour gown to his coronation.34 And
made of wool, not silk, and comprised four gar-
Jeanne d’Évreux had gold cloth with purple velour
ments, not the five of Clémence’s best dress. At the
decorated with the arms of France and Navarre
same time, these dresses were more elaborate than
at the time of her death. Clémence’s purple
some others in the inventory. She owned several
velvet gown sold for the enormous price of 180
dresses with only two or three garments. The tes-
pounds. This was more than twice the cost of her
tament of Marie de Hongrie indicates that at least
33
35
At the end of her life, Clémence moved most
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one of Clémence’s ladies, Marguerite de Nantueil,
was draped in black silk, but the room was deco-
was from a noble family, and it is likely that the
rated with blue silk embellished with the fleur-de-
other ladies-in-waiting were as well. If so, they
lys.39 The expensive dyes used to produce the vivid
37
would have had the legal right to wear these expen-
colors of Clémence’s wardrobe would have pro-
sive, fur-lined suits that Clémence bequeathed to
claimed her status when she traveled in Paris, since
them. In contrast, the washerwoman to whom Clé-
common people wore clothing that was not dyed
mence gave her fur-lined mantel almost certainly
at all, making most clothing tan and brown. The
would have had to sell the gift (273).
fact that half of the clothes mentioned by color in
To Madame Pasque, the queen’s principal lady- her wardrobe were red and purple suggests that she
in-waiting, the queen gave a red gown of marbré,
favored these colors. Perhaps red was a signature
with four garments, lined with menu vair (267).
color for Clémence because the arms of Hungary
Marbré textiles, in a category of fabrics called mes-
were red and white.
chi, appeared to change from one shade to another
as the garment moved. Clémence’s other atten-
inventory of Clémence and that of her husband
dants received red or blue woolen garments. One
is in their listings for dress: Louis had extensive
of these is described as having a paonnecé color,
armor, and Clémence had none, even for use
which indicates a deeply saturated blue of the pea-
by her knights. And Louis only had three robes,
cock. At the end of the list of Clémence’s dresses
or multigarment outfits, whereas Clémence had
are capes for her attendants. These five capes were
eighteen. I see his armor as the gendered equiv-
made of marbré wool and had hoods that were
alent of her many extravagant dresses. Louis had
lined in cendal silk (301). Perhaps her ladies-in-
ninety-three lots of armor, and some of these had
waiting had worn these capes when they traveled
multiple objects, like a lot with seventeen swords
with the queen. The repetition of their forms would
or another with eight gauntlets.40 He had hauberks,
38
68
The most striking difference between the
have unified the group, marshaling their bodies
tunics, spurs, gauntlets, mail, pennants, and ban-
to broadcast the queen’s status as she made public
ners. He had misericordes, or daggers, with which
appearances.
one delivered the mercy blow of death, and he had
armor to protect his horse as well. His pieces of
The colors of Clémence’s dresses are signifi-
cant. The most common colors described in her
armor were props in the performance of mascu-
wardrobe are vermeil (a dark red) and violet (pur-
linity. Indeed, when Joan of Arc went on trial in
ple), while she also owned clothing in blue, black,
1431, one of the most effective accusations against
white, and brown. Although the famous azure
her was that she wore men’s clothing and armor.
cloth that signified French royalty does appear in
This targeted complaint against her cross-dressing
accounts of the day, it is not a dominant color in
clearly indicates that there were gendered expec-
Clémence’s wardrobe, even though she readily used
tations about armor and clothing and that she
the arms of France and Hungary as marks of iden-
flouted them, for which she paid a dear price.41
tification. Black was tied to death, but it was not
the only color of mourning, or exclusively tied to
apart in many ways as she moved through the
mourning. When Clémence’s baby died, his casket
cityscape of fourteenth-century Paris. Dressing
The outfits in Clémence’s wardrobe set her
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Figure 29 Ivory comb with scenes of lovers in a garden, Paris, second quarter of the fourteenth century. Victoria and Albert Museum, London, A.560–1910.
in a full-length bright-red or purple dress lined
An ivory comb and mirror described together
with fur and wearing a large crown, a ruby ring,
were probably a set (156). She also had another, less
and a brooch or pendant would have made Clé-
expensive mirror made of ivory, which was men-
mence highly visible in social events like the mar-
tioned with a boueste, or container (420). She also
riage of her cousins Marie de Valois and Charles
had a crystal hair parter decorated in gold (68).
de Calabre, which she attended in 1323. The
Even one of her makeup containers was enameled
number of her outfits was vast in comparison to
(131).
those of the rest of the population. The expensive
silk cloth of which many were made, the pearls
the subject matter of the decoration of Clémence’s
sewn onto them, and the distinctive fur that lined
ivory comb, its form was probably like most
her best dresses were the exclusive right of the
combs that have survived and those represented
aristocracy.
in medieval images. These were often made of
42
Although the inventory does not describe
boxwood or ivory and usually had tightly spaced teeth on both sides of a decorated central register.
Objects of Personal Grooming
An ivory double comb now in the Victoria and Albert Museum is an exceptionally well-preserved
Not only did the queen wear luxurious jewels and
example of the type of comb described in Clé-
clothes, but the objects that Clémence used to care
mence’s inventory (fig. 29). It is fourteen centime-
for her body were elaborately made and testified
ters wide and its central band is decorated with a
to her elevated status. She had an enameled sil-
courtly story of two lovers in a garden. The story
ver mirror that weighed a marc and a half (154).
reveals itself in a tripartite sequence involving a
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and their attendants ride their horses through a forest, where they hunt with falcons, a metaphor for hunting for love. Such scenes of courtship link personal grooming to the game of love in the early fourteenth century.
Textiles Like works in metal and ivory, textiles were prominent in Clémence’s inventory, and not surprisingly, some of her most luxurious textiles were used in her chapel in Paris. Among the textiles of the queen’s church was a woven silk cloth that
Figure 30 Ivory mirror case depicting hunters in a forest, France, 1350–75. Metropolitan Museum of Art, New York, Gift of George Blumenthal, 1941.
depicted the apostles among trees (257). Some of her liturgical textiles moved to decorate the chapel of Clémence’s sister-in-law Jeanne d’Évreux. Jeanne purchased a group of ash-colored textiles lined
young man and woman. In the first scene, they sit
with red silk for use on the altar during Lent, and
together on a bench. He holds a falcon in one hand
a chasuble of the same material, which would have
and the woman’s chin in his other while she pets a
been worn by an officiating priest (256). The bod-
dog, both of these animals symbolizing the exploits
ies of her attending priests would thus have been
of love. Second, having left the seat, he kneels
decorated and put into motion in the service of the
before her while she, standing, holds a chaplet
queen. As they animated the space of the chapel,
above his head. Third, after she has laid the chaplet
they too argued for the queen’s status and royal
on his head, he embraces her, his left arm around
identity.
her back, his right hand on her belly; her left hand
holds his chin.
hangings as well for use in her home. She owned
The inventory does not describe the decora-
numerous textiles made of silk and wool, and
tion of Clémence’s ivory-and-silver mirror backs
although the appraisers were most interested in
either; however, extant ivory mirror backs from
their dimensions as they sold them, descriptions
early fourteenth-century Paris point to the type of
of subject matter and decoration of these finely
object that Clémence may have owned. These often
crafted pieces reveal that they were luxury objects
featured scenes of courtship, gaming, or knights
marked with signs of courtly taste and identity. The
valiantly storming the castle of love defended by
most remarkable of these entries in the inventory is
courtly women. An elegant example is a mir-
the description of the set of eight tapestries depict-
ror back in the Metropolitan Museum made in
ing a hunt that the bishop of Laon purchased (324).
fourteenth-century Paris (fig. 30). Here two lovers
According to the inventory, seven of the tapestries
43
44
70
She had secular tapestries and bed and wall
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were four aunes by two aunes, and one was seven
difference from common people, as well as his or
by two aunes. While the aune did vary over the
her similarity with other royal people—visually
fourteenth century in Paris, the most common
affirming the identity of the noble host within the
measurement was 118.8 cm, or 46.8 inches, so these
royal group.
tapestries could have been almost 15.59 feet long by
7.79 feet high and 27.28 feet long by 7.79 feet high,
inventory were called joyaux d’or, made of gold
making them quite sizeable. Although the famous
rather than silver or silver-gilt, and these pieces
Unicorn Tapestries at the Cloisters were made
were all valued at more than sixty pounds per marc
175 years later and depict the hunt of the unicorn
(195). That these works in solid gold were all used
rather than the stag, Clémence’s set indicates that
or displayed in the context of dining indicates the
decorating a room with a series of tapestries depict-
importance of eating, drinking, and socializing
ing the courtly sport of hunting in a forest had
in courtly households. They included a hanap
been a practice already for almost two centuries.
with a cover and an elaborate foot valued at the
45
Clémence’s most extravagant objects in her
huge sum of 485 pounds, a cup with a foot, two other hanaps, and a large gold goblet with a foot
Luxury Objects for the Table
and a cover (188–90, 192, 193). One of these gold vessels might have been the large cup that Clé-
The queen’s gold and silver plate and objects for the
mence’s grandmother bequeathed to her in 1323
table were also part of the visual code of signifiers
(map 5).46 Clémence also owned a small saltcellar
that set those of the royal class apart and would be
in the form of a lion, with a cover, as well as two
especially visible when guests were invited to dine
gold spoons and a gold fork (191, 195). Although
with the royal host. Gold and silver enameled gob-
the fork was introduced in Europe in the eleventh
lets, plates, bowls, drinking cups, and serving trays
century, it came into use in Italy in the thirteenth
all testified to the wealth and power of their owner.
and fourteenth centuries, and its appearance in
Certainly many platters and dishes would have
Clémence’s inventory is an early example in France.
been used in serving and eating a meal, but late
Perhaps the queen acquired her fork in her native
medieval images of feasts indicate that during the
Naples, where a cookbook made at the court of
meal extravagantly decorated gold and silver ves-
her uncle Robert d’Anjou recommended the fork
sels would also be arranged on a side table—to be
as an essential implement for eating lasagna.47
seen rather than used in food service. The January
Additionally, forks did appear in other French
calendar page from the Très riches heures of Jean,
and English inventories of the late thirteenth and
duc de Berry, illustrates this custom (fig. 31). In this
early fourteenth centuries.48 Charles V had several
image the duke sits at the table with his back to the
by 1363.49 The fork in Clémence’s collection could
fireplace. Tapestries depicting battle scenes hang
demonstrate her identity as someone interested
from hooks at the top of the room. On the left,
in innovation and who owned objects in vogue in
the duke’s elaborate collection of plate is displayed
foreign countries.
on a table, demonstrating his wealth and refine-
ment. In this way, plate reinforced an aristocrat’s
the twelve nefs, gallies, and salières—containers
The centerpieces of her dining tables were
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Figure 31
72
Limbourg brothers, January calendar page. From the Très riches heures de Jean, duc de Berry, 1412–16, Chantilly, Musée Condé, ms 65, fol. 1v.
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an image of one on the table of Jean, duc de Berry (fig. 31), gives an idea of the range of these vessels. In a thirteenth-century French saltcellar now at the Cloisters, the body of the boat is made of translucent rock crystal (fig. 32).51 It is supported by a conical stand with a knobbed stem. Part of the top of the boat can be opened using a small serpent- shaped handle, and emeralds, pearls, and rubies decorate the rim of the ship. Clémence’s boat- shaped saltcellars were large silver-gilt vessels decorated with enamels. In addition to the saltcellars in the shape of boats, many of these medieval objects took other forms. Some “salts” that have survived are architectural in form, and others are in the shape of animals, like Clémence’s two saltcellars in the form of stags, another shaped like a lion, and another supported by baboons (104, 128, 191). Numerous hanaps, goblets, cups, and glasses appear in the inventory. Surviving hanaps show that these vessels might have taken the form of wide-brimmed cups (e.g., fig. 33), while they could also have looked more like goblets. Clémence had forty-seven of these drinking vessels in all, including a set of twenty-five silver hanaps and a set of twelve gilded hanaps. She had fifteen cups, goblets, or glasses in a variety of materials. The best were gold, two were silver, one was silver-gilt, and Figure 32 Rock-crystal nef, or saltcellar, France, mid-thirteenth century. Gold, rock crystal, emeralds, pearls, spinel or balas rubies. The Cloisters Collection, New York, 1983.
two were part crystal (96, 102, 119, 132, 142, 145 bis, 149, 152, 179, 188, 190, 193). Clémence owned three hanaps and four cups made of madre wood; such wood goblets appeared in other inventories and courtly expense accounts throughout the century
that held salt, spices, napkins, or other things nec-
(149–52, 178–79). This wood could be maple or
essary at the table (103, 104, 121, 123, 125, 128, 143,
other fine speckled or grained wood.52 The two
153, 170, 191).50 Clémence’s saltcellars, as they are
madre cups shown in figure 34, from the fifteenth
called, often took the shape of boats, as indicated
century, illustrate the probable style of Clémence’s
by the nautical names sometimes used to describe
pieces. A gilded silver foot supports each wood
them. Comparing a surviving medieval nef with
bowl, and a bosse with the arms of the royal abbey
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Figure 33 Hanap with central bosse, France, fourteenth century. Silver, silver-gilt, translucent and opaque enamels. The Cloisters Collection, New York, 1982. Figure 34 Madre cups, France, first half of the fifteenth century. Musée Lambinet, Versailles.
of Maubuisson sits in its center. Similarly, Clé-
(171). A single lot with these bowls and nine other
mence’s set of twelve silver-gilt hanaps is described
pieces was worth 504 pounds, a huge sum. This set
as “enameled in the bottom with the arms of
of forty-eight écuelles, along with the forty-seven
France and Hungary” (102).
hanaps, might also suggest that the queen was pre-
74
The large number of écuelles—broad-rimmed
pared to entertain more than forty-five respected
dishes (fig. 35)—and the absence of an equivalent
guests. In contrast to these luxurious bowls, Clé-
set of plates in Clémence’s inventory suggest that
mence also had 184 écuelles made of étain, or tin,
dishes were the primary vessel from which people
and were probably the utilitarian bowls from which
ate. She owned a set of forty-eight silver écuelles
her staff or other less stately guests might have
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Figure 35 Two écuelles from the Maldegem hoard, Paris, second quarter of the fourteenth century. Musées royaux d’art et d’histoire, Brussels, 1576A–D.
eaten (438–41).53 The queen had twenty-three sil-
of jasper. A sixteenth-century rock-crystal baril
ver fruit plates on which her servants would have
from the St. Vitus Treasury in Prague is a surviving
served the fruit from her fruitterie at the Temple in
example of this type of object, albeit in a medium
Paris or the apples from her orchard in Fontaine-
different from Clémence’s (fig. 36).54 This dimin-
bleau (137, 168). Clémence had forty-seven spoons,
utive object is 5.1 inches wide. In addition to her
a few of which were parts of serving sets (129, 161,
jasper barils, Clémence owned two other silver bar-
185, 195). The number of spoons, large in compari-
ils that were used to hold rose water (135). She also
son to her single fork, suggests that the spoon was
had a gilded fiole, or small-necked bottle, for rose
the primary eating utensil. Thirty-six of these were
water (157) and two gilded esparjouers with which
made of silver, two of solid gold, and five of crystal.
to sprinkle rose water (122).
The two gold spoons, like the gold fork, were prob-
ably the queen’s own utensils (195).
chopines, or pitchers, Clémence owned, two marcs
each, they were small pitchers (162), whereas the
Clémence also had numerous containers for
Based on the average weight of the two
liquids. She had bottles, or flacons, two fioles, two
quartes were larger pitchers for water and wine
chopines, twenty-two quartes, and barils, which
(141, 160, 166 bis). These silver or silver-gilt quartes
were small containers that mimicked the form of
were heavier than the chopines, averaging five
larger barrels that held liquids (134, 135, 141, 144,
marcs each (166 bis). Again, these twenty-two
157, 158, 160, 162, 166 bis, 191). These were silver or
pitchers help us imagine the number of guests
silver-gilt, except for two barils that were made
she could have hosted. The inventory also lists
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Figure 36 Rock-crystal baril, sixteenth century. St. Vitus Treasury, Prague, K 84.
twenty-four basins (138–40, 147, 163, 174, 176,
for eight pounds per marc. Although four of the
524–26, 530–31, 574, 697, 702). Many were silver
chandeliers are listed as specifically for the table,
or silver-gilt with enamel and weighed an average
the rest might have been used in the residence
of about six marcs each, but the materials are not
or the chapel. Overall, the objects that Clémence
mentioned in the less expensive examples. Four of
owned in silver, gold, enamel, crystal, and jasper
them were specifically “to wash the head,” suggest-
created an environment of luxury in her dining hall
ing that washing in a basin would have been part
and chapel. These sculptures, crosses, saltcellars,
of the hygiene routine of Clémence and members
hanaps, goblets, bowls, plates, utensils, containers
of her entourage (174–76). Also, basins could have
for liquids, and chandeliers communicated the
been used to wash hands at the table or by the
queen’s piety and exclusive privilege of ownership.
priests before the Mass.
The last type of object that appears regularly
among Clémence’s works in metal is the chandelier,
Secular Sculptures
or candlestick. She owned twelve silver chandeliers
76
of varying sizes (93, 99, 111, 169, 464, 728). They
Clémence owned five secular sculptures, which,
averaged more than three marcs each, approaching
like her whimsical fermaux, argued for her cul-
the weight of the heavier pitchers. Two chandeliers
tivated taste. She owned a rooster-and-hen pair
are described as large and decorated with enam-
made of pearl and mother-of-pearl. Together these
els depicting lions (99). The figural decoration of
were worth the large sum of seventy pounds. The
these candlesticks doubled their monetary value
motif of a rooster or hen appeared in the col-
per marc; while the undecorated silver candlesticks
lections of many fourteenth-century aristocrats.
sold for just over four pounds per marc, these sold
Jeanne de Bourgogne had three pitchers in the
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form of roosters, and similar objects appear in the
collection of them owned by Jeanne d’Évreux at her
inventories of Charles V and his brother Louis
death, in 1371.57
d’Anjou. The papal inventories of 1353 describe a gold enameled pitcher in the form of a rooster.55 Clémence also had a silver sculpture of a man
Carriages and Horses
pushing a wheelbarrow that held a container (101). This is an example of a pastoral scene like those
Even the carriages in which Clémence and her
that appeared on pieces in later collections. For
damoiselles rode were extensions of her body, pro-
instance, in 1365 Louis d’Anjou had a hanap that
jecting her identity; they were recognizable visual
was decorated with a scene of shepherds playing
indicators of her class and privilege as they traveled
instruments while their sheep grazed. Clémence’s
through the landscape. Philippe IV’s sumptuary
inventory also records a silver sculpture of a young
legislation had decreed, “No bourgeoise shall have
woman that was in four pieces (120). In addition,
a carriage.”58 Horses and saddles were also expen-
the queen had a statue of a stag wearing a mantle
sive markers of status. In Eustache Deschamps’s
that was enameled with her arms (118). These
fourteenth-century Miroir de mariage the author
pieces demonstrate the queen’s taste for secular
cautions that wives will demand extravagances
as well as religious sculpture.
like a saddle horse for good weather and a car-
56
riage for bad weather: “When the weather is fresh as butter, I must have a chariot with chains, well
Paintings
ordered, painted inside and out, covered with cloth of camlet . . . why shouldn’t I have one, drawn by
Works in precious metals and textiles account for a
four roncins?”59 Clearly, they were signs of prestige.
large part of Clémence’s wealth and a large percent-
Like other royal women, Clémence traveled in a
age of her objects, while paintings were scarce in
carriage that was separate from that of her ladies-
her inventory. For example, Clémence had a paint-
in-waiting (502, 504, 505). Hers sold for 115 pounds
ing on wood that was used in the chapel in Paris
and was covered with textiles (drap pers and toile),
and sold for six pounds (77). At her chapel in Cor-
according to the inventory.
beil she owned another piece described as a large
tableau, which sold with a chess set for sixteen
died, and her inventory describes “the harnesses . . .
pounds. This may have been a painting because,
of the five horses of the carriage,” indicating that
unlike her tableaux, which were shrines, no object
five of her horses pulled her carriage (483–501, 503,
of devotion is mentioned in the description (566).
677). Her husband, Louis, had forty horses, which
One of her shrines had painted panels, but the
makes sense in terms of Louis’s love of war sports
painting was a background to the statue of the Vir-
as well has his greater administrative responsibili-
gin Mary (89). Not nearly as valuable as Clémence’s
ties, which would have required him and his repre-
jewels, reliquaries, devotional sculptures, or best
sentatives to travel long distances.60
textiles, paintings were more appreciated in France
at the end of the century, as suggested by the larger
tions of her wealth but necessities, since the wood
Clémence had twenty-four horses when she
Clémence’s five horses were not only declara-
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and iron with which carriages were built made
and a saltcellar, her figure of a stag, as well as her
them extremely heavy. The first horse listed in her
sculptures of a cock and a hen all testify to her
inventory was the most expensive and probably
own interest in animals (30, 99, 104, 118, 191, 332).
led the other four in pulling the queen’s carriage.
As utilitarian objects developed in their decoration
Louis, too, had five horses that pulled his carriage.61
to the point of depicting animals, they had become
Clémence’s best horse is described as a “large morel
more than functional; they conveyed appreciation
horse that has only one eye, . . . of Madame’s car-
and mimicry of the natural world, extraordinary
riage, sold to Johan de Bouchon, for 120 pounds”
technical skill of the artist, and sometimes humor.
(483).
The carriage of the dasmoiselles, at only thirty-
The queen’s inventory, testament, and effigy
also suggest other ways in which animals were a
six pounds, was much less extravagant than the
part of her life. Like many nobles of the day, Clé-
queen’s (504). It had a cover made of drap and
mence owned house dogs.62 Special silk-lined dog
toile and had to be large enough to carry several
boxes decorated with silver appear in the inventory
women. The inside as well as the outside of the
(180), and in her tomb effigy the small dog at her
carriage could have been painted. When Clémence
feet wears a collar decked with bells, a charming
and her attendants traveled to the church of the
detail (see fig. 3). Clémence rode horses and par-
Jacobins in Paris or to her residences outside the
ticipated in falconry, as evidenced by her elaborate
city and in Normandy in two carriages, it would
riding saddles and the forty pounds she gave to her
have been a distinctive sight. Clémence also owned
falconer, Baudet, in her testament.63
several saddles, the most extravagant of which was the one covered with purple velvet and decorated
The descriptions of object movement in Clémence
in silver and enamels with the arms of Apulia and
de Hongrie’s inventory give modern readers an
Hungary (467).
intimate picture of a queen’s possessions in the early fourteenth century and the manner in which they asserted her noble status. Works in precious
Animals in Clémence’s Collection
metal dominated her collection: jewelry to adorn her body as well as elaborate creations in silver
78
The descriptions of Clémence’s objects in her
and gold for the altar and the table. She had many
inventory reveal that animals were a favorite dec-
sculptures of saints, mostly in metal but also in
orative motif. They were popular in courtly art
ivory, and while ivory sculptures of the Virgin
at the time, so they helped locate the queen as an
survive abundantly today, ivory sculptures of
insider of prestige and culture. Animals adorned
male saints are rare. Clémence’s tastes and the
works of art in the inventories of Jeanne de Bour-
objects she owned were in many ways typical of
gogne, Charles V and his brothers, and Jeanne
fourteenth-century royal collections. Like Jeanne
d’Évreux as well, confirming the popularity of this
d’Évreux and Charles V, she was devoted to saints
type of decoration. In Clémence’s inventory, the
like the Virgin Mary and John the Apostle. How-
dolphins on bedspreads, baboons on saltcellars,
ever, Clémence’s sculpture of her uncle Saint Louis
parrots decorating fermaux, lions on chandeliers
de Toulouse is distinctive and certainly indicative
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of the importance she ascribed to her Angevin identity.
Clémence’s properties, works of art, cloth-
ing, reliquaries, and the textiles that hung in her residences were all part of the material world she constructed, a world that was appropriate for a noblewoman of the highest status. The objects in Clémence’s collection were intimately connected to her financial situation and were the outward signs of her prosperity and taste. Many of Clémence’s objects were made of or decorated with gold or silver, and these regulated precious metals were her exclusive right as a member of the aristocracy. The saints she favored, the motifs in her collection, and the objects that moved to new owners reveal her reginal identity and cultivated tastes.
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The Queen’s Manuscripts and Identity
Chapter 4
The inventory of Clémence de Hon-
as well as King Charles V—enhances the explora-
grie documents the movement of the
tion of Clémence’s particular interests in religious
queen’s forty-four manuscripts to new
and moralizing literature, historical and scientific
owners immediately after her death. Three of
works, and romances.
these manuscripts survive: the luxuriously painted Peterborough Psalter (Bibliothèque royale de Belgique, ms 9961–62) (figs. 37–39), an Ovide moralisé illuminated by the Fauvel Master (Bibliothèque
The Peterborough Psalter in the Library of Clémence de Hongrie
municipale de Rouen, ms 1044) (figs. 40–44), and a compendium of works on science, medicine,
As they created the inventory, clerks noted that
and astronomy from the early fourteenth century
Clémence owned “a handsome Psalter with let-
(Bibliothèque municipale de Rennes, ms 593) (figs.
ters of gold and azure, which the pope gave to
45–46). Analysis of these surviving manuscripts
her, appraised at thirty Parisian pounds, sold to
and the composition of the queen’s library allows
the king and delivered as above” (198). This book
insight into the queen’s taste in books, the manner
is the Peterborough Psalter, and in the hands of
in which books as mobile objects could represent
this queen it was a central indicator of her high
relationships, the evolution of a book as its patron’s
status and particularly of her special relationship
financial resources constricted, and Clémence’s
with Pope John XXII.1 Among Clémence’s books,
understanding of her place in her culture. Addi-
the record of the movement of the Peterborough
tionally, comparing her library with those of other
Psalter in the queen’s inventory is a formidable
fourteenth-century royals—like her husband,
example of the permeability of cloistral bound-
Louis X; Mahaut d’Artois; Clémence’s sisters-in-law
aries, as the manuscript seamlessly moved from
Isabelle de France and Queen Jeanne d’Évreux,
an abbey in England to the pope and to a queen,
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acquiring new meanings and symbolism in each
king dressed in fourteenth-century regal mag-
new environment.
nificence (fig. 37). He wears a crown with leafy
2
fleurons, typical of the period, a light coral-colored
In all likelihood, the Psalter was made for
the abbot of Peterborough, Geoffrey of Crowland,
mantle lined with ermine, and fashionable shoes
before 1318, when the abbot gave the book to the
with crossing straps. Clearly the artists were inti-
cardinal Gaucelm d’Eux, a visiting papal nuncio
mately acquainted with royal fashion of the day.
and nephew of the pope, John XXII (r. 1316–34).
David’s chin-length hair forms graceful curls typi-
The pope, who was in Avignon, gave the Psalter
cal of the period, and his rosy cheeks and tapering
to Clémence. The inventory makes clear that King
facial form emphasize his beauty.
Philippe de Valois purchased the book upon the
queen’s death. The manuscript stayed in the royal
Beatus initial is a rendition of the earlier and most
family, appearing in the inventories of Charles V
famous moment of his life, when as a boy he hurled
and Philippe le Bon, duc de Bourgogne. Philippe
a stone at Goliath, whom we see here dressed as a
had his arms painted in the manuscripts that came
fourteenth-century knight in mail. The moment
into his collection, and his arms and the arms of
right before and right after his stone hits the giant
the regions in his domains—including Flanders,
coexist on the page. The boy dressed in blue still
Holland, Burgundy, Limbourg, and Artois—appear
has the stone in his sling, and above him Goliath
in the Psalter now. It is likely that the numerous
has already started to bleed from the impact of
fleurs-de-lys that appear in the background of
the stone on his forehead, but he has not yet fallen
images throughout the manuscript were added to
to the ground. Grace rather than violence defines
the original illuminations while the book was in
the scene, though; the boy’s delicately pointed toe
collections in France. Some of the illuminations
echoes the pointed toe of Goliath above him, align-
relate to the twelfth-century frescoes in the choir
ing them in the same story even though they are
3
To the left of the courtly figure of David in the
of the Peterborough Abbey. Lucy Freeman Sandler
vertically arranged.
identifies three different masters and their assis-
tants who worked on the illuminations, initials,
in the left column and azure ink in the right and
and decorations. Their hands have been linked to
is surrounded by intensely colored and dense
manuscripts made for the English royal family and
decoration and pastoral scenes. Line endings of
important ecclesiastical leaders as well.6
birds, people, or fantastical beasts leave little open
space in which the eye can rest. Interweaving vines
4
5
Whether these images were viewed by mem-
The text of the psalm is written in gold ink
bers of the original monastic audience or later,
act as the frames for vignettes featuring animals
as the manuscript moved into secular hands, the
and workers. An archer accompanied by his dogs
figures suggest how thoroughly the monastic and
shoots a stag in the bas-de-page; a man walks on
lay worlds were interrelated. Even in areas of reli-
stilts in the bottom left margin; another musician
gious subject matter, the manuscript adopts courtly
with a horn plays on the top right. An owl gazes
styles and motifs. For example, on folio 14r, the
out at the viewer from the top of the page, while a
beginning of the first psalm, in the Beatus initial,
hunter aims his arrow at a fox attacking a rooster
David is depicted—of course—as a musician and
to the left. Musicians, most prominently David
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Figure 37
82
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Psalm 1, with Beatus initial. From the Peterborough Psalter, England, before 1318, Bibliothèque royale de Belgique, Brussels, ms 9961–62, fol. 14r.
9/4/18 2:57 PM
but also his accompanists and the musician in the
book, she might easily have had it filled with this
right margin, and the hunter blowing a horn in the
popular courtly image.
bas-de-page, as well as the numerous birds, give the
Although the form and style of this manu-
page an auditory quality that almost creates back-
script originated with the Peterborough Abbey,
ground music for the often-sung text of the psalm
the Psalter also spent most of its medieval life in
itself.
the hands of other collectors. Secondary patrons
like Clémence experienced and interacted with the
In addition to the secular images in the mar-
gins of folio 14r, many other secular vignettes in
manuscript, and the various meanings that each
the margins of the book would have resonated with
new owner drew from the manuscript are also a
Clémence, a member of the laity. For example,
part of its history and significance. The Peterbor-
a laywoman kneels in prayer and a knight and lady
ough Psalter juxtaposed the old with the new and
sit outdoors in relaxed conversation in the page
the secular with the religious. In chapter 7, I discuss
frame of folio 74r (fig. 38). The praying woman
the importance of this manuscript as an interna-
wears a circlet over a short veil on her head and a
tional gift from the abbey to Pope John XXII and
full-length surcoat and cote. This woman does not
from the pope to Queen Clémence de Hongrie.
have the ermine-lined mantle or crown that would clearly identify her as an aristocrat, although she is a well-dressed laywoman. Similarly, on folio 91v an elaborate Castle of Love image dominates the
Clémence’s Ovide moralisé and Her Personal and Cultural Identities
lower page (fig. 39). Here courtly women populate a crenellated castle with its portcullis drawn open,
Clémence’s manuscripts promoted her culture not
and knights dressed in mail brandish their swords
only as a manifestation of Judeo-Christian religious
to gain entry. The banners that decorate the castle,
tradition but also as a continuation of Roman
as well as the shields the knights hold, are deco-
history and learning. One of the most valuable
rated with flowers, an allusion to lovers’ chaplets,
manuscripts in her library was an Ovide moralisé.
which were made with flowers. The knights climb
The inventory of her roumans, or all her books that
ladders to gain access to the women, who in turn
were not service books, begins with this richly dec-
shoot arrows and pelt the knights with flowers,
orated manuscript: “First, a large book, covered in
and the men collapse, their legs crumbling beneath
red leather, of the fables of Ovid, which are related
them. This image is much like the popular scenes
to the moralization of the death of Jesus Christ,
depicted on courtly ivory mirror backs and caskets
appraised at fifty Parisian pounds, sold to the king
of the day. It is not out of the question that these
and delivered as above” (212). The evidence is com-
images were included in the original manuscript
pelling that this book is the Ovide moralisé painted
made for Peterborough Abbey, but it is neverthe-
by the Fauvel Master that survives as ms 1044 at
less intriguing to think that they may have been
the Bibliothèque municipale de Rouen.7 Lines that
added during the time the manuscript was in Clé-
begin with large, often decorated Cs and Ls domi-
mence’s possession. If there was open space at the
nate the first thirteen folios of the table of contents
bottom of this page when Clémence acquired the
(fig. 40).8 Carla Lord argues convincingly that these
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Figure 38 Psalm 109. From the Peterborough Psalter, England, before 1318, Bibliothèque royale de Belgique, Brussels, ms 9961–62, fol. 74r.
initials in the introduction to the book indicate
of Ovid’s stories, commissioned by “Queen Jeanne.”
Clémence’s patronage, the Cs and Ls being mono-
This work, written between 1309 and 1320 in 72,000
grams for Clémence and Louis X.
octosyllabic lines, interprets the Roman author
9
84
Clémence’s copy of the Ovide moralisé is the
Ovid’s Metamorphoses, first written around the year
oldest record of this monumental fourteenth-
7 c.e., as moral stories revealing wisdom about Jesus
century poem, Chrétien Legouais’s allegorization
Christ.10 It is the best-known manifestation of the
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Figure 39 Castle of Love. From the Peterborough Psalter, England, Bibliothèque royale de Belgique, Brussels, ms 9961–62, fol. 91v.
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Figure 40 A page from the table of contents of the Ovide moralisé, ca. 1315–20, Bibliothèque municipale de Rouen, ms 1044, fol. 3r.
86
popularity of Ovid in the twelfth, thirteenth, and
fourteenth centuries. According to the text, every
Saint Jerome and Saint Augustine both wrote of
written word is intended for the edification of the
the value of pagan mythology, which could be
reader, and even stories where characters choose
converted into stories that would profit Christians.
poorly could teach lessons in morality. In this way
Saint Jerome wrote that Greek mythology was like
Following long-established patristic tradition,
medieval Christians updated the stories of classical
“a beautiful gentile captive” who might be con-
authors, enlisting them and their authority into the
verted into an Israelite. Basil of Caesarea used the
service of their own Christian ideology.
metaphor of bees gathering pollen from flowers to
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Figure 41 The Fauvel Master, Juno Ascending. From the Ovide moralisé, ca. 1315–20, Bibliothèque municipale de Rouen, ms 1044, fol. 54v.
show how Christian writers could choose the best
of mythological stories into contemporary settings
parts of ancient writings to teach Christian prin-
was standard in fourteenth-century manuscript
ciples. Saint Augustine similarly argued that this
illumination.12 The images as much as the words
activity was like the Israelites’ use of Egyptian gold
made the mythical figures prototypes of and
to fashion their religious implements.
examples to medieval patrons. In this way medieval
writers edited, interpreted, and reimagined ancient
11
Images that cast gods and goddesses as
fourteenth-century kings and queens brought
tales, and in the hands of the queen, the text rein-
the ancient accounts to life in Paris and made the
forced her culture’s elite view of itself and her own
didactic more relatable. In the Ovide moralisé the
place within society.
goddess Juno rides a four-wheeled chariot pulled
into the sky by two peacocks, and she wears a
the Rouen manuscript is the declining amount of
translucent veil and outer garment and a crown
notation and the descending number and quality
with leafy fleurons (fig. 41). The dramatic diagonal
of illuminations from the front to the back. The
line formed by the upward trajectory of the chariot,
first page is thoroughly annotated in the wide
the majestic goddess, and the regal peacocks on the
margins (fig. 42). Painted sidebars frame the text at
gold, blue, and red checked background make this
first as well. However, the decoration of the book
a stunning image in the manuscript. This updating
changes; the annotation thins after a few pages, and
One of the most intriguing characteristics of
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Figure 42 The first page of the text from the Ovide moralisé, ca. 1315–20, Bibliothèque municipale de Rouen, ms 1044, fol. 16r.
88
then the vertical sidebars become less frequent.
At the beginning there are often three column-
around 1320 and attribute the different styles of the
wide illuminations per page, and between folios
Fauvel Master’s illuminations to variations in his
200 and 300 there is still usually at least one illumi-
work quality as the manuscript progressed.13 I pro-
nation per page. From folio 300 to 400 the number
pose another way to make sense of changes in the
Richard and Mary Rouse date the manuscript
tapers further, and then the illuminations cease on
manuscript: by correlating the proposed dates of
folio 400v, though the manuscript narrative con-
the manuscript with Clémence’s life circumstances
tinues until folio 432.
at these times. The deterioration in quality and
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quantity of images in the queen’s Ovide mirrors the
“Ave Maria, Gra,” the two bodies communicate
dire financial shocks that the queen suffered during
through the repetition of line. Gabriel’s body forms
the years 1315–20. Perhaps she commissioned the
a concave shape, his left wing, his hand, and his
manuscript during her reign, and then, when her
foot all reaching toward the Virgin. Mary’s hip
husband died and her status declined, her finances
protrudes toward Gabriel, while her head and foot
constricted, shrinking the budget for the book as
stay behind, as if she were hesitantly drawn to him
it was being laid out and lettered and forcing the
and his message. Attention to detail, and carefully
patron and then the artist to cut corners and econ-
considered composition and modeling, character-
omize. This book can be seen as a percolate of the
ize this and other illuminations that appear early in
queen’s changing identity, the quality and quantity
the Rouen manuscript.
of illuminations changing even during its creation
as the funds for its production dried up.
where the style abruptly changes, the Fauvel
master’s tightly controlled drawing and expert
At the beginning of the manuscript many of
Although there is no point in the manuscript
the illuminations are fully developed. For example,
modeling of the bodies, faces, and costumes in the
in the Rouen Annunciation, on folio 35r, Mary
early images gradually give way to less detailed
grasps a book in her left hand and holds her right
executions in the later illuminations. For example,
hand as if she were listening to or receiving the
on folio 336r, Hecuba Taking the Eyes of Polymestor,
words Gabriel speaks (fig. 43). The winged angel
the artist has quickly captured the essence of the
reaches out to her while he speaks. The figures are
action (fig. 44). Hecuba and two other women
isolated on a ground tiled with red and blue dia-
avenge the death of Hecuba’s young son, attacking
monds, which are painted with white tridents or
their enemy Polymestor, who collapses, bleeding
simplified fleurs-de-lys. The frame of the compo-
from the wounds the women inflict. As seen in
sition is gold, accented with spiraling red and blue
many of the images in the latter part of the book,
bars. The artist has carefully drawn the faces of
the faces of the women lack the modeling and
Mary and Gabriel, and Mary’s neck and the side of
shadows that were so effective in the Annuncia-
her face have a gray wash, suggesting shadow and
tion, making them appear flat, pale, and lifeless.
thereby rendering the forms three-dimensional.
Hecuba’s crown is drawn in thick, black lines
The curving shapes of the bodies appear even
and colored with yellow paint. Black lines with
through the garments, and the folds of the drapery
some dark wash, rather than gradated shadows,
are precise, their recesses darkened and their pro-
suggest the folds in the drapery. The borders of
trusions lightened. The Fauvel Master has carefully
the women’s veils differ in the two compositions.
depicted different colors of cloth on the interior
In the Annunciation, the lace at the edge of the veil
and exterior of the figures’ mantles, and the rich
appears as white dashes radiating out from the
luster of Gabriel’s red robe is accented by horizon-
edge of the material. In the image of Hecuba, the
tal decoration below the angel’s knees.
same technique appears, but the number of lines
decreases, and their thickness increases. The shapes
Although Gabriel and Mary are separated in
the composition by a flowering lily and the ban-
of the faces are the same in both images. The heads
derole with part of Gabriel’s words of greeting,
tilt down, and the chins receive minimal emphasis.
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Figure 43 The Fauvel Master, The Annunciation. From the Ovide moralisé, ca. 1315–20, Bibliothèque municipale de Rouen, ms 1044, fol. 35r.
As in the Annunciation, the shapes of the bodies
lines with dots painted over the red or blue rim.
create harmony in the scene. The bodies of Queen
The painter would have been able to make these
Hecuba and her attendants encircle their victim,
forms quickly. Such designs were much more
and the lines formed by their arms lead the viewer’s
efficient than the numerous painstaking white
eye to the site of their violence.
lines of the spiral rim in the Annunciation. The
90
In the Annunciation, the figures step outside
background of the Hecuba scene is similar to that
the minutely decorated frame of the composi-
of the Annunciation, but it is simplified. A plain
tion, slightly entering the viewer’s space. In the
gold background tooled to create the diamond
Hecuba image, the frame of the image is executed
shapes would have been much more efficiently
more simply. Here, the frame is largely decorated
made than the alternating red, blue, and gold dia-
with headless arrows or simple undulating white
monds in the background of the Annunciation,
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Figure 44 The Fauvel Master, Hecuba Taking the Eyes of Polymestor. From the Ovide moralisé, ca. 1315–20, Bibliothèque municipale de Rouen, ms 1044, fol. 336r.
and the simple dots more easily repeated than
Compendium with the Jewish Almanac
the more complicated designs on the tiles in the Annunciation.
In addition to books about religion, history, and
morality, Clémence also owned a compendium of
As the book was being made, the illumina-
tions, text, and decoration all sped up, suggest-
diverse texts, including a Jewish almanac: “Item,
ing that, although it was certainly luxurious, the
a large book, where there are seventeen stories,
resources devoted to its production were not lim-
starting with the almanac of the Jews, appraised
itless; the diminishing quality and concentration
at thirty pounds, sold to the king and delivered as
of illuminations in the Ovide moralisé can be seen
above” (213). Richard and Mary Rouse believe that
as visible results of the queen’s changing status and
Clémence’s book was probably the lavish manu-
financial standing.
script now in the collection of the Bibliothèque
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91
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municipale de Rennes (ms 593).14 This surviving
inventory. Additionally, the book described in Clé-
manuscript is an encyclopedic compilation of
mence’s inventory had seventeen works, as does the
numerous popular texts of the day, including the
Rennes volume.19
earliest surviving French-language astrological
collection.15 In this manuscript, authors and illu-
Rennes manuscript is remarkable. A variety of texts
minators locate the world in relation to celestial
on scientific and secular subjects suggest the erudi-
bodies and explore natural phenomena, like gravity
tion and prestige of the patron. The texts include:
The breadth of the works included in the
and eclipses. Notations by the scribes of the Rennes volume date it to 1303–4.16 The manuscript is quite
Astronomical tables and Calendrier
thick, with 538 parchment pages, and certainly
L’Almanach aux Juifs
fits the description in Clémence’s inventory as a
L’image du monde by Gossuin de Metz
“large book.” The illuminator of the ninety-one
Doctrinal le Sage
images in the Rennes volume was the Thomas
La Mappemonde
de Maubeuge Master, one of the many artists who
Le Marriage de Nostre Dame Sainte Marie et son
worked with the Paris manuscript dealer Thomas de Maubeuge.
17
The luxury of its materials indicates that the
manuscript was made for an aristocratic patron. The fact that the texts are all in French, rather than
trespassement La complainte Nostre Dame Le prieur de Saint-Sauveur de Pavie D’un prud’homme qui avoit pris le diable à son service sans le connaître
Latin, might point to women’s patronage, since
D’un damoiseau qui ne pensoit à nul bien faire
many aristocratic women of the time were fluent
Le Miracle de Théophile
in the vernacular and mainly knew only the Latin
D’un clerc qui saluoit volentiers Nostre Dame
used in church services. Clémence was not the
quand il passoit devant s’ymage
original patron of the manuscript, for in 1303–4,
Les prophéties de Merlin
when the manuscript was made, she was a child
Les prophéties de la royne Sebille
still living in Naples. Tracy Chapman Hamilton
Le milliaire by Méthode
posits that the original patron of the book may
Le lunaire of Salomon
have been Marie de Brabant or Jeanne de Navarre,
Le Livres dou Trésor by Brunetto Latini
Clémence’s mother-in-law, who could have passed
Vigiles des morts
it to her son Louis, who might have given it to
Le livre de Job
Clémence.
Lucidaire by Honorius Augustodunensis
Le livre de Sidrach
18
The most compelling evidence for the asso-
ciation of the Rennes manuscript with the book
La consolation de Philosophie by Boèce
listed in Clémence’s inventory is that the Almanach
Placides et Timeo
aux Juifs is the first titled work in the manuscript,
92
after the astronomical tables and Calendrier, and is
Many of these works have illuminations, but those
also the first text listed by the clerks in Clémence’s
illustrating astronomy and physics are the most
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Figure 45 The Thomas de Maubeuge Master, Phases of the Moon and The Influence of the Sun and Moon on the Earth. From L’image du monde, 1303–4, Bibliothèque municipale de Rennes, ms 593, fol. 76r.
fascinating. Images in the astrological collection,
The earth is clearly round, not flat, and the illustra-
L’image du monde, illustrate the writings on the
tions demonstrate concepts like the phases of the
round nature of the earth, solar and lunar eclipses,
moon and the effects of the sun and the moon on
planetary orbits, and the power of gravity.
the earth (fig. 45). Similarly, an illustration of the
effects of gravity combines the elements of figural
The Rennes book is the first known French-
language astronomy collection, and it captures the
painting with technical illustrations (fig. 46). Four
state of knowledge in the early fourteenth century.
men standing at the top, bottom, and sides of a
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metaphysics, medicine, gynecology, embryology, politics, astrology, cosmology, and sociology.
The inclusion of the Jewish almanac (as well
as astrological tables that accompany the almanac text in the Rennes manuscript) suggests that Clémence was interested in the world and astronomy or that she used the book to find auspicious dates. Jacques Le Goff has called the thirteenth century the “encyclopedic century” because so many works were written that gathered and categorized knowledge about the world and theology.20 Texts like the Jewish almanac and the Image du monde indicate how readily knowledge of the world and the heavens was categorized and read by the elite in the late Middle Ages. Figure 46 The Thomas de Maubeuge Master, Demonstration of Gravity. From L’image du monde, 1303–4, Bibliothèque municipale de Rennes, ms 593, fol. 64.
When considered as a whole, the Rennes vol-
ume suggests a late medieval worldview that fully integrated Christian beliefs with scientific knowledge of the day. Images of apparitions easily cohabitate with technical illustrations of lunar eclipses
globe drop balls, which appear to be attracted to
and scenes of God creating the earth, separating
the center of the earth. The folds of the drapery are
the land from the water. Just as the Rouen Ovide
drawn in dark lines that clearly stand out from the
moralisé reconciles the worlds of Ovid’s writings
red or blue ground of the figures’ robes. The figures
with Christian thought, the texts and images of
all have full heads of wavy hair, and those at the top
the Rennes compendium suggest that the Chris-
and bottom are framed by an irregular white line of
tian beliefs of creation are part of the same system
ether, suggesting their placement above the earth.
in which the laws of the universe act on celestial
bodies.
In addition to questions of grand-scale
astronomy and physics, some of the works in the Rennes manuscript deal with small-scale issues around the sciences of the human body and sociol-
The Queen’s Library
ogy. The final section of the volume is a work
94
called Placides et Timeo, an inquisitive dialogue
Although the other books in Clémence’s library
between a fictitious philosopher, Placides, and his
have not survived or cannot be identified as hers,
princely student, Timeo. Heavily influenced by
a study of the list of these books in her inventory is
Aristotelian thought and form, the encyclopedic
fruitful.21 Clémence’s inventory separates her books
work explicates a wide variety of topics including
in two categories: livres de chapelle and roumans.
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Her livres de chapelle, or service books, were all
expensive volumes. These included breviaries, Psal-
books with standardized, repeatable information
ters, graduals, a book of hours, a missal, an ordi-
used in the church. Roumans were books, usually
nary, a processionary, and a sequentiary (196–211).
written in French, that included fables, popular
One of Clémence’s breviaries, two of her graduals,
religious writings, and songbooks. In the case of
a missal, a processionary, and seven notebooks are
her husband’s inventory, his roumans were kept
all listed as noté, meaning that musical notation
in his chamber, literally separate from the books
appeared with the words. Her inventory even lists a
used in the chapel. (Clémence’s inventory does
small pillow on which the missal rested (242).
not indicate where her books were kept.) Her col-
lection of roumans included behavior manuals and
normally included a calendar, the Psalter, the
moralizing literature, like Le livre du gouvernement
temporale, the commune sanctorum, and the
des rois et des princes, written to advise Clémence’s
sanctorale.23 The sequentiary was a compilation
father-in-law, and a book by the Recluse of Mol-
of the sequences sung after the alleluia, and the
liens, a thirteenth-century cenobite and poet,
processional held the chants to be sung during
as well as law books like the Institutes and the
processions. The gradual contained the chants for
Summate. Popular religious writings like the Vie de
the Mass. The ordinary contained the priest’s texts,
saints, Advocacie Notre Dame, and the Ovide mora-
probably for use by Clémence’s chaplains. The
lisé, as well as romances like the Roman de la Rose
missal had a calendar, temporale, Ordo Missae, and
and De la Penthère also appear in this category.
the Mass chants and the phrases to be said or sung
by the priest.24 The Psalter, of which Clémence had
22
The list of books indicates patterns and trends
A breviary, for saying the daily Office,
that open a window into the queen’s concerns and
three, contained the 150 psalms, which were often
identity. Of course this list might not be inclusive
sung. The queen and her ladies may have used
of all the books she owned or to which she had
these books personally, but it is probable that the
access, and she may have given some of her books
priests who officiated in her religious services used
away before her death. However, by comparing
many of the livres de chapelle.25 These service books
the prices and descriptions of the books listed
are similar to the chasubles, tunics, dalmatics, and
in her library, we can understand which of them
altar cloths listed in her inventory in that they are
were particularly important to the queen and her
counted among the queen’s possessions but were
culture. The most expensive books were those that
often used by others in her service.
were decorated with illuminations or had gold or
silver clasps, embellishments to the texts that signal
for use by an officiating priest, it is clear that the
their significance.
deluxe versions of the books in Clémence’s library
Although the breviary was primarily intended
were for her personal enjoyment as well. Clémence
Types of Livres de chapelle
owned six breviaries, and her most expensive ones sold for fifty and sixty pounds—twice the price
Service books made up almost half of the books
of the Peterborough Psalter, which sold for thirty
in Clémence’s collection and were by far her most
pounds (196–97, 200–202, 204). Clémence’s best
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breviary was therefore a deluxe version, arguably
equivalent to the renowned Belleville Breviary, pro-
library featured the writings of a cenobite named
duced in Paris between 1323 and 1326 (Bibliothèque
Barthélemy from the abbey of Saint-Fuscien-au-
nationale de France, Paris, mss lat. 10483–84). The
Bois, near Amiens, who had had himself enclosed
Belleville Breviary was written in two volumes and,
next to the church of Sainte-Marie de Molliens-
like Clémence’s best breviary, was of Dominican use.
Vidame.28 This monk may be the same Barthélemy
In fact, Clémence had three breviaries of
who became abbot of Saint-Fuscien-au-Bois in 1225
Dominican use and two of the use of Notre-Dame
and died in 1230. Between 1224 and 1230, the recluse
de Paris (196, 197, 200, 201, 202, 204). Her confes-
wrote two octosyllable poems with twelve verses
sor was a Dominican, and she had herself buried
per stanza. These were the Roman de carité, which
at the Dominican church of the Jacobins in Paris,
recounts a quest for charity, and Miserere, which
suggesting she had a long-term relationship with
questions the nature of human existence and pur-
this institution and probably worshipped there.
pose, then exhorts readers to eschew sin. The two
The “roumans du Reclus de Moliens” in her
books often appeared together in manuscripts, and
In contrast, when use of breviaries in her husband’s inventory was listed, it was the use of Paris.
the existence of numerous medieval iterations tes-
The mendicant orders were extremely popular in
tifies to their wide circulation in that period.29 Such
Naples, so it should come as no surprise that Clé-
moralizing reading would have aided the queen in
mence maintained this affiliation once she arrived
behaving correctly, so as to augment her reputation.
in Paris. Foreign brides continued to be cultural
26
The writings of the Recluse of Molliens fall
translators in their new homelands through their
into the category of moralizing and didactic lit-
books, objects, and commissions.
erature, which Clémence seemed to cherish. The monk cautions kings (and therefore queens) to be
Types of Roumans
virtuous, loyal, charitable, and to eschew cruelty.30 The message to rulers here dovetails with the
In addition to books used in religious functions,
teachings in Clémence’s copy of Le livre du gouver-
the inventory lists an equivalent number of rou-
nement des rois et des princes, counseling leaders
mans, books including the Roman de la Rose,
to be just and virtuous. Clémence’s testament says
Enfans Ogier, Roman des Sept Sages, and De la
that she wanted to be able to render to the Lord
Panthère. The Enfans Ogier, about one of Char-
a good account of the stewardship with which he
lemagne’s warriors, also appeared in the libraries
trusted her, indicating that she had read the dia-
of Jeanne d’Évreux and Mahaut d’Artois. The Sept
logue concerning just rulership and considered her
Sages was also a well-known book, a copy of which
royal identity and material possessions a steward-
the Fauvel Master had illuminated.27 Many of Clé-
ship for which she needed to be responsible.31
mence’s religious books, like Vie de saints, De la Trinité, Advocacie Notre Dame, La vie des Pères, and Balaham et Josaphat, appear in the roumans section
96
Clémence’s French Bible
of her inventory because they were not used in the
Clémence’s two-volume French Bible, like her
chapel and were in French rather than Latin.
romances and popular religious literature, was also
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classified in her inventory as a rouman because
own such a volume; it was an expected manuscript
it was in the vernacular. The Bible was one of the
in the courtly library of a fourteenth-century
most popular titles in late medieval courtly librar-
woman. Clémence’s ownership of this work com-
ies, but there were striking differences in the Bibles
ports with the early but growing popularity of the
of courtly collections between the thirteenth and
Bible in the vernacular, just over a hundred years
the fifteenth centuries. One-, two-, and three-
after parts of the Bible were first translated into
volume Bibles appear in inventories throughout
French.35
this time. During the thirteenth century moralized
Bibles were in vogue in royal circles; a manuscript
script, selling for eighty pounds, almost three times
preserved in Austria (Österreichische National-
the cost of the Peterborough Psalter, with its gold
bibliothek, ms 2554), probably made for Blanche
script and numerous illuminations. The scribes
Clémence’s Bible was her most valuable manu-
de Castile, is an excellent example of this type.
who recorded the inventory did not mention any
In moralized Bibles, eight round miniatures in two
gold clasps or jeweled covers that would have
columns of four dominated the pages, with mor-
inflated the value of this book, so it seems likely
alizing texts and images interpreting biblical texts
that it too was richly illuminated.
32
and images for royal readers.
Clémence’s was likely a Bible historiale, the
most prevalent type of Bible produced in the late
Patterns Within Clémence’s Library
Middle Ages. This fourteenth-century book was
Several trends emerge within the types of books
the product of a long translation process of the
in Clémence’s library. Like many aristocrats of her
Bible from Latin into French. At the end of the
day, she seems to have been interested in history.
twelfth century a group of laymen in Metz who
She had books like the La Conqueste de Césile,
wished to study the Bible translated it into the
a lost work that probably told of her great-
vernacular. A papal inquiry followed, and the
grandfather’s conquest of Sicily, and the Enfans
translations were burned.33 Then Petrus Comestor
Ogier, the romance whose narrative takes place
compiled the historical parts of the Bible, especially
during the time of Charlemagne, not to mention
the Old Testament, in his Latin book the Historia
the Ovide moralisé, which recounts events from the
scolastica. When Guiart des Moulins translated this
Trojan War.
work, between 1291 and 1294, it became and stayed
popular, making some sections of the Bible widely
de Navarre, who all commissioned behavior man-
available in the vernacular in la Bible historiale.
uals, Clémence had an interest in moralizing and
More than seventy of these survive today, indicat-
didactic literature. Her volumes like the Ovide
ing the popularity of the work in the late Middle
moralisé, Les dix commandements de la loy, Ysopet
Ages. Such Bibles appear regularly in the records of
(Aesop’s fables), as well as the often-moralizing
French courtly bibliophiles. For example, Mahaut
behavior manual De regimine principum (Le livre
d’Artois and Jeanne d’Évreux both owned copies,
du gouvernement des rois et des princes), all sug-
as did Clémence’s grandmother Marie de Hon-
gested appropriate courtly behavior (212, 215,
grie. It would have been fitting for Clémence to
223, 226).36 In addition to books that instructed
34
Like Louis IX, Philippe IV, and Jeanne
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Clémence on governance, the queen’s copies of
to her grandfather or great-grandfather is evi-
the law books Institutes and Summate (227, 231)
dence of her affiliation with and promotion of
might suggest that she was interested in law—she
her patrilineal ancestors, as seen in the effigy she
certainly was involved in the legal system as she
commissioned for her great-grandfather in Paris
fought to maintain the rights to her lands. How-
(see figs. 10–11) and her commission of her own
ever, it seems more likely that, as with many of the
burial chapel, which was to be built like that of
livres de chapelle, these law books were for the use
her grandfather, with the two chapels forming the
of others who served her, such as her clerks.
arms of a cross in the church of Notre-Dame-de- Nazareth in Aix-en-Provence.38 Her possession
Clémence’s Books and the Angevin Dynasty Many of Clémence’s books proclaimed her Angevin
of her ancestor’s book reaffirms her allegiance to these relatives and her identification with the Angevin dynasty.
heritage, a conspicuous feature not only of the queen’s library but of her collection generally. At the time of her death, the sequentiary in her library was one that had belonged to King Charles
Clémence’s Library and Those of Other Courtly Bibliophiles
(this could have been her great-grandfather Charles I d’Anjou, conqueror of Naples and Sicily,
Clémence’s library can be considered within the
or her grandfather Charles II) (211). The queen’s
context of other late medieval libraries, which
confessor took the book to return it to Clémence’s
reflected the growth of book collecting in the
uncle Robert d’Anjou, demonstrating how a family
thirteenth and fourteenth centuries. Demand
heirloom could travel even eight hundred miles
increased for ancient and newly written texts, for
to circulate within a family group—and not just
courtly stories, for theological works, and for trans-
at the time of a woman’s marriage but throughout
lations of Arabic and Greek scientific works, and
her life. Many fourteenth-century queens cher-
books came more and more to be associated with
ished books that had belonged to their ancestors.
individual patrons, who had their coats of arms
Jeanne d’Évreux owned and treasured a Psalter
painted prominently within them.39 Although an
that had belonged to Saint Louis, and Blanche
inventory of books at the Sorbonne in 1298 listed
de Navarre bequeathed important family books to
1,017 volumes in the collection, and an inventory
her loved ones in her testament. The practice of
of the papal library in Avignon in 1339 included
reading, looking at images, and turning pages of a
433 volumes, private collections were still relatively
book owned by a venerated predecessor provided
small.40 Nevertheless, the numbers of books owned
a tangible link to the ancestor, reinforcing family
by aristocrats appear to grow in this period.
identity.
phile mother, Blanche de Castile, owned remains
37
98
Clémence’s sequentiary must be considered
How many books Louis IX or his biblio-
with the Conqueste de Césile, a history book
unknown, but seven books associated with Blanche
about her family also in the queen’s collection.
survive and indicate the growing love of manu-
That Clémence had a book that had belonged
scripts among royals in the thirteenth century.41
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Clémence’s mother-in-law, Jeanne de Navarre, was
books.”45 The countess Mahaut d’Artois was another
active in commissioning translations of works like
great collector of books. Although no inventory of
the story of Kalila and Dimna, but we do not know
her books has come to light, purchase records and
how many other books she owned.
a claim for books stolen by her nephew do survive
and provide a good idea of the types of books she
The 1358 inventory of Isabelle de France,
Clémence’s sister-in-law, lists thirty-four manu-
owned, if not the number. Mahaut acquired even
scripts, mostly romances and devotional books,
more historical books than either Clémence or
some richly illustrated. This document and other
Jeanne d’Évreux—she owned two histories of Troy,
evidence suggests she was associated with about
a chronicle of the kings of France, an account of
forty-five books. For example, she had a copy of
Marco Polo’s travels to the court of Kublai Khan,
Lancelot, a history of the Trojan War, a book of
two copies of the medieval history of Britain
King Arthur’s deeds, two chansons de geste, three
known as the Brut, and a history of the Crusades.46
books of hours, and a Psalter. A richly illustrated
The different reading patterns of these women
Apocalypse is associated with her (Bibliothèque
demonstrate the diversity of interests even among
nationale de France, Paris, ms fr. 13096), as is the
contemporary peers.
Queen Mary Psalter (British Library, London,
ms Royal 2Bvii), among others.43 Like Clémence,
listed in the inventory of her husband, Louis X,
Isabelle had several books that were lavishly dec-
offers fruitful areas to explore in terms of gender in
orated, and she too had an interest in educational
the early fourteenth century. He had only twenty-
42
Comparison of Clémence’s books with those
texts. Isabelle gave her daughter Joan of Scotland
six books and two groups of quires listed in his
her large leather-covered book of Arthur’s deeds,
inventory, far fewer than Clémence’s forty-four vol-
as well as two Franciscan missals, a two-volume
umes.47 Like Clémence, he had numerous liturgical
French Bible, and a French Apocalypse. She also
books, including three missals, two ordinaries, four
gave Edward III, her son, sixteen service books,
breviaries, two Psalters, and three processionaries.
three books of hours, a Psalter covered with a silk
He also had a book with the king’s lines to be said
cloth, three romances, her history of the Trojan
during the Mass. While both husband and wife had
War, and her two chansons de geste. Both Clémence
these standard liturgical books that would have
and Isabelle seem to have had large collections
been used in their household worship, and both
of service books and were interested in reading
owned history books, their tastes appear to diverge
romances and war histories.
in other ways.
44
Remaining evidence does not offer a com-
His reading material largely echoed his well-
prehensive record of the books of another famous
documented interests in tournaments and chess,
bibliophile, Jeanne d’Évreux, whose testament
while she had many more romances and popular
does not list all her books individually. After nam-
religious readings. He did not have a book of hours,
ing some of her books, Jeanne specified that “all
as she did, and Louis’s inventory does not list any
her other books” go to her daughter. However,
Bible, let alone anything comparable to Clémence’s
Joan Holladay has documented between fifty-two
expensive two-volume Bible. Although many of
and fifty-four volumes in addition to her “other
Clémence’s and Louis’s religious book titles overlap,
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none of the descriptions of the romans stand out
interested in athletic events, while women focused
as matches in the two libraries except for the inex-
more on stories and spirituality. Nevertheless, other
pensive copy of the Roman du reclus [de Molliens],
evidence suggests that their preferences may not
which was in fact listed as “on loan” when Louis’s
have been so clear-cut. Clémence herself owned
books were inventoried, so perhaps Clémence had
an elaborate chess set, suggesting her interest in
added it to her own collection already.
this game, and many male aristocrats, like Louis IX
himself, were renowned for their religious fervor.
48
According to his inventory, Louis had none
of the popular religious books and romances that
Perhaps the reading choices of Clémence and
appear in Clémence’s inventory, perhaps suggesting
Louis, or Isabelle and Edward, represent the dis-
that her copies of the Advocacie Notre Dame and
parate tastes of a man and a woman in a particular
the Roman de la Rose represented her individual
relationship rather than broad cultural differences.
taste or that they reflected the different cultural
Absolute conclusions are difficult to draw from
expectations and performances of gender at this
inventories, because these lists compiled at the
moment. That said, it is possible that Clémence
end of life might have been different from those
acquired some of Louis’s books after his death but
compiled at other times, because important books
before his inventory was made, in which case such
may already have moved to new owners before the
books would not have been listed. However, his
nobles’ deaths, and because nobles’ libraries were
inventory documents instances of her buying wine
“slippery,” their owners often having access to man-
from his estate and receiving plate directly with-
uscripts not listed in their own collections.52 Never-
out purchasing it, so it seems likely that if she had
theless, the lists are interesting to consider together.
acquired books from him, these transfers would
have been noted.
Jeanne d’Évreux, Isabelle de France, and Bonne
de Luxembourg were avid manuscript patrons and
49
A comparison of Clémence’s collection with
the books owned by Mahaut d’Artois does seem
collectors in the first half of the fourteenth cen-
to confirm a gendered pattern in book ownership
tury.53 Later, Bonne’s sons—the manuscript-loving
in the early fourteenth century. Mahaut had many
brothers Charles V; Jean, duc de Berry; Louis I, duc
romance, history, and philosophy books, but no
d’Anjou; and Philippe, duc de Bourgogne—brought
books about tournaments or games. Comparison
book connoisseurship to new heights. The royal
of the libraries of Isabelle de France and her hus-
library organized by Charles V had more than two
band, Edward II, provides further evidence. Anne
thousand volumes in 1369.54 Jean, duc de Berry,
Stanton has found that he had more documented
had around three hundred books in his collection
law books and administrative materials, while Isa-
in 1401, while his brother, Philippe, duc de Bour-
belle held French romances and Franciscan service
gogne, had eighty volumes in 1404. It would appear
books, making her library quite similar to those of
then that these men eclipsed women as major book
her female relatives in France.
collectors. However, this perception might reflect
in part how royal libraries were inventoried and
50
51
100
Women like Clémence, Mahaut d’Artois,
It might be tempting to draw wide-ranging
conclusions about these reading choices in terms
the vagaries of document survival.55 Moreover,
of gender, suggesting that men were more
men like Charles V absorbed manuscripts from
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earlier women’s collections and benefited from the
family, stating that their daughter was Clémence’s
women’s erudition. And while no inventory of the
lady-in-waiting.58 It would appear that Marguerite
books of Isabeau de Bavière, the wife of Charles VI,
was a good reader and that she customarily read
survives for comparison with those of her male
the breviary to Clémence and possibly to the other
contemporaries, the record of her expenses and
members of her household.
commissions, and the well-known illumination of Christine de Pisan presenting her book to Isabeau (British Library, London, ms Harley 4431, fol. 3r),
Book-Price Comparisons
certainly suggest that she, like her male contemporaries, was a serious collector too.56 So although
The prices recorded as Clémence’s manuscripts
men became voracious collectors of books in the
moved to new owners also reveal how the values
second half of the fourteenth century, without
of her books compared to those of other objects in
doubt women remained important patrons of the
her collection. The elevated prices of some of her
book arts as well.
volumes suggest they were probably illuminated and their covers decorated and, as the inventory mentions, often had gold or silver clasps.
Clémence’s Book of Hours and Group Reading
Comparing the prices paid for Clémence’s
books to those for her metalwork and her horses is The descriptions of Clémence’s books indicate that
instructive. The queen’s most expensive books were
she read her hours herself and also had one of her
her eighty-pound Bible, her sixty-pound breviary,
attendants read them to her. Reading in groups was
her fifty-pound Ovide moralisé, her thirty-pound
a common practice in late medieval France and
Psalter, and two other breviaries that sold for forty-
England. The first book described in Clémence’s
five and fifty pounds. In contrast, her best pieces
inventory was “a breviary where Madame said her
of jewelry appear to have been much more highly
hours, of the use of the Jacobins” (196). Another
valued than any of her books. Her crowns sold
breviary is described as “a small breviary of the use
for 800, 600, 400, and 160 pounds, and her most
of the Jacobins, where Marguerite helped Madame
sumptuous ruby ring sold for 1,000 pounds (1–4,
say the hours” (201). Clémence’s testament indi-
18). The range of prices of Clémence’s manuscripts
cates that Marguerite was one of the most trusted
is roughly equivalent to the prices of her horses.
members of the queen’s household. In her will
The most expensive horse sold for 120 pounds,
Clémence gave Marguerite de Nantueil a generous
while others sold for 100, 60, 40, 12, and 4 pounds
gift of money, and as mentioned above, the inven-
(483–501).
tory records that one of the queen’s best gowns,
a red dress with four garments, lined with menu
mence’s best books were expensive, there were
vair, also went to her (268). Marguerite had come
more costly volumes made for the reigning mon-
with Clémence from Naples, as is known from
archs and other courtly patrons. In 1327 Charles IV
Clémence’s grandmother’s testament, in which
paid the extraordinary price of 120 pounds for a
the elder queen left a generous gift to Marguerite’s
Vie de saints and the Miracles de Notre Dame.59
57
Surviving records suggest that although Clé-
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The same year, he commissioned a grand Bible from Richard de Verdun for the same price.
Alongside Clémence’s most costly books
Most of Clémence’s books moved to Jeanne
were many that were inexpensive, like a book of
d’Évreux, King Philippe de Valois, and Pierre des
Gace Brulé’s songs and the queen’s chançons noté,
Essars. Jeanne d’Évreux’s purchase here is interest-
perhaps sheet music, each of which sold for just
ing because she could presumably choose from the
twenty sous. Clémence’s Livre du gouvernement des
vast array of Clémence’s possessions, and although
rois et des princes went for one hundred sous, and
she did buy a few small objects, she chose to buy
the compendium Des sept sages et d’Ysopet sold
mainly books. While the king bought both livres de
for the same amount. Sorting the books by price
chapelle and roumans, all nine books that Jeanne
indicates that eighteen of Clémence’s forty-four
d’Évreux bought were roumans, most of which
books sold for one hundred sous or less. Although
were less expensive or inexpensive—a bit surpris-
these inexpensive books probably were not illu-
ing for a queen so well known for her piety and her
minated or decorated, they nevertheless serve as
luxurious taste.
strong evidence of women’s literacy and interest in
books.
every category, and then other people, not always
102
Book Buyers
60
The inventory descriptions of Clémence’s
The king bought the best objects in almost
royal, bought the remaining objects. It appears that
volumes focus on the coverings, decorations, and
the king’s agents had a right of first refusal. It is
clasps, not on their opening and closing lines,
unclear if the dowager queen, Jeanne d’Évreux,
as some inventories do. For example, they detail
exercised a similar precedence or not. In the case
the enamels or other decoration—“a breviary of
of Clémence’s library, King Philippe’s agents did
annual feasts of the use of Paris, with four silver
not buy the very most expensive books. Clémence’s
clasps” (200)—or they indicate musical notation,
close friend Robert d’Artois bought the most costly
“two graduals with notation” (203). Although the
title, her extravagant two-volume French Bible, for
cover and clasps of the books receive detailed
eighty pounds, and one of Clémence’s chaplains,
descriptions in the inventory, the prices of the
Thibaut de Meaux, bought the next most expensive
manuscripts do appear to reflect the interior mate-
book, a sixty-pound breviary (202, 221).
rials and illuminations, because Clémence’s most
expensive books are not always listed as having had
books to new owners reveals much about her iden-
elaborate covers or valuable clasps.
tity. It indicates her interests and her elite status,
When her inventory and sale occurred at
and it speaks of some of the cultural expectations
Corbeil, one book was deemed unsalable because
of queens of her day. The imagery and themes of
of its condition: “Item, a large old book with many
her surviving manuscripts such as the Peterbor-
stories; not appraised, not sold, for it is greatly
ough Psalter and the Ovide moralisé demonstrate
deteriorated” (579). The death of an owner was also
that she and her peers harnessed the legacies of
a time to dispose of objects no longer of monetary
ancient Hebrew and Roman culture. Her numer-
value.
ous moralizing, educational, and popular religious
The record of the movement of Clémence’s
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books suggest that Clémence studied behavior, which was extremely important in asserting her royal status and identity in fourteenth-century Paris. She had a book that belonged to her grandfather or great-grandfather as well as a book about the conquest of Sicily, suggesting that she read about the history of her family and cherished books that belonged to her ancestors (211, 224). She had a book about the Trojan War and one about Charlemagne’s conquest (212, 214). The topics of her books paralleled her own international background and accentuated her courtly connections. She had expensive and inexpensive manuscripts and books that were important because of their previous owners. All these books help us to piece together parts of the identity the queen cultivated.
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Gift Giving in the Gothic World
Chapter 5
As Christine de Pizan indicates in her Book of
The possessions that proclaimed Queen
Clémence’s identity became all the more
the Body Politic, written between 1404 and 1407 at
powerful as she mobilized them locally
the court of France, aristocrats linked gift giving
and internationally through gift giving. Her gifts
to royal identity and status. In her book, she draws
must be considered in the context of the culture of
together advice from a variety of older authors to
generosity that permeated late medieval European
teach royals long-standing codes of proper behav-
courts; royal gift giving and generosity were deeply
ior with regard to the importance of generosity and
enmeshed with Gothic conceptions of aristocratic
giving fitting gifts. Each gift should be appropriate
etiquette that dated back to antiquity. Gifts were
to the recipient and the occasion because gifts
exchanged at the New Year, tribute was a required
endowed their donors and recipients with status:
gift that physically enforced landownership power
“But since we say so often that the good prince
structures, royal people offered members of their
ought to be generous, it is important to say in what
households livery at times throughout the year, and
manner and on what things he should extend his
aristocrats exchanged gifts with each other interna-
liberality. So Seneca declares in the second book
tionally. Moreover, testamentary bequests enabled
of On Benefices, that the prince or the giver must
dying nobles to move their cherished objects to
understand his own power and authority, and also
friends and family after their deaths. Late medieval
the power and rank of him to whom he would give,
behavior manuals as well as modern scholarship aid
so as not to give a lesser gift than is appropriate,
us in interpreting nobles’ gift-giving gestures. These
nor to give more than appropriate.” Through trans-
customs knitted communities together but also vis-
fers of textiles, manuscripts, jewels, and land, the
ibly proclaimed the stations of the participants, dif-
giver signaled to the recipient and to others up and
ferentiating them and reestablishing their various
down the social ladder the rank and importance
identities and creating both bonds and debts.
of both the donor and the recipient. Christine
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de Pizan also writes that giving a gift that was too
But let one of her lovers
rich—or too lowly—might damage the donor’s rep-
Have it because it was richly
utation and reflect poorly on his or her judgment:
Elegant. Guinevere,
“the prince ought to look closely that the gift be
Mighty King Arthur’s wife,
such that it cannot be blamed as shabby or cheap.
Had deceived the Emperor Gassa
It ought always to be as generous as is merited.”
And gotten it, and had it used
The codes of gift giving were a subtle and import-
To celebrate Mass in her chapel,
ant language, and generosity had to be planned and
Because it was lovely. And when
executed. Christine goes on to warn that haphazard
Enide had left her, the queen
giving could generate unrealistic expectations and
Had made it a gift for Erec’s
cause nobles to miss opportunities to benefit from
Wife. It was said to be worth
gift giving: “This liberality must also be moderate
A hundred ounces of silver.2
and tempered by discretion. . . . For let us suppose that the prince or another gives willingly and gen-
The textile that Enide offers on the altar is import-
erously from his wealth, he still ought to consider
ant because it is exotic and luxurious. It is made of
how he will continue in that virtue and not be like
the finest silk imported from Andalusia and has
those who give foolishly and distribute without any
a fantastic legacy—supposedly woven by a fairy
order.” Gift giving was an opportunity to demon-
for her lover. That a textile had multiple owners
strate taste, to reinforce social standing, and to
and had been transformed by Guinevere from a
establish royal identity.
lover’s garment to a chasuble for a chapel endows
the fabric with a distinctive provenance.3 Exotic
1
Public gift giving, especially by queens, did
just that. To leave gifts on the altar of a church
silk textiles easily permeated national, religious,
was a well-known and significant action, appear-
and vocational lines, and presenting this exotic and
ing throughout literature of the day. For example,
storied textile on the altar of a church brings honor
Chrétien de Troyes has his heroine Enide leave a
to its donor.
luxurious and exotic silk chasuble on the altar of a
church in his twelfth-century poem Erec and Enide:
noble characteristic of generosity. Clémence owned
Books in Clémence’s own collection praise the
a copy of the Roman de la Rose, written by Guil . . . as an offering, she gave
laume de Lorris and Jean de Meun in the thirteenth
A wonderfully woven green
century. In the romance, the author meets differ-
Silk cloth and a priestly cloak,
ent allegorical figures in the Garden of Pleasure,
Covered with filigreed gold,
and one of the most striking is that of Generosity,
Made with all her skill
or Largesse:
And care by Morgana le Fay At her home in the Valley of Danger.
Next came Largesse, who was well trained and instructed
The silk was from Spain—and surely
in the art of doing honor and spending money. . . . Even
Morgana had never made
wretched Avarice was not so anxious to take as Largesse
The cloak for use in church,
was to give, and God caused her wealth to multiply,
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so that however much she gave away, she always had
actually mandatory and self-interested: “The form
more. Largesse was greatly praised and esteemed; she
[of the gift] usually taken is that of the gift gener-
had achieved so much by her generous gifts that wise
ously offered; but the accompanying behavior is
and foolish alike were entirely at her mercy. If anyone
formal pretense and social deception, while the
happened to hate her, I believe she would make him her
transaction itself is based on obligation and eco-
friend by the great service she did him, and therefore
nomic self-interest.”5 He saw that giving greater
she was dearly loved by rich and poor alike. . . . The man
gifts brought more honor to the givers in the soci-
who wants friends should not be too attached to his pos-
eties he studied. Release, rather than retention,
sessions, but should acquire friends by giving them fine
of belongings brought status within these groups.
gifts, for just as the magnet subtly draws iron to itself,
Mauss found that people benefited from the honor
so the gold and silver that we give attract the hearts of
of giving the best gifts, as seen most dramatically in
men. . . . Largesse wore a new robe of purple from the
the potlatch practiced by the Kwakiutl of the Pacific
Orient; her face was fair and well shaped, but her collar
Northwest Coast, who ritualistically gave to excess
was unfastened, for a short time ago she had, there and
(or even destroyed their belongings outright). In his
then, given the clasp to a lady. But it rather suited her for
study of Samoan gift giving, Mauss found that there
the neck to be open and her throat disclosed, so that soft
was an absolute obligation to reciprocate once a gift
whiteness of her skin showed through her chemise.4
had been received. He saw gift giving as obligatory, competitive, economically beneficial, and necessar-
106
Like the allegorical figure of Largesse, Clémence
ily reciprocal. These interpretations have relevance
owned a magnificent purple velvet robe (276), and
to medieval court culture; in the Middle Ages, rec-
she publicly gave away a clasp that fastened cloth-
iprocity tied nobles together and to other members
ing (in a ritual that is the topic of the next chapter).
of the society. The benefits that late medieval royals
Through their generosity, queens practiced the vir-
gained from their gifts were status, respect, fealty,
tue of largesse, which was praised in their culture
attention, and the opportunity to promote their
and in the books they read.
legacies after their deaths.
In addition to medieval didactic and romance
While Mauss suggested that gift giving was
literature, the writings of Marcel Mauss and other
mandatory, even when such generosity drove
modern anthropologists and sociologists offer
participants toward ruin, Pierre Bourdieu hypoth-
valuable insight into the culture of gift giving in the
esized in The Logic of Practice that gift giving
late Middle Ages. Although some of the cultures
involved much more agency.6 Even though gift-
studied by these writers differ greatly in time and
giving rituals were choreographed events, the fact
place from early fourteenth-century royal courts in
that they unfolded over time made them brim with
Europe, the questions they ask and the models they
moments of uncertainty in which the participants
propose have interesting intersections with late
chose to continue to give or to withdraw.
medieval court culture. In his seminal 1923 Essai sur
le don, Mauss examined gift exchange in Polynesian
they figured prominently in annual celebrations
and northwest American cultures and proposed
of the New Year at the Valois court around 1400.
that gifts that appeared to be freely given were
As Brigitte Buettner writes, these New Year’s gifts,
Whether gifts were mandatory or voluntary,
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Figure 47 Goldene Rössl, Paris, before 1405. Enameled and chiseled gold, silver- gilt, silver, sapphires, rubies, and pearls. Haus Papst Benedikt XVI.— Neue Schatzkammer und Wallfahrtsmuseum, Altötting.
Étrennes presented to a spouse also demon-
or étrennes, had their roots in ancient Near Eastern
cultures and accounted for a sizeable percentage
strated wealth and therefore argued for regal
of princely annual budgets. The beautiful works
power. Isabeau de Bavière gave the Goldene Rössl,
of art given were often lavish creations ordered
or Cheval d’or, to her husband, Charles VI, in 1405
months in advance. Choosing the perfect gift was
during a bout of his mental illness (fig. 47).8
a studied art in these circles, where popular gifts
Buettner calls this gift “a plea” for her husband
were precious objects in metal and gems or richly
to recuperate.9 In this multilayered structure, just
decorated manuscripts. Artifice was everything in
over two feet tall, enameled figures of Charles and
these works, and wit and ingenuity could outweigh
a knight kneel before the Virgin and Child. All
the cost of the materials in making a gift a success.
the figures are enameled en ronde bosse, a difficult
7
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goldsmith’s technique where colorful enamel is
tastes and her familiarity with exotic collectables,
applied to three-dimensional figures. An elabo-
and Abbot Suger, who received it from Louis, also
rately worked trellis frames the Virgin and is dec-
understood the importance of the object’s status
orated with precious gems and pearls. Enameled
and history as a gift and enshrined its exotic and
figures of a squire and the king’s horse stand on the
regal provenance by recording its previous owners
bottom level of the work. Whatever its effect on
in a narrative on the base he commissioned for
the king, it would have been visually impressive to
the piece. The manner in which the elegant rock-
the courtiers who witnessed its presentation. Sadly,
crystal vase was embellished, given, regiven and
in order to pay debts, the king had to pawn the
further embellished is a poignant example of medi-
magnificent work almost immediately after his wife
eval patterns of giving.12 Although objects were
offered it to him.
frequently passed on to others, rarely is this layered
ownership and patronage so clearly documented.
Provenance of objects was key in making gifts
more significant, as another gift from a queen to
This “genealogy of the object,” as Brigitte Buettner
her husband demonstrates. The rock-crystal vase
calls it, was immensely important to late medieval
that Eleanor of Aquitaine (Aliénor d’Aquitaine in
patrons, and they often tracked the former owners
French, 1122/24–1204) offered her first husband,
of the objects they collected, carefully making sure
Louis VII, clearly displays the importance of
that these heritages continued to be appreciated.13
the lineage of ownership of objects given as gifts
(fig. 48). Abbot Suger recorded the series of gifts
to employees, often in the form of livery. For
that resulted in this marvelous donation to his
example, detailed records of a noblewoman living
abbey: “Still another vase, looking like a pint bottle
in England during Clémence’s lifetime, Elizabeth
of beryl or crystal, which the Queen of Aquitaine
de Burgh, reveal just what an investment livery
had presented to our Lord King Louis as a newly
was for patrons in fourteenth-century England and
wed bride on their first voyage, and the King to us
France.14 She gave her clerks, ladies-in-waiting,
as a tribute of his great love, we offered most affec-
squires, grooms, pages, and other attendants cloth-
tionately to the Divine Table for libation. We have
ing in different colors, according to their positions.
recorded the sequence of these gifts on the vase
Such gifts were actually part of employees’ payment
itself, after it had been adorned with gems and
and were expected. However, highly visible gifts
gold in some little verses: As a bride, Eleanor gave
like livery not only served as part of a servant’s
this vase to King Louis, Mitadolus to her grand-
wages but also increased a ruler’s magnificence.15
father, the King to me, and Suger to the Saints.”10
When a whole group of servants could be seen
George T. Beech argues that Mitadolus was Imad
together, the variety or repetition of color and
al-dawla Abd al-Malik ibn Hud, the last Muslim
detail in their garments established an impressive
king of Saragossa (1110–30), and that Imad al-dawla
image of colorful bodies reaffirming the standing
acquired the Eleanor Vase through trade with
of their patron. If clothes rather than skin were the
Mideastern merchants. The rock crystal probably
frontiers of self in the late Middle Ages, as Susan
originated with sixth- or seventh-century Sasanian
Crane writes, then by extension the gifts of clothes
artists. The vase thus spoke of Eleanor’s cultivated
Clémence gave to her servants, who represented
11
108
In the Middle Ages, royal gifts also went
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her, could be seen as extensions of the queen’s identity as well.16
In addition to gifts to individuals, royal
women were expected to offer sumptuous objects to religious institutions. Clémence’s sister-in-law Jeanne d’Évreux was one of the most generous patrons of the fourteenth century.17 She and her husband donated a massive reliquary to the confraternity of Saint-Jacques-aux-Pèlerins in Paris.18 Although this young queen reigned for only three years before her husband died, she spent the next forty-three years offering luxurious gifts. She gave income from her lands in Blesmes and Chierry to the abbey of Chézy, near Soissons, in 1337. In 1340 Jeanne founded a chapel dedicated to Saint Paul and Saint Catherine at the royal abbey of Maubuisson, and she also donated a retable depicting the Last Supper for the high altar of the abbey. Jeanne donated one of her crowns to the abbey of Saint-Denis in 1343, and in 1339 she gave this abbey the famous large silver-gilt reliquary of the Virgin and Child standing on an enameled base (Musée du Louvre, Paris, MR 342 and MR 419). She gave the Dominicans of Auxerre a silver châsse for the bones of Saint Pérégrin. In Paris she founded a chapel and the hospital of the Carthusians in 1341. And in that same city she founded a Franciscan hospital that housed her husband’s heart. She offered her crown, a belt, and a golden Figure 48 Eleanor of Aquitaine Vase, Iran?, sixth–seventh century, and France, before 1147. Rock crystal, silver-gilt and niello, precious stones, pearls, and champlevé enamels on silver. Musée du Louvre, Paris, MR 340.
fleur-de-lys, emblems of her marriage and coronation, to the Great Carmelites in the Place Maubert in 1349. Giving gifts to religious institutions was an inherent part of reginal and pious identity, and Jeanne fulfilled her role adeptly, bestowing money and sumptuous objects during her long widowhood.
Gift giving was a powerful tool in interna-
tional relations as well. A luxurious gift could
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Figure 49 Nicholas Wurmser of Strasbourg (?), wall painting in the Chapel of Our Lady in Karlštejn Castle depicting Emperor Charles IV, at left, receiving gifts from the French dauphin, the future King Charles V of France, ca. 1357. National Historic Institute, The Regional Historic Sites Management in Prague.
communicate wealth, power, and even spiritual
The young French dauphin’s hands frame those of
resources. For example, the future Charles V of
the emperor. Offering these gifts proclaimed the
France offered Emperor Charles IV of Bohemia
Frenchman to be a generous owner of desirable
important objects, including part of the wood of
relics and enabled him to create and benefit from
the True Cross. A wall painting, probably by Nich-
the familial, spiritual, and political bonds with
olas Wurmser of Strasbourg, in the Chapel of Our
the emperor of Bohemia. Receiving and touching
Lady in Karlštejn Castle, depicts this offering of
these sacred objects would have been thought to
gifts (fig. 49). The older, bearded emperor on the
bring the Bohemian emperor divine protection and
left, wearing the imperial crown and silk decorated
would in addition remind him of the French king,
with birds, accepts a relic from the younger man.
cementing the link between them.
19
110
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Bequeathing beautiful objects became more
When someone selected a gift especially
and more popular in the fourteenth century.
suited to the recipient, it communicated interest,
While Jeanne de Navarre spent a great deal of time
knowledge, or special concern. The selection of a
detailing generous plans for her foundation of the
suitable object could be as important as the actual
Collège de Navarre and other charitable work in
gift itself. End-of-life gift giving was unlike gift
her 1304 testament, she did not describe specific
exchange between living people simply because the
gifts of objects. But in 1319 Jeanne de Bourgogne,
opportunities for tangible reciprocity were cut off.
20
21
the wife of Philippe V, gave jewelry, relics, and
However, models of reciprocity and keeping-while-
books to her mother, daughters, and a friend.22
giving still provide useful interpretative informa-
In 1323 Clémence’s grandmother, Marie de Hon-
tion, even within the construct of the medieval
grie, bequeathed numerous crowns, rings, pater-
testament. Queens’ gifts not only fulfilled customs
nosters, books, vessels, crosses, and statues of saints
but also anchored them to court society and in the
to her loved ones.23 And in 1328 Clémence carefully
memories of loved ones.
laid out plans for her crown, fermaux, sculptures,
and reliquary shrines. Parisian testamentary mod-
life, even during periods of personal crisis. Because
els as well as that of her own grandmother must
gift giving was among a queen’s expected practices,
have been important to her. Jeanne d’Évreux’s rel-
Clémence’s donations enabled her to reaffirm con-
atives received many luxurious jewels and manu-
spicuously her own right to be a queen and argued
scripts from her upon her death, and when Blanche
for her reginal income despite her transition from
Clémence gave generous gifts throughout her
de Navarre made her will, in 1396, she carefully
queen to childless dowager. This gift giving was
described her numerous cherished objects and
particularly important for royal women who had
traced the earlier ownership of the works as she
been separated from each other by their politically
specified their recipients.
advantageous marriages. Gifts of reliquaries, sculp-
tures, textiles, and jewelry were powerful objects
24
Anthropologist Annette Weiner’s work on
Oceanic cultures documents layered and nuanced
through which aristocrats proclaimed their identity
systems of gift giving that can inform the inter-
as magnificent, generous, and discerning. Through
pretation of these medieval women’s testamentary
gifts, Clémence asked for the prayers of recipients
giving. Weiner writes about ways in which givers,
and reconstituted the status that had dwindled
especially women, gave gifts while retaining them
with the deaths of her husband and son. Through
within a family or group. The testaments of
her generosity and ritual charity she lodged herself
Clémence de Hongrie, Jeanne d’Évreux, Blanche
in the consciousness of her social equals in Paris
de Navarre, and others demonstrate that aristocrats
and promoted her family and dynasty, and in her
practiced such planned giving as they targeted spe-
testament, she demonstrated concern that certain
cific objects to individual members of their fami-
objects be owned by members of her family. It is to
lies, often keeping them out of general circulation.
these gifts that I now turn.
25
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The Queen and Ritual Gift Giving
Chapter 6
Gift giving was undeniably linked to
in medieval European societies. Such rituals also
royal identity in the late Middle Ages,
included royal entries, monastic mealtimes, coro-
so Clémence de Hongrie performed
nations, marriages, baptisms, and knighting cere-
public gift giving—for example, moving works of
monies. These group events marked key moments
art and material culture through the streets of Paris
in the lives of individuals, families, and communi-
as she led a retinue of royal women to the altar of
ties. Such standardized rituals organized perform-
the abbey of Saint-Magloire in a nighttime proces-
ers and observers as participants who repeated eas-
sion on Sunday, July 9, 1318. This ritual framed the
ily recognizable actions. The importance of ritual
translation, or transfer, of the arm and head relics
and this procession in particular help to explain the
of Saint Magloire to a new reliquary.1 As part of the
gift giving that Clémence and others performed.
event, Clémence and the four other royal women
offered lush textiles and sumptuous goldsmiths’
period marked by crisis in France. The years fol-
work to the church. I see this as the dowager’s
lowing the 1315 arrival of Clémence as the new
buttressing her flagging status in the first years of
queen were some of the most catastrophic in gen-
her widowhood, publicly performing acts that had
erations. Continual rain and violent windstorms
been linked with queens for centuries. One can
damaged buildings and wiped out crops, leading to
study the ritual itself, compare it to another public
seven years of widespread starvation and rampant
event that preceded it, interpret the procession
disease, even at the highest levels of society. Some
through medieval and modern thought, and finally
historians have called this crisis “the great depres-
study Clémence’s identity proclamation through
sion of the fourteenth century.”2 The devastation
her public gift giving.
stretched from Ireland to the Baltic, and Scandi-
navia to the Alps. Medieval accounts, which could
Processions like this were one of a number of
important sacred and secular rituals performed
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The procession of 1318 took place during a
overstate environmental catastrophes, are in fact
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corroborated by a 2001 study by Hans-Rudolf Bork
the sixth-century abbot’s aid through their demon-
and Berno Faust, which found that 50 percent of
stration of devotion.6 They organized a torch-lit
the erosion in Germany in the last fifteen hundred
procession to wind through the streets of Paris. The
years happened in the 1310s and 1340s.
chronicler records the route the people walked, the
gifts the women gave, and the press of the crowds.
3
In Paris, people bemoaned their plight. The
chronicler of the life of Saint Magloire writes that
Processions like this one were societal mechanisms
in the year 1315
through which people might spiritually and physically cleanse and purify the urban fabric of the
Tempests of wind, . . . death, pestilence, and famine were
city, with the goal of bringing the crisis to an end.
in France.
The account states that textiles were hung along the
route of the procession. People hoped that such rit-
Wars, rains so abundant that much property was
uals might jolt the spiritual world, causing tangible
suddenly lost this year.
In Paris especially this great pestilence that
oppressed all the land was even more cruel.
4
change to the weather in their own world.
The ritual procession was a predawn event,
a multisensory spectacle. The chronicler writes, According to the Grandes chroniques de France, the
with gratitude, that it did not rain.7 People in the
rains and winds continued, and a comet appeared,
buildings and in the streets would have seen the
followed by a lunar eclipse and two earthquakes
participants carrying the relics of the saints and
that shook parts of France in 1316 and 1317—all
the three hundred sparkling torches noted by the
increasing doomsday anxiety. Descriptions
chronicler.8 It was customary for incense to be
included people starving in the streets; these were
burned, so people would also have smelled the
the textual sources of an engraving that depicted
burning torches that lit the darkness as they lis-
a procession in a downpour by Nicolas de Fer in
tened to recitation and the singing of hymns as the
his 1722 book Histoire des rois de France depuis
clergy and venerable laypeople wound their way
Pharamond jusqu’à notre auguste monarque Louis
through the streets.9
Quinze (fig. 50). To the chroniclers, and thus later
historians, processions of barefoot penitents carry-
makes clear the sector of the city that was impacted
ing the relics of their saints through downpours of
by the spectacle. The recorded path of the proces-
rain were the defining feature of the short reign of
sion as well as Clémence’s estate and burial site
Louis X.
appear here on map 4, the famed map of Paris from
1550 now in the Basel University Library.10 The
5
The chronicler of Saint-Magloire records that
Reconstructing the route of the procession
the abbey had processed the relics of the saint
chronicler records that the procession started at the
through the streets of Paris often during this cri-
great Porte Saint-Denis, wound left along the rue
sis, but as the tragedy continued to unfold, more
Oues and then right down the rue Salle-au-Comte,
extreme measures were deemed necessary. The
entering Saint-Magloire through the cemetery in
Parisians decided to transfer the relics of Saint
the back. The pace was slow, with stops along the
Magliore from the wooden box that had held them
route to sing and pray. As the participants pro-
into a new, silver-gilt reliquary, hoping to engage
cessed the relics through the streets, they moved
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Figure 50
114
The Reign of Louis X. From Nicolas de Fer, Histoire des rois de France depuis Pharamond jusqu’à notre auguste monarque Louis Quinze (1722), 91, plate 50.
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Map 4 Plan de Bâle, 1550 map of Paris with the route of the 1318 procession and the locations of Clémence’s estate and burial site, at the church of the Jacobins. Basel University Library, Kartenslg AA 140. The red line signifies the location of the city wall in 1318. The white line on the inset traces the route of the procession.
them through some of the suffering communities,
or change the course of events—so processing the
drawing the presence of the saint through the land-
relics through the streets enabled their power to
scape, allowing the relics to interact with the urban
spread through a neighborhood in the city.
environment and its inhabitants. Many people
believed that physical contact with a relic allowed a
first. The abbots or bishops of Saint-Magloire,
person to access its intrinsic power and alter matter
Saint-Germain, Sainte-Geneviève, Saint-Denis,
In the procession, the religious leaders walked
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Laon, Noyon, and Moissac passed with the relics
of Saint Magloire. After these important religious
yellow, one blue, and one green.16 The bones were
leaders, the members of the abbey followed in
wrapped in another cloth and then placed in a
pairs. Finally, the first royal person to appear was
new box decorated with tartaire cloth.17 Using such
Clémence de Hongrie. She was followed by the
exotic and expensive material to enshrine the most
reigning queen, who was her sister-in-law and
sacred relics was popular. What better way to show
successor, Jeanne de Bourgogne; then Blanche
the saint honor than to wrap the bones in some of
de Bretagne, the countess Mahaut d’Artois, and
the highest-quality cloth available?
Pernelle de Sully, comtesse de Dreux, all followed
after. These women were the grand finale of the
streets and arrived at the church, at the altar of
procession, which featured mostly clerical men.
Saint-Magloire, the bones of the saint were trans-
11
12
Once the procession had wound through the
Had the women been organized by rank, the cur-
ferred to the new reliquary. Then the dowager
rent queen, Jeanne de Bourgogne, would have led
queen Clémence began the gift-giving phase of the
them or appeared last, but for some reason Clé-
ritual. She and the other royal women approached
mence came first.
the altar as the large crowd watched. First, she
offered a jeweled and enameled golden clasp and
13
The visual and material culture of the event—
the textiles, the gifts, the clothing—were import-
two silk draps, or textiles. After Clémence placed
ant enough for the chronicler to describe them in
her gifts on the altar, the reigning queen, Jeanne
some detail. They framed the procession and acted
de Bourgogne, gave two silver-gilt lamps, a jew-
as the focus of the ritual: textiles decorated the
eled clasp, and two textiles. The other women also
route of the procession and marked the boundar-
offered clasps.18 Although these pieces have not
ies of the space created by the ritual, signaling to
survived or cannot be identified, extant examples
the singing participants as well as the numerous
of the types of objects described suggest what these
onlookers that this was a place and a time that
treasures may have been like and how they allowed
was special, a sacred space where union with
Clémence to play the part of the magnificent and
the divine could occur. The chronicler describes
generous queen.
the cross and silver-gilt book of the Gospels that
were processed. The old and new reliquaries, the
Clémence’s jewel as “a golden fermail with precious
cloth in the trees, the clothing worn by the par-
stones and enamel.”19 The surviving fermail that
ticipants, and the gifts the women offered on the
most closely matches this description is a two-inch
altar were the objects of decoration and devotion
silver-gilt brooch with precious stones and enamel
intended to make the procession efficacious. Some
produced in the first half of the fourteenth century
participants wore red and white clothing.15 These
(fig. 51). In this surviving clasp, different colored
were Clémence’s colors, so this detail—along with
cabochon gems are placed in individual settings,
the fact that Clémence was the first woman to
and these precious stones encircle a central round
appear in the procession—raises the intriguing
cloisonné enamel.
possibility that she played a role in sponsoring the
procession.
mence left at Saint-Magloire also proclaimed her
14
116
The relic itself was wrapped in fine silks, one
The chronicler of Saint-Magloire describes
In addition to the fermail, the textiles that Clé-
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Figure 51 Fermail, Paris?, first half of the fourteenth century. Silver-gilt, precious stones, cloisonné enamels. Musée du Louvre, Paris, OA 6336.
generosity and wealth. As discussed above, some of
Martini’s 1317 tempera panel painting of Saint Louis
the most luxurious textiles in fourteenth-century
de Toulouse Crowning Robert d’Anjou (fig. 52).20
France were imported silks, and while most people
Saint Louis wears a cope made of scarlet silk dec-
wore wool, silk was the cloth of the royalty and
orated with gold octagons much like the cloth that
the church. There were many different types of
was produced in Tabriz at the time.
silk being produced in Paris and coming from
Italy, Spain, the Middle East, and China. One of
silk might be used, which designs and materials
the most lavish was tartaire cloth, which denoted
may have been popular, and what quantity could
extravagant cloth produced in Mongol-held areas
be consumed easily in vestments and furnishings.
stretching from eastern Europe to China, and it
Richly brocaded silks could be sold or donated
is a good candidate for the type of silk Clémence
to the monastery and hung in the interior of the
gave, because several examples of it appear in her
church or incorporated into a priestly vestment,
inventory (287, 333, 383) and it is the type of textile
like that depicted on Clémence’s uncle. If Clé-
that decorated the new reliquary of Saint Magloire.
mence’s silks were turned into a cope like this one,
It is depicted in the costume and furnishings of
her gift would have proclaimed both her own mag-
Clémence’s uncles, Louis and Robert, in Simone
nificence and that of the abbey.
Martini’s painting suggests how royal gifts of
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Figure 52
118
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Simone Martini, Saint Louis de Toulouse Crowning Robert d’Anjou, ca. 1317. Tempera on panel. Museo nazionale di Capodimonte, Naples, Q1930, n.34.
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colored silk and the gold or silver threads created geometric, floral, or animal images, like birds, griffins, or dragons, in repeating patterns on the woven silk. These colorful and flashy textiles with radiant metallic threads could catch the light of the torches and impress an audience even if seen at a great distance through a crowd. The textiles these royal French women offered befitted their own position and were probably of the highest-quality silks. The cost of the materials—the metallic threads, the coveted silk colored with expensive dyes—and the exquisite craftsmanship, as well as their exotic origins, were what made textiles such prized gifts.
The cost of the metals, jewels, and enamels
would have made Clémence’s clasp and textiles valuable, but as she transferred them to the church of Saint-Magloire they acquired additional importance because they came from her and were perceived as a sacrifice of objects she had worn or used, testifying to her piety and generosity. As Clémence offered these objects at the church of Saint- Magloire, they became a sign of her presence in the church. The crowds that pressed in upon the noblewomen became the witnesses of their generosity. Figure 53 Diasper cloth, Italy, late thirteenth century. Silk and metal thread. Metropolitan Museum of Art, New York, Rogers Fund, 1907.
Comparison of the procession to Saint-
Magloire with a civic parade that took place just five years earlier, during a time of great prosperity, demonstrates just how different the two were.
Another type of silk that Clémence might have
On June 7, 1313, during the long and prosperous
offered was diasper cloth, like that woven in Lucca
reign of Clémence’s father-in-law, Philippe IV,
in the beginning of the fourteenth century (fig. 53).
a massive parade of Parisian citizens wound
This too was a popular ritual gift, and Clémence
through the Île Notre-Dame (today’s Île Saint-
had in her possession liturgical textiles made of
Louis) to the Île de la Cité and then across the river
this cloth upon her death (252). During the cor-
to the Left Bank and out into the fields around
onation of King Edward III of England in 1327,
St.-Germain-des-Prés. Elizabeth A. R. Brown and
he offered a silk pall made of diasper cloth to West-
Nancy Regaldo have studied this joyous event
minster Abbey.21 The contrast between the richly
at the feast of Pentecost, meant to celebrate the
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knighting of Philippe’s three sons, Louis, Philippe,
participants and served as the gifts the women left
and Charles, and to highlight the king’s own taking
on the altar of Saint-Magloire. Drama was key in
of the cross. The event had the added benefit of
both, although one was joyful and the other suppli-
amazing the most important guest, King Edward II
cating, and one was in the daytime and the other at
of England, who had married Isabelle, the beloved
night. Comparison of the two community events
daughter of the French king. This was a perfor-
only five years apart in Paris highlights the very
mance of the economic and cultural power of the
different social environments, goals, and results
22
French country; according to the chronicler, twenty
that moving bodies and gifts through the streets of
thousand people rode on horseback and thirty
Paris accomplished under different circumstances.
thousand walked. If true, this was a quarter of the
population of Paris: “all the bourgeois and crafts of
events, medieval thought on processions and ritu-
the city of Paris made a most beautiful parade and
als throws light on the meaning of Clémence’s par-
came, some in sumptuous and richly made finery,
ticipation in the latter event. A thirteenth-century
others in new garments, on foot and on horseback,
edition of the Liber quare offers a late medieval
each craft ordered in rank, to the aforementioned
interpretation of some of the ubiquitous elements
Isle of Notre Dame, with horns, drums, trumpets,
of the procession:25 “What does the procession sig-
timbrels, and kettle-drums, making the most joyful
nify? The procession is the path toward the heav-
and festive sounds and playing beautiful scenes.”
enly homeland. Holy water advancing is the purity
Not only was this event unprecedented in size in
of life. Lights, works of mercy, according to the
Paris, but it also, unlike most other parades or pro-
verse, ‘Let your loins be girt, and lamps burning in
cessions, had no royal or ecclesiastical leadership;
your hands’ (Luke 12:35). Then follows the cross,
it was made up of citizens, who went to meet and
triumphal sign that purifies.”26 But this was just
honor the royals.24 King Philippe IV, King Edward,
one of many medieval interpretations of the sym-
and Queen Isabelle became the spectators rather
bolism of the procession. Some people envisioned
than performers as they watched the parade.
it as a symbolic walk toward God, as described
23
120
In every way that the 1313 event was novel, the
In addition to comparisons with other public
above, while others saw it as a representation of
procession in which Clémence participated was
the Hebrew exodus from Egypt, and yet others
traditional. The tone of the first parade, during a
viewed it as transmigration.27 The procession was a
time of plenty, was celebratory and sumptuous,
way to communally enter into dialogue with God.
while the later procession was somber, suppli-
Processions also had expiatory properties, cleans-
cating, reverent, and humble as people wound
ing the people from original and current sins, and
through the streets to the church. Objects, espe-
chronicles emphasize the emotional reactions of
cially clothing and cloth, figured prominently in
viewers of processions seeing the cross and relics.
both processions. In the earlier one, the luxurious
garments animated by the bodies of the Parisians
helps as well. Mircea Eliade interprets religious
created a panorama of power exhibited for King
rituals as events of hierophany, where quotidian
Edward of England; in the later procession, tex-
space and time are interrupted and union with the
tiles decorated the streets and the bodies of the
heavens may be achieved:
Modern thought on both ritual and gift giving
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[P]rofane temporal duration can be periodically arrested;
reliquary. This focused movement into the city
for certain rituals have the power to interrupt it by
drew attention to the urban environment of Paris
periods of a sacred time. . . . Just as a church constitutes
and its suffering inhabitants.
a break in plane in the profane space of a modern city,
the service celebrated inside it marks a break in profane
mence participated conveys the unifying and spir-
temporal duration. It is no longer today’s historical
itually cathartic experience that the observers and
time that is present—the time that is experienced, for
participants had during this procession. When the
example, in the adjacent streets—but the time in which
bones of the saint were shown, the people reacted
the historical existence of Jesus Christ occurred, the time
in great emotion—with joy and tears.31 Through
sanctified by his preaching, by his passion, death, and
this choreographed ritual, which climaxed with
resurrection.
the revelation and translation of the bones of the
28
The text describing the ritual in which Clé-
saint, the community shared a spiritual experience, Of premodern processions, Katja Gvozdeva and
enabling them to be unified in their supplication
Hans Rudolf Velten write that processional move-
for divine intervention.
ment is a medium of experience and perception
of self, a performative moment that ties together
power of rituals to unify communities. Some
things separated by daily life—the bodies of the
writers see rituals as moments in which one
participants, the present and the past, space and
group exerts overt or social control over another
place, divine and human. They argue that for its
by enacting a performance of societal harmony.
participants, the performative procession creates a
In 1912 Émile Durkheim wrote, “It is by uttering
new collective experiential space situated between
the same cry, pronouncing the same word, or per-
reality and imagination.
forming the same gesture in regard to some object
that they become and feel themselves to be in uni-
29
Tom Pettitt usefully categorizes ritual partic-
Many anthropologists have explored the
ipants into active and reactive groups and mobile
son.”32 As part of her larger study of ritual, Cath-
and stationary groups.30 He writes of two basic
erine Bell examines this idea further, arguing that
types of movements: the parade, where the active
rituals do not exert control but rather enable social
group moves through the reactive group; and the
empowerment.33
interception, where the active group is stationary
and the reactive group passes by them. Alternatively,
ritual processions can create and reinforce social
two groups of people can move toward each other,
harmony within communities, while more recent
as seen in royal entries.
writers have sought to complicate this interpreta-
tion of social cohesion, noting, for instance, com-
Ordinary processions—those performed each
Charles Phythian-Adams has emphasized that
week and throughout the calendar year—differed
petitive display within processions.34 The anthro-
from extraordinary processions, particularly in
pologist David Kertzer argues that the ambiguity of
times of crisis such as drought, famine, disease, and
meaning in shared ritual action can allow people to
war. The procession in which Clémence partici-
reinforce their social solidarity even when they do
pated was an exceptional one, in which the bones
not agree on political issues or even the meaning of
of the saint were transferred to their new silver-gilt
the ritual.35 Kertzer also writes of the value of ritual
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in uniting political groups: “This is of tremendous
political value, since what often underlies people’s
from the masses, they appeared as a cohesive group
political allegiances is their social identification
moving in unison and successively offering their
with a group rather than their sharing beliefs with
gifts. Their sometimes-strained relationships in the
other members.”36
years shortly before this highlight the importance
of their movement here together. Due to the sud-
In the case of the procession that led to Saint-
Magloire, both social identity and shared beliefs
den deaths of Clémence’s husband and son and the
were at work. This was a time of intense difficulty,
crowning of Mahaut d’Artois’s son-in-law as king
and I argue that the procession was a demonstra-
in their place, Mahaut was accused of witchcraft
tion of solidarity meant to please God and perhaps
and went on trial.39 Clémence testified in Mahaut’s
lessen the shared suffering. There were many par-
defense, but there still might have been some ran-
ticipants in this ritual. Some, like Clémence and
cor between the women. Also, the two had been
her companions, were the moving performers,
on opposite sides of the political showdown after
while others were reactive members of the audi-
Louis’s death. Mahaut d’Artois had long ruled the
ence, who pressed in on the performers. Viewers
duchy of Artois when in 1317 her nephew, Rob-
needed to be summoned in order to authenticate
ert III d’Artois, claimed it as his own and invaded
the ritual—otherwise it would have been unseen
her lands and robbed a castle. Clémence advocated
and unheard. Leaders had to plan ahead and pub-
for Robert to King Philippe V and to the pope, for
licize it. Before the procession, Guillaume Baufet,
which, as noted in chapter 1, she paid a dear price.
bishop of Paris, on June 30 and July 1, 1318, wrote
Robert’s mother, Blanche de Bretagne, was also
letters encouraging all the members of the diocese
among the group of women to participate in the
to attend the translation of the relics, promising
parade. This fraught history was certainly known to
indulgences to those who came.
the populace, but the women’s unity here, in spite
of previous differences, demonstrated to observers
37
Even though the active and reactive par-
ticipants seemed unified, social difference was
that all needed to band together to righteously seek
on display. The fact that the royal women made
divine intervention.
themselves visible to the public as they processed
through the streets, while sergeants kept the masses
to participate in this event, perhaps Clémence
at bay, would have put them in stark contrast to
had the most at stake in her gift giving that day in
the crowds. These women became more-glorified
1318, as she was struggling for her social and finan-
embodiments of the populace, almost acting as
cial survival. Letters from the pope to Clémence
surrogates for the people, and yet they distin-
reveal that in 1317 the Bardi banking family was
guished themselves from the masses as they placed
demanding repayment of her loan.40 Only through
their rich gifts upon the altar. Encouraging the
the pope’s intervention on her behalf, just months
people to come and show by their presence and
before the procession, had the Bardi given her
their great emotion that the ritual was important
more time to repay it. Then, on December 13 of
and yet forcibly keeping them separate created a
either 1318 or 1319, she had to pawn her jewelry to
push and pull that symbolically enacted difference.
the Bardi for 14,907 pounds.41 To put this figure
38
122
But as much as the royal women stood out
Although many royal women came together
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into perspective, the value of her entire estate ten
years later was 21,083 pounds. She had to place her
her husband and baby that in order to improve her
jewels in a box that was secured in the convent of
reputation and her identity as a dowager queen,
Notre-Dame-de-Nazareth in Aix-en-Provence.
she needed actively and humbly to engage in good
These valuables were inventoried, and both she
works and charity. Reputation and identity had to
and the Bardi held copies of the list. Clémence, the
be cultivated—often in public:
The pope wrote to Clémence after the death of
bankers, and the pope all received keys to the chest. If she did not repay the massive loan by Christmas,
you must take the greatest care, so that, keeping your
she would forfeit her jewelry.
foot from slipping, . . . you will avoid the snares of the
So then why did she give away luxurious
enemy, and you will weaken his power through praise-
objects that she might have sold for cash to pay
worthy occupation, less by abstaining from every sort
back her lenders? The jewels were much more than
of evil than by resourcefully applying your energies to
valuable commodities; they were the visual signifi-
what is pleasing to your Creator. And, . . . we advise you,
ers of her royal status. As discussed above, wearing
with counsel befitting your high station, that steadfastly
gold, silver, and precious gems was the exclusive
looking after your chastity with humility and charity, you
right of the royalty, making a queen immediately
show yourself moderate in your food, modest in your
recognizable within this codified social system;
speech, . . . not excessive in the adornment of your body
one therefore needed to wear jewels to look like a
and embellishment of your dress.43
queen. If she forfeited her jewels, she lost not only their financial value but their intangible value as
In light of the counsel the pope gave Clémence, the
elements of proper reginal costume—and this loss
sequence of events concluding with the procession
could contribute to her social extinction. Now, with
to Saint-Magloire is subject to different interpre-
her performance of ritual generosity, she could
tations. On the one hand, one might speculate
fight for her identity and its concomitant income,
that the king and pope forced this foreign woman
which threatened to wash away with the floods.
to conform to the less spirited and less powerful
role they prescribed, participating in a procession
In order to promote her identity as a dowa-
ger queen, Clémence needed to donate luxurious
rather than lobbying for political change. On the
gifts publicly, even when she could not afford to
other hand, perhaps this ritual reveals the queen to
give. The chronicler describes Clémence’s bearing
be a more effective and agile woman, who, when
during the procession: “And then came in great
confronted with the realities of political power
humility the noble queen Clémence.” While the
in Capetian France, wisely took the advice of the
queen’s advocacy for the claim of Robert d’Artois
pope, inhabiting the humble persona that would
had been seen by Philippe V and the pope as overly
get her the results she required by reinforcing her
aggressive, humility, on the other hand, was seen as
royal identity and her claims to income. When Clé-
a queenly attribute and was praised and rewarded.
mence had advocated for Robert d’Artois, she had
Clémence needed to live within the bounds of her
grasped at power that was no longer hers, and she
new role as dowager queen in order to benefit from
had gone into significant debt with the Bardi bank-
even a few of its privileges.
ing family. Pope John XXII was giving her practical
42
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advice about managing her reputation: her public
...............................................
humility and generosity were an antidote to any
Your examples, splendid Berta, and saintly virtues,
impropriety she may have committed in the tumul-
truly reflect her [Irmingard’s] fair nobility;
tuous time at the beginning of her widowhood.
the people delight in you, our mirror of Irmingard,
The advice the pope offered Clémence drew on
and the rich and poor join in celebration.45
long-standing models. Generosity was long associated with widowed queens. In the romanticized life
In Scottus’s eyes this widowed queen’s generosity
of Saint Radegund, a sixth-century widowed queen
testified to her nobility and endeared her to the
living in Poitiers, her friend Venantius Fortunatus
people. He writes that she was a mirror of Queen
details how she offered textiles, jewels, and gems
Irmingard, her mother; if Berta’s generosity was
upon holy altars:
seen to reenact her regal mother’s appropriate behavior, then generosity was apparently seen
Soon she divested herself of the noble costume which she
already as a marker of women’s royal identity in the
was wont to wear as queen when she walked in proces-
ninth century. Publicly offering gifts upon church
sion on the day of a festival with her train of attendants.
altars was a way that medieval queens, especially
She laid it on the altar and piled the table of Divine Glory
widowed queens, demonstrated their piety and
with purple, gems, ornaments and like gifts to honor
charity and maintained royal identity.
Him. She gave a heavy girdle of costly gold for the relief
of the poor. Similarly, one day she ornamented herself
of royal activities prescribed in behavior manuals
in queenly splendor, as the barbarians would say—all
popular in the Capetian courts of the late thir-
decked out for stapione. Entering holy Jumerus’ cell, she
teenth and early fourteenth centuries.46 These late
laid her frontlets, chemise, bracelets, coif and pins all
medieval treatises were part of a long tradition in
decorated with gold, some with circlets of gems on the
writing “mirrors of princes,” or behavior guides
altar for future benefit.
to teach rulers the comportment proper to their
44
Generosity also conformed to the narrative
position in life. Five such treatises were composed Another writer who saw gift giving as a hallmark
for members of the French royal family, and Clé-
of royalty was Sedulius Scottus, an Irish poet and
mence had one, if not two, of these books in her
scholar writing in Liège in the mid-ninth century.
library (215, 223). A well-known book for queens
In a poem Scottus wrote to Berta, abbess of Avenay,
of the day was the Miroir des dames, written by
a widowed queen, about Berta’s mother, Irmingard,
the Franciscan Durand de Champagne for Jeanne
he praises Irmingard’s largesse and equates gener-
de Navarre. It was significant because it was one
osity with nobility. Here a queen’s outward actions
of the first treatises written specifically for queens.
of charity clearly demonstrate her inward character
The manual describes ideal manners and actions
and royal identity:
and prescribes how a ruler should interact with subjects, family, and others. Durand admonishes
124
[Irmingard’s] gracious hand enriched more of the poor
queens to go to the people who are suffering and
than there are stars in heaven—who can count them?
show mercy.47
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Books in the queen’s library such as the
catastrophe. In a time of breathtaking poverty and
behavior manual by Gilles de Rome, Le livre du
starvation, luxurious objects would seem all the
gouvernement des rois et des princes, written for
more out of reach and therefore more potent as
Clémence’s father-in-law, Philippe IV, also taught
offerings toward liberation from famine. This ritual
that generosity ingratiates the sovereign with the
may have had many different meanings to its per-
people: “the people love the king much when he
formers and to the members of the crowd through
is generous and gives wealth here as he should.”
which it traveled. It was an occasion for ceremo-
Gilles writes of the importance of magnificence
nially transferring a saint’s relics to a new reliquary,
as well: “We speak of a great virtue to make great
but it was also a moment of theater that amplified
appropriate expenditures on great buildings,
emotions and projected a narrative of social cohe-
48
in Latin called magnificence, in other words, a vir-
sion while demonstrating class difference.
tue of great strength and great undertakings.” Clé-
mence’s ritual giving, her clothing, and her perfor-
the depletion of seeds caused continued suffering
mance during the 1318 procession were a complex
for more than five more years, the cost of food
construction of humility and magnificence, as the
came down almost 80 percent in the year of the
pope and her books had counseled her.
procession to Saint-Magloire, so perhaps people
49
When a royal woman moved in a procession
Although the massive death of livestock and
believed that this ritual and others during this
and then offered gifts at a church, she tied herself
time were efficacious.51 Additionally, it was only a
to the numerous queens who had performed such
few months after this, in September 1318, that Clé-
behavior many times before, so in conforming
mence’s brother-in-law significantly enlarged her
to this ritual narrative, Clémence asserted her
domains, helping her financially. In parting with
own royal identity. As she and the other royal
such luxurious objects during the procession, the
women participated in the important procession,
queen could have been moved by sincere concern
they communicated their motives and solidarity
for the well-being of the people and her own reli-
through the repetition of prior women’s behav-
gious devotion; at the same time, she may have felt
ior—a readily recognizable language of action.
a degree of panic about her economic and social
Their performances and gifts were not extraordi-
survival and calculated that release of her gifts
nary. On the contrary, they were precisely what was
could garner tangible benefits. When she could
recommended to them and expected from them
least afford to give, she desperately needed to give
in times of crisis. Perhaps the people needed to see
in order to be seen as a royal woman. Clémence
a queen acting queenly—majestic yet remarkably
harnessed the power of her remaining riches, put-
humble, as the chronicler describes her. This con-
ting them to work through ritual gift giving, reas-
duct would convey a sense of order and normalcy
suring the people and proclaiming her identity as a
in the middle of economic and environmental
magnificent and generous queen.
50
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Gifts to Individuals, Near and Far
Chapter 7
In addition to the objects that Clémence
de Hongrie offered in a ritual context,
the subject of this chapter. Objects from her and
evidence survives for many other gifts
perhaps her husband were documented in the trea-
The courses taken by Clémence’s gifts are
that she gave to people in Paris and around Europe.
sury of Bari. The Peterborough Psalter, which was
She set her possessions in motion, and the trajec-
created in England, traveled to the pope in Avi-
tories, as well as the objects themselves, reveal the
gnon and then to Paris. Clémence’s grandmother
meaning of these gifts. Arjun Appadurai has writ-
bequeathed a large cup and a ruby ring to her in
ten, in his pioneering volume on material culture,
1323. Clémence also received a shrine of the Virgin
that “from a theoretical point of view human actors
from Naples, which, upon her death, she left to her
encode things with significance, from a methodolog-
sister in Vienne. She also left a sculpture of Saint
ical point of view it is the things-in-motion that illu-
John the Baptist to a kinswoman in Arlay. Finally,
minate their human and social context.” The trajec-
the famed reliquary shrine of Elizabeth of Hun-
tories of Clémence’s objects suggest some of the ways
gary, which is now at the Cloisters, probably came
she formed her reginal identity through gift giving
to Buda from Paris as a gift from Clémence to her
and connected with loved ones around Europe.
sister-in-law Elizabeth. The dotted line of this path
By cross-referencing the queen’s inventory and tes-
on the map suggests the probability, but not cer-
tament, one can trace some of her objects from a
tainty, of this transfer.
former owner to Clémence and then from the queen
to a subsequent owner. Thus the social lives of her
were described in the treasury of the basilica of
objects have left documented trails that reveal the
Saint Nicolas of Bari, in Apulia, demonstrate that
queen’s own local and international social networks,
objects could symbolize their donors and that Clé-
including her connections to people in England,
mence acted as an intermediary between her natal
Avignon, Buda, Naples, and elsewhere (map 5).
and marital families. The basilica of Saint Nicolas
1
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North Sea Peterborough
ENGLAND
POLAND HOLY ROMAN EMPIRE Paris
Sc
ulp tu re
th of
Hun gary
HUNGARY
Ch
Buda
te n Pa
Avignon
er
lizab e
d an
Vienne
Sil v
e of E
i ce al
CASTILE
Arlay
y Shrin
up eC in arg irg eV dL an f th ng eo Ri rin by Sh Ru
r
NAVARRE
of ry ua n liq Joh Re int Sa
alte h Ps oroug Peterb
FRANCE
Reliquar
ARAGON
Naples
GRANADA
Bari
Mediterranean Sea 1 0 0 mi 1 6 0 km
Map 5 International gift giving of objects documented in the inventory and testament of Clémence de Hongrie.
127
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was a major Angevin shrine largely endowed by
Clémence’s grandfather Charles II d’Anjou. The
nationally was of course not exclusively a male or
1362 inventory of the treasury there lists a silver
female activity. The chalice and paten noted above
sculpture that had come from Clémence, as well
may have come to Bari from Louis X, and one of
as a chalice and paten decorated with the arms of
Louis’s ceintures, or belts, noted in his inventory,
Louis that could have originated with either Clé-
came from his sister, Isabelle, in England, perhaps
mence or her husband. Louis may have offered
upon his knighting or coronation.4 And Louis’s
the chalice and paten to the church before he mar-
executors set aside a silver-gilt mail shirt for Oshin,
ried Clémence, or they may have sent it together,
king of Armenia.5 Nevertheless, these instances are
or Clémence may have sent it to Bari during her
infrequent in comparison to Clémence’s profound
widowhood. The queen’s inventory indicates
and repetitive links through gifts of art to family
that she owned a similar set at the time of her
members in distant places (map 5). And while a
death (105).
man could send gifts internationally, he could not
2
In Bari these sumptuous objects were pow-
be from both places, a crucial difference between
erful symbols of the Angevin link to the Parisian
these royal men and their mobile brides.
Capetians. It would have been meaningful to the
queen to have objects from Paris in the treasury
Clémence in her homeland, another of her objects,
of one of the most important shrines in her home-
the Peterborough Psalter, traveled a great distance
land. These items sat in the treasury along with
and was a symbol of its donor, Pope John XXII,
sumptuous gifts from her royal family members,
in the queen’s collection. Being a gift from the pope
including her uncle Robert and her sister-in-law
himself was so central to the book’s importance
Elizabeth of Hungary, among many others. The
among Clémence’s belongings that the clerks used
queen’s objects, some bearing the arms of France,
this as one of the primary identifiers in describing
would have symbolized her presence at her family
it in the inventory. The elderly pope was her great
shrine, even when she could not be there herself.
protector, and this manuscript was tangible proof
These gifts at the basilica in Bari were counterparts
of his esteem and concern for her. It may be more
of the tomb effigy that Clémence commissioned in
than a coincidence that she named her son Jean,
Paris for her great-grandfather Charles I. The effigy
since it might have seemed a more obvious choice
reminded the French Capetians of their kinsman
to name the baby Louis after his father and their
who founded a kingdom in Naples and Sicily, while
great progenitor Louis IX. There were no earlier
the offerings in the treasury of Bari reminded Clé-
French kings named Jean, after whom the baby
mence’s Angevin family of her presence in Paris as
might have been named, and if Clémence had
their representative and the link between the two
looked to her own lineage for a name, Charles—
dynasties that she had become. Since objects repre-
the name of her brother, father, grandfather, and
sented the history, lineage, and connections of the
great-grandfather—would have seemed the natural
3
128
Sending and receiving sumptuous works inter-
Just as the sumptuous gifts in Bari represented
people who sent them, she accrued honor for both
choice.
of her families as she gave gifts and patronized
tombs.
the pope gave the queen this Psalter, but in all
Medieval documents do not reveal when
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likelihood it was when she visited him in Avignon
alone. Sometimes in styles that differed from those
in 1318. This book, with high-quality paintings,
around the woman in a new court, these pieces
unsparing use of gold leaf, and the text of the
might remind the bride of her roots, of her sup-
Psalms, was a particularly appropriate choice for
port, of her education, and of the people who had
the queen during the period after the death of her
taken care of her as a child and who loved her still.
husband and son, in which she was struggling
financially and emotionally. By giving Clémence
nently in the paths of an heirloom shrine, now lost,
6
Such woman-to-woman giving appears promi-
this gift, perhaps Pope John XXII offered his sup-
that Clémence left to her sister, Béatrice, in her
port and a model for how she might turn to God
will.7 In the queen’s inventory a “Madame de Sezile”
during times of anxiety. Additionally, the interna-
is cited as having sent the shrine to Clémence (89).
tional path of the book is a prime example of cross-
This original owner was Clémence’s aunt Sancia
cultural movement of objects resulting from the
de Majorque or her grandmother Marie de Hon-
gift exchange of an international bride.
grie, both of whom ruled in Naples and used the
Much as the trajectory of Clémence’s Psalter
title Madame de Sezile. Clémence and her older
reveals the importance of having a powerful pro-
sister grew up together in Naples with their grand-
tector when negotiating the difficulties of being
mother Marie de Hongrie, and Clémence chose her
a dowager queen, other paths demonstrate the
sister’s son as her heir; so this gift would remind
importance of familial relationships. Clémence and
her sister of their shared family and childhood
her sister and other kinswomen exchanged works
home.8 The gift was a three-dimensional shrine or
of art, enabling them to maintain contact with
tabernacle with painted wings surrounding a silver
one another despite their geographic separation.
image of the Virgin and Child. Tabernacles with
Most of the long-distance gifts of art that appear
wings that could be opened to reveal a sculpture,
in Clémence’s documents were religious in nature,
usually of the Virgin and Child, became popular
and frequently they were objects of devotion. The
throughout Europe between the thirteenth and the
shrines and sculptures of saints these women used
early fifteenth centuries. The sculptures were often
in their private devotion assisted them in accessing
made of ivory, precious metal, or marble, and the
the divine. To handle such objects—to open and
panels might be painted or enameled in bright,
close the enameled or painted wings of a shrine
glassy colors.9 The paintings on the interior of the
or to hold a silver sculpture of a saint that had
queen’s piece are not described in her testament,
belonged to a sister, grandmother, or aunt—would
but it is likely that there were multiple images of
enable Clémence or another royal woman to feel
saints because many shrines of the day are deco-
spiritually connected to her loved ones. This con-
rated in this manner.
nection, established when objects were used in
quiet moments of worship and reflection, may have
mence transferred to her sister was likely similar
provided solace when the owner of the objects was
to a tabernacle now in the Moravian Gallery of
facing court intrigues or the death of a child or
Brno (fig. 54).10 The Brno shrine originated at
husband. The objects themselves were physical evi-
the court of King Robert d’Anjou, making it an
dence that a royal bride in a foreign court was not
excellent comparative piece for Clémence’s shrine,
The paneled shrine of the Virgin that Clé-
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Figure 54 Follower of Tino di Camaino, travel altar of Robert d’Anjou, Naples, early fourteenth century. Tempera, gilding, wood. The Moravian Gallery, Brno, Czech Republic, A 559.
130
since Clémence’s piece came from Robert’s mother
stigmata and preaching to the animals. The favored
or wife in Naples. In the Brno piece, a marble
family saint, Louis de Toulouse, appears next to
sculpture of the Virgin and Child stands on a rect-
the Virgin and Child. Below, on the left, the Three
angular base, framed by a baldachin that forms
Magi appear in the arches of the painting, kneeling
a structure around which the hinged panels can
as they offer gifts to Mary and Jesus. Saint John
close. Behind the Virgin Mary are the Angevin
the Baptist, Saint Peter, Saint Nicholas, and Saint
coats of arms: adjacent diamonds, one with vertical
Anthony of Padua are on the upper right. Saints
alternating red and gold stripes and the other with
Clare, Elizabeth, Catherine, and Agnes appear in
golden fleurs-de-lys on an azure background. The
the arches on the lower right. This is the ultimate
painted panels protect the sculpture in the closed
movable tabernacle; it folds into itself, facilitating
position or open to provide a background for the
easy and protected transport.
piece, adding interpretive context. On the upper
left there are images of Saint Francis receiving his
Weiner’s “keeping-while-giving” theory, according
Clémence’s shrine is an example of Annette
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to which donors, especially women, offered testa-
removing price tags and wrapping gifts in paper
mentary bequests while retaining them within a
disconnect them from the commodity market and
family or group. Weiner argues that some things
imbue them with distinctive characteristics.12 In a
were such charged symbols of their earlier owners
similar way, Clémence de Hongrie removed shrines
that donors forbore to consign them to wide circu-
from the market by making them gifts. Among
lation; these particular possessions were inalienable
all of Clémence’s possessions, it was the shrine
when their owners died. Instead, they were passed
with the silver Virgin and its special heritage that
to appropriate people within family or social circles
the queen chose to give her sister, knowing that
who were meant to accrue prestige from ownership
Béatrice, like herself, would value this heirloom as
of the objects. And perhaps ownership itself was
a token of memory and an object of devotion.
not as absolute as we think of it today. While an
aristocrat might have “owned” an important object,
shrine—Marie de Hongrie or Sancia de Majorque,
trusts and connections may additionally have
Clémence de Hongrie, and her sister, Béatrice—
restricted its circulation to only those who would
had left their homelands to marry foreign men.
be considered appropriate by the social network—
While women certainly sent letters to one another
meaning that women may have considered them-
and visited when possible, sending gifts of works
selves merely temporary guardians of important
of art was a central way in which women sepa-
family heirlooms.
rated by their politically advantageous marriages
maintained their relationships. When mapped,
For example, when Blanche de Navarre
All the women surrounding the transfer of the
bequeathed the breviary that had belonged to
the international trajectories of the queen’s shrine
Saint Louis to Charles III, king of Navarre, she
illustrate the impact that such foreign marriages
insisted that he keep the book “as a precious and
could have on the cross-fertilization of the arts.
noble jewel . . . and that it never leave the [family]
As these women sent each other gifts, local artists
line.” Similarly, Clémence, keeping-while-giving,
could study them and choose which traits to adopt
retained her important shrine in the family, care-
or adapt in their own work.
fully placing the object into the hands of her sister.
As works were created and accumulated prove-
tion was not unique to women. The inventory of
nance and sometimes enclosed relics, they took
Clémence’s husband, Louis X, lists two objects as
on spiritual, emotional, and dynastic significance.
having belonged to Louis IX, who became Saint
Clémence did not want her shrine to become a
Louis: a knife and a gold cup.13 The cup was clearly
commodity, sold by weight to someone who might
a special item because the clerks noted that “one
11
This focus on keeping objects out of circula-
not fully appreciate its importance or might derive
never drinks from it.” It was not sold, so this obvi-
undeserved status from its possession.
ously important heirloom passed to Louis’s brother
Lee Anne Fennell examines modern gift
Philippe V.14 However, although the cup was not
giving, especially among women, and argues that
used and was kept from sale, it does not seem to
people today give gifts rather than money in order
have ascended to the rank of a contact relic, some-
to establish dialogue and maintain emotional and
thing revered because it had belonged to Saint
social ties to each other. She claims that actions like
Louis. Such an object certainly would have been
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kept among Louis’s joyaux or with his precious gold
ascribes the work to the goldsmith Jean de Touyl,
and silver liturgical vessels in the chapel. Rather,
who worked there.19 The closely spaced eyes with
the cup was kept in the eschançonnerie, or area that
dark circles around them in the figures on the
held drinking vessels and service items. Likewise,
enameled panels correspond to details of figures
the knife appears midway through the list of Louis
on the chalice in the church treasury of Wipper-
X’s armor, not at the top, where one might have
fürth mentioned above, a work identified with Jean
expected it, as one of the most expensive or special
de Touyl by the goldsmith’s mark. Although Eliza-
items in its inventory section, to be.
beth could have ordered this shrine to be sent from
Paris to Buda, several factors point to Clémence
15
Clémence kept another sculpture out of
wide circulation when she bequeathed her reli-
herself as a likely donor. If Elizabeth had desired
quary statue of Saint John the Baptist to Béatrice
a Parisian shrine, who better to commission or
de Viennois, dame d’Arlay. This was Béatrice de
select it for her than her sister-in-law, Clémence?
la Tour-du-Pin, the sister-in-law of Clémence’s
Additionally, the Cloisters shrine largely conforms
sister, who was also named Béatrice. According
to the description of another in Clémence’s inven-
to the inventory, this reliquary was “an image of
tory: “Item, a shrine with Our Lady and two angels,
Saint John with an entablement enameled with the
with panels enameled with arms” (114).20 Finally,
arms of Hungary” (87). This gift was appraised at
Jean de Touyl, the goldsmith of Elizabeth’s shrine,
more than 195 pounds and weighed twenty-four
was one of the artists who appraised Clémence’s
marcs, three onces, eighteen estelins. The fact that
works after her death. He may have been involved
it was weighed indicates that it was probably sil-
in making objects for the queen, as was Simon
ver or silver-gilt, given that objects of marble or
de Lille, another appraiser and the goldsmith of
ivory were only described, and not weighed, in the
Clémence’s best crown.
inventory. This long-distance gift between women
adds yet another person to the international net-
takes Gothic architectural form, and enameled
work of friends with whom Clémence exchanged
panels imitating stained-glass windows open to
gifts.
reveal the Christ child nursing at the breast of the
Virgin. The seated Virgin and Child occupy the
16
17
The enameled reliquary shrine of Elizabeth
of Hungary, now at the Cloisters, may have been
central space, and angels stand on either side hold-
another generous long-distance gift, this one from
ing transparent hinged boxes. Behind the figures
Clémence, in Paris, to her sister-in-law in Buda
is gold repoussé rinceaux decoration. Basse-taille
(fig. 55). Elizabeth, who was married to Clé-
translucent enamels on the wings depict scenes
mence’s brother, Carobert, founded the convent of
of the Annunciation, the Visitation, the Nativity,
the Poor Clares of Buda, where Elizabeth lived, and
the Annunciation to the Shepherds, the Adoration
a 1714 inventory made at the convent links the rel-
of the Magi, the Presentation at the Temple, and
iquary with the “Blessed Queen Elizabeth of Hun-
the Flight into Egypt. Slender images of Saints
gary.” Danielle Gaborit-Chopin argues persuasively
James the Less and Bartholomew and two women
that this object came from Paris, as the style and
martyrs on the edges of the folding doors frame
craftsmanship of the shrine are Parisian, and she
the scenes. Because Saint Louis de Toulouse and
18
132
The reliquary, sixteen inches wide when open,
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Figure 55 Attributed to Jean de Touyl, reliquary shrine of Elizabeth of Hungary, Paris, 1320–40. Silver-gilt with translucent enamel and paint. The Cloisters Collection, New York, 1962.
133
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other saints who would have been important to
It would have been a potent symbol of Humbert’s
Elizabeth of Hungary do not appear on the shrine,
position as the queen’s heir and of the dowager’s
Gaborit-Chopin argues that this piece was pur-
love for him. Here, the gift of the object was itself
chased in complete form rather than ordered and
much more significant than the price of the pre-
customized for the patron.21 The transfer of this
cious stones and gold of which it was composed.
piece from Paris to Buda provides a glimpse of
In fact, since Humbert received the proceeds of
the cross-cultural artistic contact that could result
the sale of her belongings, the fact that she gave
from the social links between far-flung women
him this crown instead of just having it sold clearly
who maintained their relationships with each other
indicates that she wanted him to have the crown
by sending works of art. Sumptuous confections of
itself, not just the cash.24
the goldsmith, often more lavish than illuminated
manuscripts, were even more common than books
de Bourgogne, wife of Philippe de Valois, Clé-
as international gifts in the inventory and testa-
mence bequeathed a reliquary bust enshrining
ment of Clémence de Hongrie.
what was thought to be a skull of one of the Eleven
Additionally, the queen bequeathed an image
Thousand Virgins.25 According to the Golden
of the Annunciation to her confessor, Jacques
Legend, the pagan prince of Anglia asked for the
de Corvo, the bishop of Cornouaille, a Dominican
hand of an English Christian princess, Ursula, well
appointed by Pope John XXII in 1326. The pope
known for her wisdom, beauty, and virtue. After
specifically told Clémence to heed this man’s advice
negotiations, she agreed to marry the man if he
during her time of instability following the deaths
would be baptized and if she could have three years
of her husband and son. The descriptions of the gift
in which to make a pilgrimage to Rome. Ten noble
in the testament and inventory vary markedly, even
companions were to be assigned to her, and a thou-
though they both clearly refer to the same object,
sand women then attended Ursula and each of her
illustrating how difficult visualizing destroyed
ten companions. As she traveled from her native
objects based on records can be. Her testament says
Britain to Rome and back, more and more women
that Clémence left Jacques de Corvo “our silver
and men (including the pope himself) joined her.
tablets with the Annunciation of our Lady,” while
Finally, while in Cologne, Huns attacked the group
the inventory refers to the object as “a tabernacle
and killed them for their faith, making the virgins
with an Annunciation with a copper engraving”
martyrs for Christ. The growth of the popularity
that could be removed (88).
of the virgin martyrs in medieval art dates to 1106,
One of the most important bequests that
when a Roman cemetery was found in Cologne,
Clémence gave was her best crown, which she
whose bones people believed belonged to Ursula
bequeathed to her heir—her nephew Humbert,
and her followers. Bodies were exhumed and relics
as discussed above. During her life it was a visual
taken, often to be housed as remnants of the mar-
signifier of Clémence’s status as a queen, making
tyrs in reliquary busts.26 Saint Ursula might have
her immediately recognizable and differentiating
been an important model for medieval women
her from those around her. The crown represented
like Clémence and Jeanne de Bourgogne because,
the status and lifestyle to which she so dearly clung.
unlike other saints, who eschewed marriage, Ursula
22
23
134
To the reigning queen of France, Jeanne
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agreed to marry and yet fulfilled her duty to God
to their families but who might have longed to be
by living a pious and devoted Christian life.
united with their sisters.
The period between 1320 and 1340 was a zenith
for the production of Ursula busts in Cologne.
27
Clémence described the present as “our head
of the eleven thousand Virgins and the sanctuary”
Joan Holladay argues that the popularity of the
and asked her executors to have it repaired or
busts in early fourteenth-century Cologne was
embellished by Jean de Montpellier, who already
a reaction to the growing Beguine movement.
had it in his possession.32 Jean’s name appears
Traditional clergy pointed to the example of the
in records of goldsmiths, so the sculpture was
virgins and to Ursula’s willingness to marry as they
undoubtedly a work in precious metal.33 A con-
tried to discourage middle- and upper-class girls
temporary, fourteenth-century reliquary of Saint
from joining the Beguines, whom clergy viewed
Ursula survives today in Castiglion Fiorentino
as extreme. Traces of the cult of these virgins also
(fig. 56).34 This silver-gilt bust depicts the young
appear in the courtly accounts and traditions
martyr as a youthful queen with splendid clothing
of early fourteenth-century France. While men,
and magnificent jewels. Pictorial enamels surround
notably Louis IX, also collected the virgins’ relics,
the base of the sculpture, and polychromy renders
women were integral to the growth of the virgins’
the saint’s face in lifelike tones. She has a high
cult and in the circulation of their relics, and reli-
forehead, broad cheeks, a long nose, and a small
quary busts might have been particularly popular
mouth. The large arches of her eyebrows frame
with women. In 1321 Mahaut d’Artois purchased
her prominent colored eyes, and the girl appears
from the estate of Queen Marie de Brabant, the
to gaze directly at the viewer. Her uncovered curly
widow of Philippe III, two chefs (heads) of the
hair hugs her neck, and the open collar of her dress
Eleven Thousand Virgins decorated in silver.
exposes her collarbones.
28
29
Clémence’s sister-in-law Isabelle de France had a
head of one of virgins as well—and she may well
art-historical scholarship about the body. For
have brought it with her from France in 1308.30
instance, Jeannette Kohl studies reliquary busts of
Clémence’s 1328 gift of a reliquary head from the
the fourteenth and fifteenth centuries, arguing that
Eleven Thousand Virgins to Jeanne de Bourgogne
they attracted male viewers yet kept them at a dis-
confirms the enthusiasm for the cult of these vir-
tance.35 But what impact might these lifelike busts
gins in courtly circles in Paris. That all four of the
have had in the hands and gazes of royal women?
reliquaries of the virgins documented in France
These sculptures, which imitated women in more
during this period moved from one royal woman
or less life size, rendered visible role models that
to another suggests that, in Paris, relics of the vir-
demonstrated that marriage and duty could coexist
gins were particularly important to royal women.31
with virtue and faith. As royal women put their
Perhaps the virgins of strong faith who united with
skills, relationships, and bodies in the service of
each other in bonds of sisterhood through travel
their families, perhaps these sculptures enabled
and martyrdom were particularly poignant models
them to imagine that they too would receive
to royal women of the fourteenth century, women
rewards in the afterlife, as the virgin martyrs were
who often left their homes to fulfill a higher duty
thought to have. Clémence anticipated that Jeanne
Reliquary busts have been a focus of recent
Gifts to Individuals, Near and Far
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135
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Figure 56 Reliquary head of one of the Eleven Thousand Virgins, France, late fourteenth century. Silver-gilt, enamels, pearls, gemstones, and paint. Pinacoteca Comunale, Castiglion Fiorentino.
136
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de Bourgogne, the reigning queen, would appreci-
twenty-three inches, this large statue is gilded sil-
ate this reliquary as she herself had.
ver, which was repoussé, chased, and engraved to
Finally, the most politically significant bequest
form the drapery and to imitate the rich textiles
that Clémence gave in her testament was the sculp-
that a bishop would wear. Like other repoussé
ture of her uncle Saint Louis de Toulouse. Louis
sculptures in precious metals from this period,
was the pride of the Angevin family, its preeminent
the slender body of the saint is elongated, with
dynastic saint. When Clémence’s father, Charles
chiseled patterns articulating the decoration of his
Martel, died, Louis was next in line for the Angevin
vestments. The tight curls in the saint’s hair and
Crown, but he turned it down in order to con-
beard are also typical of sculptures of the period.
tinue in his calling as a Franciscan. Before he died,
The description in the inventory indicates that
in 1297, he served as bishop of Toulouse, and upon
the bishop in the sculpture had a miter covered
his death his family members avidly collected and
in perrerie, or small precious stones.39 Clémence’s
enshrined his remains as relics. Louis chose to let
sculpture was undoubtedly a work in precious
the Crown pass to another of Clémence’s uncles,
metal because the goldsmiths weighed it, which
Louis’s younger brother, Robert d’Anjou. The 1317
was the practice in the inventory only for metal-
tempera panel painting by Simone Martini, Saint
work. In one hand Clémence’s sculpture of Saint
Louis de Toulouse Crowning Robert d’Anjou, now
Louis held a small crown, a reference to the Crown
in the Capodimonte Museum in Naples, was com-
he declined in order to fulfill his spiritual calling.
missioned by Robert to memorialize his brother
The other hand was poised in a blessing gesture,
and to legitimize Robert’s own claim to the throne
probably much like that depicted in a rock-crystal
(fig. 52). The family had celebrated his canonization
and silver-gilt reliquary arm of Saint Louis made at
only eleven years before Clémence’s own death.
the court of Naples between 1336 and 1338 for Clé-
Robert, his wife Sancia, and Clémence’s paternal
mence’s aunt Sancia de Majorque and today housed
grandmother, Marie de Hongrie, all owned or com-
at the Louvre (fig. 58). The forefinger and middle
missioned reliquaries for Louis’s body parts. Robert
finger point up, while the ring finger and last finger
commissioned a golden reliquary for the brain, and
curl.40
Robert and Sancia together gave another reliquary
of Louis to the convent of Santa Chiara. Louis’s
of Saint Louis de Toulouse but did not own a statue
mother, Marie, also commissioned a reliquary of
of the revered Saint Louis de France, like other
her son, and his image appears prominently on her
Capetian collectors, suggests that she identified
tomb.
herself as a member of the Angevin branch of the
family even more than as a member of her hus-
36
Clémence’s testament and inventory (86) both
The fact that Clémence had a prized sculpture
describe the sculpture of her sainted uncle that she
band’s Capetian line, which counted Louis IX as its
chose as a legacy for Philippe de Valois. A general
most distinguished member.41
sense of Clémence’s statue of Saint Louis can be
gleaned from a surviving sculpture of Saint Blaise
to whom she bequeathed this work of art, had only
made in Paris between 1280 and 1300, now in the
ascended to the throne five months before Clé-
cathedral of Namur (fig. 57). Standing at almost
mence’s death, so he was at a formative moment
37
38
Philippe de Valois, the new king of France,
Gifts to Individuals, Near and Far
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137
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Figure 57
138
Sculpture of Saint Blaise as a bishop, Paris, ca. 1280–1300. Silver-gilt with precious stones. Cathedral Treasury, Namur.
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Clémence, herself a beautiful gift sent to the
court of France, fostered links between the capitals of Naples and Paris by employing the power of gift giving and acting as an intermediary throughout the rest of her life. Several trends emerge from study of the group of gifts that Clémence gave and received: First, almost all the documented gifts that she offered during her lifetime and upon her death were works of the goldsmith.43 Among them, reliquaries, shrines, and religious sculptures were the most valuable and meaningful. Second, the gifts of art acted as surrogates not only for the queen but for their earlier donors. In her collection, the Peterborough Psalter denoted the queen’s close relationship with Pope John XXII, and the sculpture, chalice, and paten probably sent to Bari would have reminded her family of her when they visited their important religious foundation in Apulia. Third, gifts often bolstered a sense of community with loved ones, even when great distances
Figure 58 Reliquary arm of Saint Louis de Toulouse, made for Clémence’s aunt Sancia de Majorque, Naples, 1336–38. Silver-gilt, basse-taille enamels on silver, rock crystal. Musée du Louvre, Paris, OA 3254, Gift of Mme Spitzer, 1891.
separated them. Fourth, at the same time that the queen’s gifts united her with people of her own class across Europe, they also differentiated her from others. As seen in the last chapter, when the queen offered a fermail and textiles at the church
when he was establishing the priorities for his
of Saint-Magloire in 1318, she visibly distinguished
reign. This was a highly appropriate gift, since
herself, proclaiming her right to her royal status
Saint Louis de Toulouse was the new king’s uncle
and income. Fifth, the more gifts circulated, the
as well. Philippe’s mother was Marguerite d’Anjou,
more they accumulated importance, and Clémence
one of Clémence’s aunts from Naples and Louis’s
tried to keep works with important family prov-
sister. This gift sent a clear deathbed message from
enance in her family, practicing “keeping-while-
Clémence to the French king. Through this work of
giving.” She gave her sister, Béatrice, the shrine that
art, Clémence focused the new king’s attention on
had been sent to her in Paris by a kinswoman in
his own heritage and responsibility as an Angevin,
Naples. Finally, a well-chosen gift could convey a
encouraging him to interact favorably with Naples
particular message, as when the queen bequeathed
during his reign. Here, the dowager was once
to her cousin Philippe de Valois, the new king
again acting as an intermediary between her
of France, the sculpture of their mutual Angevin
Angevin natal family and the French court in Paris.
uncle, encouraging the king to favor Naples during
42
Gifts to Individuals, Near and Far
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139
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his reign. When considered together, the trajectories of the gifts that Clémence de Hongrie gave and received reveal her own local and pan-European social network and the impact that a foreign bride, her physical body, and her gift giving could have on cross-cultural exchange. The objects were even more precious than their weight in silver and gold because of their provenance, their subject matter or contents, and their ability to tie people together despite vast geographic separation.
140
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Conclusion Good and Glorious Exchange
As Clémence de Hongrie considered
identities through material culture and gift giving
her objects days before her death, she
in fourteenth-century France and Naples. Like all
recorded in her testament that she
projects that stem from interesting material, this
foresaw “good and glorious exchange” that would
one invites further inquiry.
move her earthly possessions to new owners.
Indeed, this study has considered the many forms
tional information that, while not art historical,
of exchange demonstrated in the documents sur-
is still important to the historical record. For
rounding this French queen, including loans, ritual
example, of the more than one hundred people Clé-
donations, personal gifts, sales, and testamentary
mence named and identified in her testament, only
bequests. Clémence was not alone in leaving her
those to whom Clémence gave joyaux have been
family to marry a foreign man or in circulating
the subjects of this book. Nonetheless, the care with
objects; her grandmother, mother, aunts, and
which she named and gave her staff money—a gift
sisters all did the same. The bodies of these royal
type only touched on in this study—suggests that
women were objects of exchange at the time of
she shared close bonds with them, just as she did
their marriages, and then through their patronage,
with people of her own rank in society outside
gift giving, and the circulation of works of art, the
her household. An engaging digital project would
women often continued in this intermediary role.
thus be to chart the different realms of her social
Analyzing the movement of their objects reveals
network: her household, her contemporaries in
their international social networks. The present
Paris, and her international connections. Similarly,
microhistory, focusing on one woman, has cast
the numerous institutions to which Clémence gave
light on larger trends surrounding art, patron-
gifts of money might be interesting to scholars
age, the art markets and networks people used,
studying the history of important hospitals, chari-
and the manner in which they established their
table institutions, and churches in France.
1
00i-218 Proctor-Tiffany 4p.indb 141
Clémence’s documents present copious addi-
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The geographical movement of the women
and shifts over time among these different patrons.
seen in this book is another area for further devel-
Fortunately, many of these documents have been
opment, and related projects might include the
published, and having them all available in a
study of many more mobile brides of the Middle
searchable format on a website would be invaluable
Ages. For example, with Tracy Chapman Ham-
for scholars in a number of fields, including art
ilton, who also has a long scholarly interest in
history, history, economic history, and historical
royal women and geography, I have co-edited a
geography. Such a project is under way through the
volume of essays, from a range of scholars, on the
Institut de recherche et d’histoire des textes.
movement of women and their objects in medi-
eval Europe. In Moving Women Moving Objects
documents is the irregular, often phonetic spell-
(500–1500) it is exciting to see and document the
ing that was common in medieval documents.
mobile Scandinavian, Byzantine, Russian, French,
The same word can be spelled in different ways,
German, and Spanish women who transferred
even in adjacent lines. Thus tagging would be an
their jewelry, icons, reliquaries, manuscripts, and
important characteristic of such a digital project,
even shoes in the Middle Ages.
so that if one searched for a term, all the different
Geospatial mapping of object movement
spellings of it would appear. Other difficulties
and of women’s impact on urban space, as I have
remain as well. As Marguerite Keane observes,
done here, but for a wide range of women whose
using databases to compare these documents can
documents survive, is another context for discov-
“flatten,” or oversimplify, them because sometimes
ery. Tracy Chapman Hamilton and I began such
the very same objects can be described in quite
a project at the Samuel H. Kress Digital Mapping
different terminology that a computer program
and Art History Institute at Middlebury College.
might read as denoting different objects.4 Another
We mapped the residences, burial sites, commis-
challenge for textual analysis, and therefore for a
sions, marriage sites, and processions of Clémence
potential database of testaments and inventories,
de Hongrie, Jeanne de Navarre, Jeanne de Bour-
is the sliding meanings of words over time.5 Con-
gogne, Mahaut d’Artois, Jeanne d’Évreux, and
text is key. So even though having as many of these
Blanche de Navarre in fourteenth-century Paris.
documents as possible available in one digital place
We envision expanding this project, which we are
would be extremely useful, a searchable database
calling Mapping the Medieval Woman, to include
would just be a starting point for the necessary
as many women as possible. A related and already-
human intellectual work of interpreting them.
available large-scale geospatial mapping website is
ALPAGE (AnaLyse diachronique de l’espace urbain
ingful objects at the same time as it has attempted
PArisien: approche GEomatique), which examines
to study the larger collection of Clémence de Hon-
the history of the urban fabric of Paris over time
grie. A similar approach might be useful for
using a variety of filters.
documents like the execution of the testament of
Jeanne d’Évreux. Her document does have section
2
3
142
One of the challenges in working with these
Textual analysis would be yet another way
This book has focused on particularly mean-
of comparing and working with a larger group of
totals like Clémence’s, so it would be possible to
inventories and testaments together to see patterns
make a pie chart of the relative values of her types
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of belongings, as seen here for Clémence in chapter 3. Each individual document lends itself to this process with greater or lesser success, depending on the amount of information the clerks recorded or omitted. In inventories and testaments, these documents of “good and glorious exchange,” we see that women sent political messages, stayed in touch with other far-flung kinswomen and friends, and built the reputation of their families through gifts as they launched their works of art into motion.
Conclusion
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143
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Appendix 1: The Testament of Clémence de Hongrie
Reprinted from Jean Pierre Moret de Bourchenu, marquis de Valbonnais, ed., Histoire de Dauphiné et des princes qui ont porté le nom de dauphins, particulierement de ceux de la troisieme race, descendus des barons de la Tour-du-Pin, sous le dernier desquels a été fait le transport de leurs états à la couronne de France (Geneva: Fabri & Barrillot, 1722), 2:217–21. I have numbered the sections for easy reference. 1. En nom de la sainte Trinité du Pere du Fils & du saint Esprit, Amen. Nous Clemence par la grace de Dieu Royne de France & de Navarre; faisons assavoir à tous que nous attendens & considerens que le Roy des Roys Tout-puissant, qui tout le monde crea de nient, a mis fin & terme à toute creature que l’on ne peut passer, & qu’il a fait nostre char humaine corrumpable & mortelle pour la transgression de nostre premier Pere, & pensant & regardant que riens n’est plus certain que la mort, & que l’heure d’ycelle est toute incertaine; & voulans & desirans les biens transitoires de cette mortelle vie, permuer & échangier par bon & glorieux échange es biens permanens de vie perdurable, à ce que nous puissiens rendre bon compte & loïal au souverain Seigneur de l’administration qu’il nous a commise, saine de cuer & de pensée par bon entendement & toute avisée, combien que nous soyons infermes de corps, de nous & des biens que Dieux nous a donné en ce siecle. Ordonnons & disposons par ce present Testament que nous faisons de certaine science selon la forme & en la maniere que il s’ensuit. Premierement, nous rendons & donons nostre ame à son Createur nostre Seigneur Jésus-Christ le Benoist Fils Dieu, & à sa tres douce Mere la Glorieuse Vierge Marie, & à tout la Court de Paradis. Et ellisons nostre sepulture de tout nostre corps entierement, & toutes les entrailles, si nous mourons en Provence, & estre puet & bonnement en l’Eglise ou Moustier des sereurs de l’Ordre des Prescheurs, de Nostre-Dame de Nazareth de Ays en Provence, & se il avenoit que nous mourissiens es parties de France, nous voulons & ordenons, si l’on le
00i-218 Proctor-Tiffany 4p.indb 145
peut faire selon la teneur du Privilege que nous avons sur la division de nostre corps, que nostre cuer soit traiz hors de nostre corps, & que le corps & les entrailles ensemble soient mises en sepulture, en l’Eglise des Freres Prescheurs de Paris, & que le cuer soit portez & ensevelis en ladite Eglise Nostre-Dame de Nazareth d’Ays, en une Chapelle qui y sera faite semblable à celle de nostre ayol le Roy Charles de Secile, dont Dieux ayt l’ame, à l’opposite d’icelle en maniere de Croix, & que il soit guardez honnêtement en ladite Eglise des Freres Prescheurs à Paris, jusques à tant que l’on le puisse porter à ladite Eglise de Nostre Dame de Nazareth d’Ays en Provence. Et voulons & ordenons que nostre sepulture, nostre obseque & nos aumônes au temps de nostre Enterrement soient faites & faits au lieu où nostre corps jarra honorablement selon nostre état, à l’arbitre & à l’ordenance de nos Executeurs cy-dessous nommez, selon ce que bon leur semblera. 2. Item, voulons que à l’enterrement de nostre cuer ait quatre cent livres de cire, & que il soit couverts de draps de soye jusques à la valeur cinquante livres parisis. 3. Item nous voulons & ordenons expressement que toutes nos dettes soient payées, tant à nos familiers pour leurs gaiges, & autres dettes que nous leur pourrions devoir, comme à autres personnes, & nos atorfaits amender selon la discretion, & le jugement de nos Executeurs cy-dessous écrits. 4. Item nous laissons au Couvent des Sereurs de Nostre-Dame d’Ays dessusdictes mil livres parisis, pour acheter rentes par la main de nos Executeurs, desquelles sera fondé un Autel ou dit Moustier en ladite Chapelle, en l’honneur de Monsieur Saint Jehan Baptiste & de S. Michel l’Arcange, & sera établis un Frere chascune semaine, pour chanter une Messe tous les jours perpetuelment pour les ames de nostre tres-chier Seigneur Monsieur le Roy Looys, de nostre pere & de nostre mere dont Dieux ayt les ames, & de nous & de tous ceux de nostre lignaige. Et voulons & ordenons expressement que quatre fois en l’an; c’est assavoir le jour de nostre
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sepulture se nous gisons là, ou de nostre cuer, se nous ny gisons, & lendemain de la S. Jehan Baptiste, & lendemain de la S. Michel, & le cinquiéme jour de Juing que nostre tres-chier Seigneur le Roy Looys morut, soient faits anniversaires, & pitances perpetuelment desdites rentes par le Prieur dudit Moustier, qui pour le temps sera aus Freres & aus Sereurs d’iceluy. Et voulons que en chascun anniversaire soit faite pitance de soissante sous parisis au meins. 5. Item, nous voulons & ordenons que ledit Prieur dudit Moustier doigne & soit tenus de donner chascun an aux quatre jours dessusdits au Couvent des Freres Prescheurs d’Ays pour faire les anniversaires aux dits quatre jours, si comme dessus est dit en pitance pour chascun desdits quatre jours, vingt-cinq sous parisis. 6. Item, nous voulons & ordenons que ledit Prieur paye par chascun an à une fois, c’est assavoir la veillie de la S. Michiel aux Freres du Couvent de Cisteron ou à leur messaige, pour faire en l’Eglise dudit Couvent lesdits anniversaires esdits quatre jours, si comme dessus est dit cens sous parisis. 7. Item, nous laissons & denons pour faire ladicte Chapelle ou Moustier de Nostre-Dame d’Ays où nostre corps jarra se nous mourons es Provence, & nôtre cuer jarra tant seulement se nous mourons en France, & nostre sepulture condecent, si comme il appartiendra deux mille livres parisis, & que ladite monnoie soit mise en dépost en lieu segur & certain du Moustier dessusdit, & que de iceluy dépost aucunes bonnes personnes de l’Ordre, qui à ce seront établies & députées par nos Executeurs ayent les clés, lesquelles personnes administreront la monnoie necessaire & convenable pour ladite Oeuvre faire, & rendront chascun mois compte, & toutes fois que il en seront requis à nos Executeurs ou ceux qui à ce ou par eux seront députez, & se ladite monnoie ne souffisoit à faire & parfaire l’Oeuvre dessusdite, comme dessus est dit, nos Executeurs bailleront & paieront ce que il conviendra à la parfaire, & se ladite Oeuvre accomplie avenamment comme dessus dit, il demouroit desdictes deux mille livres aucune chose, ce qui demourroit seroit converti & mis en l’Oeuvre de ladite Eglise, au regart & à l’ordenance de nos Executeurs en lieu convenable & profitable.
146
8. Item, nous voulons que à l’Enterrement de nostre cuer soit faite aumône aux povres par la main de l’un de nos Executeurs ou de nostre Aumosnier, qui pour le temps sera de cinquante livres parisis. 9. Item, nous denons & laissons pour la Conqueste de la Terre Saincte à payer une fois tant seulement deux cent & quarante livres parisis. 10. Item, à nostre chiere suer Bietrix Dauphine de Viennoys nostre Image de Nostre-Dame d’argent aux Tableaux peins. 11. Item, à Reverend Pere en Dieu, nostre amé Confessor Freres Jacques Evêque de Cornoaille, nos Tablettes d’argent à l’Annonciation de Nostre-Dame. 12. Item, à nostre chiere Cousine Madame Bietrix de Viennois Dame d’Arlay, nostre Image de S. Jean Baptiste avec les Reliques qui y sont. 13. Item, à Messire Jehan Beaumont nostre amé & feal Conseiller Seigneur de Sainte Geneviéve quatre cent livres parisis. 14. Item, à Missire Pierre de Villepareur, Missire. Jehan de la Fresnaie, Missire Jehan Druget & Missire Pierre Saunier nos amez Chevaliers, à chascun deux cent livres parisis. 15. Item, à Madame Pasque Famme Missire Jehan Druget trois cent livres parisis; & à Marguerite de Nantueil nostre Damoiselle, nous laissons deux cent livres parisis. 16. Item, à Agnes de Bolonnois, Ysabeau de Til, & Jehanne de Lorriz nos amées Damoiselles, a chascune cent livres parisis. 17. Item, à Madame Jehanne la Baillie de Varde cent livres parisis. 18. Item, à Missire François de Montflascon, Missire Nicole de Cailloüe, & Mestre Guillaume de Fourqueux, nos amez Clercs & Conseillers, à chascun trois cent livres parisis. 19. Item, à Missire Jehan Cartaut, Missire Guillaume de Poissi, & Missire Thibaut de Meaux, nos amez Chapelains, & à Missire Jacque nostre. . . . . . . à chascun deux cent livres parisis. 20. Item, à Frere Roger Clarot de l’Ordre des Prescheurs nostre Chapelain, quatre vingt livres parisis. 21. Item, à Missire Thierry, nostre Chapelain, cent livres parisis.
Appendix 1
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22. Item, à Perrotin de Naples, & Colin de Bequerel nos Escuyers, à chascun deux cent livres parisis. 23. Item, à Philippe de Nantuel, pour les bons services de sa mere & de ly & à Pierre de la Forest nos Escuyers, à chascun huit vingt livres parisis. 24. Item, à Jehan Petit-pas, Jehan de Buichon, Jacques de Boulonois, Robert de Mauvinez, Gilebert d’Alboy, Raymon Vincent, Perceval son fils, Guillaume Saunier, Jehan de S. Marcel, Guillaume Druget, & Pierre de Seure nos Escuyers, cent livres parisis à chascun. 25. Item, à Gremon de Pigon, Jehan de Cailloüe, nos Escuyers & Baudet nostre Fauconnier, Anchier, nostre Huissier de Sale, & à Jamon de Pigon nos Escuyers, & à Marie de la Chambre fame jadis feu Adam le Sautier, à chascun quarante livres parisis. 26. Item, à Jehan de Gagni nostre Taaillieur, & à Clemance nôtre filliole sa femme, quatre-vingt livres parisis. 27. Item, aux enfans Madame Pasque, & Marguerite de Nantueil dessusdites, qui sont nos fillieus ou nos fillioles, à chascun cent livres parisis. 28. Item à chascun de nos autres fillieus & fillioles, où que ils soient, vingt livres parisis. 29. Item, à Missire Pierre Curé du Mez le Mareschal, Missire Jehan Chapelain de nostre dit Confessor, & Jehannette nostre Lavendiere, à chascun seize livres parisis. 30. Item, au Clerc de nostre Chapelle, qui pour le temps sera vingt livres parisis. 31. Item, à Renier de Roye nostre Procureur, trente livres parisis. 32. Item, à Jaquemin de Loraz, & à sa famme, quatre- vingt livres parisis. 33. Item, à Gilet de l’Eschansonnerie, & à Jehannette sa femme, quarante livres parisis. 34. Item, à Katherine nostre Esclave que nous feimes baptisier, cinquante livres parisis. 35. Item, à Adam de Meaux, Mestre Pierre de la Mote Hervart de la Cuisine, & à Geffroi le Saucier, à chacun quarante livres parisis. 36. Item, à Geffroi Portier du Temple, & à Colin nostre Portier à chascun trante livres parisis. 37. Item, à Jarqueau & Robinet de Eschansonnerie, Guillot de Meaux Garde de Long-Champ, Jehan de
Maineville Charretier, Raulet de la Fruitterie, Charlot, Colin, Chevance Folet, fous de Tonnel, Perrot le Potagier qui fut de la Cuisine, Robin & Duchar, & Jehannet de la chapelle, à chascun vingt livres parisis. 38. Item, à Jehan Hurtaut de la Panneterie, Jehan de Nantueil, Guerin de la Forge, Clavel qui nous servi en Provence, Guillotin Escuyer de nostre Confessor dessusdit, le Camus qui fut nostre Messagier, & à Jehan Beson qui fut de nostre Chambre, & à Guillot de Mont-pinçon Vallet de nostre Chambre, à chascun seize livres parisis. 39. Item, à Lorencin, Jehannot de Longueville, Huguenin de la Cuisine qui prés nous ont servi, Colin le Messagier, Guiot le Breton Messagier, Jehan Damblegin, Jehannot le Vallet Madame Pasque, Monnet de la Saucerie, le Lorrain Duchar, Colin de Meaus, Guillot le Mairre, Jehannet Charretier aux Damoiselles, Mahiet des Palefrois, Symonet des Palefrois, Martin Petruche le Ner, Jehannot le Page des Chars, Jehannot de Meaus Vallet de la Fourrerie, & à Phelippe de Meaus de la Chambre aux Deniers, à chascun dis livres parisis. 40. Item, à Chapellet, & à Guillotin le Petit, à chascun huit livres parisis. 41. Item, au Sourt, à Coutrat le Ner, au Bourgat de l’Eschansonnerie, & au Bouvier ayde de la Cuisine, à chascun cent sous parisis. 42. Item, nous voulons & ordenons que se aucuns de nos Servitiaus qui nous ont servie, estoient oublié à mettre en ce present Testament que convenable remun eration leur soit faite par nos Executeurs cy-après écrits, consideré le temps que il nous auront servie, & la qualité des services & de leur personne. 43. Item, nous laissons & donnons au Couvent des Freres Prescheurs de Paris, où notre corps jarra, deux cent livres parisis pour nostre Obit. 44. Item, à la grant Meson Dieu de Paris, se nous morons en France, nostre lit où nous jarrons à l’heure de nostre mort, où se nous mourrons autre part, quatre vingt livres parisis. 45. Item, nous voulons que nos Executeurs ayent toutes naus robes quelles que elles soient, lesqueles nous neauron données ou laissées, & que il les doipnent pour Dieu, à povres gentils fammes, Vierges, veuves & orphelines, selon ce que bon leur semblera.
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46. Item, nous laissons au Couvent des Sereurs Saint Pere au Chastel de Naples, de l’Ordre S. Dominique, quarante livres parisis. 47. Item, au premier Chapitre general des Freres Prescheurs, puis nostre mort, quarante livres parisis. 48. Item, au premier Chapitre general des Freres Mineurs autant. 49. Item, au Couvent des Freres Mineurs de Paris, quarante livres parisis. 50. Item, au Couvent des Freres Saint Augustin de Paris, vingt livres parisis. 51. Item, au Couvent des Freres du Carmel de Paris, dix livres parisis. 52. Item, au Couvent des Freres du Val des Escoliers, dix livres parisis. 53. Item, aux Freres de Chartreuse de Paris, vingt livres parisis. 54. Item, aux Bons Enfans emprés, la Porte Saint Victor de Paris, dix livres parisis. 55. Item, au Couvent de Saint Materin de Paris, dix livres parisis. 56. Item, au Couvent de Saint Croix de Paris, dix livres parisis. 57. Item, au Couvent Saint Guillaume de Paris, dix livres parisis. 58. Item, au Couvent où Dieu fu bouliz de Paris, dix livres parisis. 59. Item, à la Meson des Aveugles de Paris, cinquante livres parisis. 60. Item, aux Filles Dieu de Paris, vingt-quatre livres parisis. 61. Item, aux Beguines de Paris, dix livres parisis. 62. Item, aux Escoliers Saint Nicolas du Louvre, dix livres parisis. 63. Item, a la Meson de la Sauçaye, vingt livres parisis. 64. Item, à toutes les Mesons Dieu de Paris, à diviser par la main de nos Executeurs selone ce que il leur semblera cent livres parisis. Celle mise hors à qui nous avons devant laissié. 65. Item, au Couvent des Sereurs de Montargis, cinquante livres parisis. 66. Item, à la Meson Dieu de Courb[eil] vingt livres parisis.
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67. Item, à la Maladerie de Courb[eil] dix livres parisis. 68. Item, à toutes les autres Mesons Dieu de nostre terre excepté Baugency, à chascune cent sols parisis. Et à la Meson Dieu de Baugency, dix livres parisis. 69. Item, à chascune des Maladeries de nostre terre, cent sols parisis. 70. Item, au Couvent de Saint Antoine les Paris, quarante livres parisis. 71. Item, au Couvent de Nemox des Sereurs, cinquante livres parisis. 72. Item, nous laissons & donons à nostre tres-chier Seigneur & tres amé Cousin le Roy de France nostre image de Monsieur Sainct Looys, fait en la maniere d’Evesque qui tient son doit, ainsi comme il est à tout le doit dessusdit. 73. Item, à nostre tres-chiere & tres-amée Cousine la Royne de France regnant à présent nostre chef des onze mille Vierges à tout le sanctuaire, & voulons que nos Executeurs le fassent parfaire par Jehan de Montpellier qui l’a encore. 74. Item, à nostre tres-chier Cousin le Comte d’Alençon, nostre meilleur Fermail que nous ayens en France. 75. Item, à notre chier Cousin le Duc de Bourbon nostre meilleur Fermail empres. 76. Item, à nostre chier cousin le Comte de Beaumont nostre meilleur Fermail emprès les deux. 77. Item, à nostre chier neveu le Dauphin de Viennoys nostre bon Chapel gros que Symon de Lisle fist. 78. Item, nous donnons & laissons à l’Abbé & ou Couvent S. Denis de France, trante livres parisis de annuelle & perpetuelle rente, à prendre & à avoir desdits Religieux sur nostre terre de Wardes en Normandie, aprés la mort de nostre amé Chevalier Missire Jehan de la Fresnaye, auquel nous y avons donné cent livres parisis de rente à sa vie par nos autres Lettres, & jusques à la mort dudit Chevalier, lesdits Religieux les prendront sur nostre autre terre de Normandie, pour faire chanter chascun jour perpetuelment une Messe de mors en une déterminée Chapelle, par un des Moines de leur Eglise, pour les ames de nostre chier Seigneur le Roy Looys que Dieux absoille, & la nostre & les ames de tous nos amis. 79. Item, nous laissons & donnons trente livres parisis de rente annuelle & perpetuelle à nos Eglises de
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Courbeil. C’est assavoir à l’Eglise de Saint Spire, dix huit livres parisis. Et à l’Eglise Nostre Dame, douze livres parisis, pour faire chascun mois le Service dudit nostre chier Seigneur le Roy Looys, & le nostre. Et voulons que nos Executeurs à chatent ladite rente, toute amortie de nôtre meuble se tant y en a les choses dessusdictes accomplies de démourant, & se tant n’en y avoit; Nous voulons & ordenons que les Chapitres desdictes Eglises les ayent & pregnent sur nostre terre de Normandie. 80. Item, nous voulons & ordenons encore que se accomplies toutes les choses cy-dessus dictes demouroit de nos biens muebles, que nos Executeurs en ayent & pregnent jusques à la value de quatre mille livres parisis, pour donner à povres pour Dieu par leur main en nostre terre de nostre Doaire, & se tant n’en demouroit, nos dettes & nos executions payées, si voulons nous que il ayent & doignent ce que il demourra desdits meubles pour Dieu si comme dessus est dit. 81. Item, nous faisons, laissons & instituons en la meilleure maniere que nous poons nostre hoir universel, en tout ce qui demourra de nos biens, tant en muebles come en heritages & en conques quelconque il soient, nostre derniere volonté si comme dessus est escript entierement & parfaitement payée & accomplie, nostre chier neveu Ymbert Dauphin fils de nostre suer la Dauphine, & voulons que ce ly vaillie quant audit remanant, tant pour cause de heredation ou d’institution ou de lays comme en la meillieure maniere qui l’y puisse valoir de droit & de coustume. 82. Item, nous deffendons expressement à tous nos Executeurs, & à chascun par soi que il ne baillent ou délivrent nuls de nos biens muebles joiaux d’or ou d’argent, chevaus, pierces prétieuses ou autres choses que les que elles soient, à quelconque personne de quelconque autorité que elle soit, jusques à tant que il aient receu en bonne monnoye comptant, le juste prix des choses que il voudront bailler & délivrer, mais toutes voyes nous voulons bien que il les puissent ballier en payemens à ceus à qui nous devrons ou à qui nous aurons laissie, receu de eus quittance, & ce par aventure pour raison d’aucune solemnité oubliée à mettre ou de desheredation, ou pour quelconque autre cause, cette présente ordination ne puait valoir comme Testament. Nous voulons que elle vaillie
par droit de Codicille ou comme ordination de quelconque derniere volonté, & en la meilleure maniere que elle pourra valoir de droit & de Coustume, & à ces choses toutes & à chascune par soi faire enteriner & accomplir, nous establissons, faisons & ordenons nos Executeurs, nostre treschier Seigneur & Cousin Monsieur Phelippe par la grace de Dieu Roy de France, & nos chiers Cousins Missire Looys Duc de Bourbon, & Missire Robert Comte de Beaumont, Reverens Peres en Dieu, Frere Jaques Evesque de Cornoaille nostre Confessor, & l’Abbé de Sainct Denis en France, & nos amez & feaux Conseillers Frere Pierre de la Palu de l’Ordre des Prescheurs, Missire Jehan de Beaumont, Seigneur de Saincte Genevieve, & Missire Pierre de Villepereur Chevalier, Missire François de Mont-Flascon, Missire Nicole de Cailloue, & Mestre Guillaume de Fourqueux nos Clers, ausquels nous donnons pooir autorité & mandement especial, de prendre, saisir & lever de leur propre autorité, sans requerir congié, ne juge tous nos biens, muebles, heritages & conques quelque part que il soient, & en quelque chose que ce soit, & tout ce en que nous poons avoir aucun droit, & tous nos droits quels que il soient pour faire enteriner & accomplir les choses devant dites, & des maintenant pour le temps d’alors nous nous en dessaisissons en tant comme nous poons & transportons à eus la possession, & saisine de toutes ces choses pour vendre esploitier & obligier jusques au plain & entier accomplissement de ceste nostre derniere volenté. Voulons encore que se en ce présent Testament, par lequel nous voulons que tous les autres soient rappellez, & les quelx des maintenant, nous rappellons avoit aucune chose doubtable ou oscure que nos Executeurs dessusdicts le puissent desclairier & enterpreter, si comme il leur semblera bon & raisonnable, & se il estoit ainsi que tous nos Executeurs dessusdicts ne voulussent ou ne poissent vaquer & entendre à faire traitier & executer les choses toutes dessusdictes ou aucunes dicelles. Nous voulons expressement & ordenons que quatre ou trois ou deux d’iceux du consentement & de la volenté nostredit tres chier Seigneur le Roy façent & accomplissent, & puissent faire & accomplir du tout en tout, les choses dessusdictes, & leur donons pooir & autorité de faire enteriner & accomplir en tout & pour tout, autant comme se tuit y estoient présent.
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83. Item, nous voulons & commandons que nostre livrée soit faite à cette presente Toussains, de Draps & de Pannes à tous ceux qui en orent à nostre derniere livrée, en témoins desqueles choses à ce que elle soient plus entierement & plus parfaitement guardées, nous avons fait sceller ce present Testament de nostre seau, & signer de nostre signet, & avons requis nos amez & seaus Clers & Tabellions publiques, & dessous escrits que il publient ce présent Testament, & signent de leur signet, & en façent plusieurs en cette fourme se mestier est & il en sont requis. Ce fut fait l’an de grace mil trois cens & vingt & huit, le cinquiéme jour d’Octobre en nostre Chambre du Temple, présens à la publication, par devant nous Reverent Pere en Dieu Frere Jaque Evesque de Cornoaille, Missire Pierre de Villepereur, Missire Jehan de la Fresnaie, & Missire Pierre Saunier, Chevaliers, Missire Guillaume de Cailloue, Mestre Jaque le Physien, Missire Guillaume l’Aumosnier & Missire Thiery nos Familiers, & Jehan de Faeucourt, témoins à ce appellez & priez. 84. Et ego Theobaldus de Meldis Imperiali autoritate publicus Notarius, prædicti Testamenti confectioni,
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hæredis institutioni, Executorum constitutioni & omnibus aliis supra scriptis, in præsentia præfatæ Dom. Reginæ, per me de verbo ad verbum lectis & publicatis, unà cum prædictis testibus præsens, interfui & mandato ipsius, Dom. Reginæ ea propria manu scripsi signoque meo, salvo requisitus signavi, scilicet anno Domini, die, mense, & loco prædictis, indictione verò undecimâ Pontificatus Sanctissimi Patris & Dom. Dom. Johannis Papæ Vicesimi secundi, anno decimo tertio, Constat de Rasuris legatis Dom. Pascæ & Johannis de Media-villa Cadrigarii, ac Guillelmi de Montpinçon, quæ feci de præcepto ejusdem Dom. Reginae. 85. Et ego Guillermus de Fulcosa dictæ Dom. Reginæ Clericus publicus, apostolica & imperiali autoritate Notarius, in omnibus & singulis præmissis, unà, cum dictis Notario & testibus præsens interfui, meumque signum, in hoc præsenti Testamento unà cum signo dicti Notarii apposui ab ipsa Dom. Regina requisitus & jussus in testimonium præmissorum sub anno Dom. mense, die & loco prædictis.
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Appendix 2: The Inventory of Clémence de Hongrie
Reprinted from Douët-d’Arcq’s edition, keeping his numbering. I have compared his publication to the original, and he was meticulous. He changed the Roman numerals in the original into Arabic numerals.
❧ Inventaire et vente après décès des biens de la reine Clémence de Hongrie, veuve de Louis le Hutin, 1328. L’inventoire des biens moebles madame la royne Clémence, jadis fame du roy Loys jadis rois de France et de Navarre, que Diex absoille, laquelle trespassa au Temple à Paris, le joedi xiij jours en octobre, l’an mil ccc xxviii; laquelle inventoire fut commencié en la présence mons. de Bourbon, mons. de Beaumont, mons. l’abbé de Sainct Denys, mons. l’évesque de Cornoaille, missire Pierres de Villepereur, chevalier, missire François de Montflascon, missire Nicole de Calloue, mestre Guillaume de Fourqueus, exécuteurs, aveques autres, du testament de ladite dame, et Jehan Billouart et Pierres des Essars, commis de par le roy à veoir et foire faire faire les diz inventaires, par commission du roy, donc la teneur est après escripte, le mardi xviij jours oudit mois, l’an dessus dit. Et y furent nos seigneurs présens, le mardi, le merquedi, le joedi et le vendredi que l’inventoire des gros joyaux se fist, et puis s’en départirent aucuns, c’est assavoir: mons. de Bourbon, mons. de Beaumont, et mons. l’abbé de S. Denys. Et le dénombrement de l’inventoire fut fait, présent les autres.
premièrement les choses qui estoient a paris ou temple. Joyaux présiés par Symon de Lille, Jehan Pascon, Félix d’Auccurre, Jehan de Toul, Pierres de Besançon et Jehan de Lille, tous orfeivres. 1. Premièrement. Ung bon chappel d’or ouquel il a 10 gros balois 50 petite emeraudes et 40 grosses pelles, présié 800l par. Lessié au Dalphin par le testament et
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livré par sa lettre la veille S. Symon et Saint Jude l’an ccc xxviii à mons. Ymbert, chancellier dudit Dalphin, et à un sien chevalier. 2. Item un bon chapel sus deux vergetes où il a 6 balois, 6 emeraudes, 48 grosses pelles, 6 petis rubis d’Alixandre et 6 petites emeraudes, prisié 400l parisis, vendu au Roy et livré à lui par Johan Billouart et à Pierre des Essars, xxiij jours d’octobre, l’an mil ccc xxviii. 3. Item un bon chapel d’or, ouquel il a 4 gros balois, 4 grosses emeraudes, 16 petis balois, 16 petites emeraudes, 80 pelles et 8 rubiz d’Alixandre; prisié 600l vendu au Roy et livré à lui par Johan Billouart et Pierre des Essars le jour dessusdit. 4. Item, un chapel dépécié, où il a 6 grosses émeraudes, donc l’une est dépécié, et 10 troches, de 40 perles en chascune troche, 3 rubis d’Alixandre: présié 160l par.; vendu au Roy et livré à lui par J. et P., le jour dessusdit. Somma prima de ces 3 chapeaux vendus . . . . . . . . 1160l par. 5. Item, 1 doit où il a 4 saphirs, donc il en y a 3 quarrez et un cabeu, présié 40l par.; vendu au Roy et livré à lui par Johan Billouart et Pierres des Essars, à Saint Germain en Laye, le jour dessusdit. 6. Item, 1 doit où il a 3 saphirs et une truquoise présié 16l p.; vendu au Roy et livré à lui par J. et P. le jour dessusdit et ou lieu dessusdit. 7. Item, un autre doit où il a 7 gros balois, percié, presie 100l; vendu au Roy et livré à lui par Johan Billouart et P. des Essars, le jour dessusdit. 8. Item, un doit où il a 2 rubiz d’Oriant et 3 émeraudes en anneau; chascun des rubiz, 200l p., et les emeraudes ensemble 60l, valent tout : 460l; vendu au Roy et livré à lui par J. Billouart et P. des Essars le jour dessusdit. 9. Item, un autre doit où il a 5 rubiz d’Oriant, 3 emeraudes carrées et 3 diamans d’esmeraude entour un des rubiz en anneau, présié ce doit ensemble 200l par.; vendu au roi, livré à lui par les dessusdis le jour dessusdit. 10. Item, un autre doit ouquel a un gros daimant en anneau, et 3 petis daymans en un annel et 2 petis rubiz
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et un annel et un daymant ou millieu et 2 petites emeraudes; présié tout ensemble 60l vendu au Roy et livré à li par les dessusdis le jour dessusdit. 11. Item une belle emeraude en un annel, présié 20l. 12. Item un annel où il a un cressant d’un rubi et un d’une emeraude, présié 10l par. valent pour tout 30l; vendu au Roy et livré à lui par les dessusd. au jour dessusdit. 13. Item, un escrin d’argent, esmallié; présié 20l; vendu au Roy et livré à lui par les dessusd. au jour dessusd. 14. Item, uns tableaus d’or, semés de pierrerie; présié 100l par., vendus au Roy et livrés à lui par les dessusdis au jour dessusdit. 15. Item, une petite croix d’or où il a reliques et une émeraude ou millieu, 4 balois, 4 petites émeraudes, 12 grosses perles et 6 petites: 260l par.; vendus au Roy et livrés comme dessus. 16. Item, 17 saphirs en un neu, donc il en y a un enchassonné, 70l par., vendu au Roy et livré comme dessus. 17. Item, une bourcete broudée d’or, semée de perles et de doublez; et dedens la bourse a un saphir d’Oriant percié; présié tout 16l par., vendu au Roy et livré comme dessus. 18. Item, un doit ouquel est le gros balloy Madame, présié 1000l par., vendu à la compagnie des Bardes, ledit pris. 19. Item, un petit annel d’un rubiet, 8l par., vendu à la royne Johanne d’Evreus. Seconda somma alia. . . . . . . . . . . . . . . . . . . . . . . . . 2380l par.
Fermaux et autres choses. 20. Premièrement. Un fermal à une grosse émeraude, 4 ballois, 4 petites émeraudes et 16 perles, 60l par., donné à mons. de Beaumont à qui Madame le lessa par son testament, et livré à lui, à Saint Germain en Laye, xxiij jours en octobre, l’an xxviii, par J. Billouart et P. des Essars. 21. Item, un autre fermal quarré, où il a un balay, 4 émeraudes et 16 perlez, présié 150l, ballié à Johan Billouart pour ballier à mons. d’Alençon à qui Madame l’avoit lessié en son testament.
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22. Item, un autre fermail où il a un saphir ou milieu, des armes de France, à 4 balais et 16 perles, prisié 50l par. Mons. de Bourbon l’a, pour ce que Madame li avoit lessié en son testament. 23. Item, un fermail ront à pent-à-col où il a une esmeraude parmi et 6, que balois que rubis, et 3 grosses perles, 50l par.; vendus au Roy et livrés à lui comme dessus. 24. Item, un autre fermail où il a un baloy, 2 saphirs et 8 perles d’Escosce, prisié 50 l par.; vendu au Roy et livré comme dessus. 25. Item, un autre fermail à 6 balois, 6 perles et une émeraude, prisié 45l par.; vendu au Roy et livré comme dessus. 26. Item, un autre, en guise d’une M, où il a un ruby parmi et autre menue perrerie, prisié 30l par.; vendu au Roy et livré comme dessus. 27. Item, un fermail à une grosse émeraude, 4 rubis et 4 emeraudes, 12 perlez et 4 petis saphirs, présié 35l par.; vendu au Roy et livré comme dessus. 28. Item, un autre fermail où il a un saphir parmi, 4 balais et 12 perles, présié 24l par.; vendu au Roy et livré comme dessus. 29. Item, un autre fermail à 9 perles et 3 saphirs, présié 20l parisis; vendu au Roy et livré comme dessus. 30. Item, un autre fermail à deux papegaus, 6 perles et 1 baloy, présié 18l par.; vendu au Roy et livré comme dessus. 31. Item, un autre fermail, à deux pies, à un ballay et 7 perles et 2 emeraudes, présié 24l par.; vendu au Roy et livré comme dessus. 32. Item, un autre fermaillet à un camahyeu, et un pou de perrerie entour, présié 6l par.; vendu au Roy et livré comme dessus. 33. Item, un fermaillet en guise d’un B, et y a un Saint Johan, présié 8l par.; vendu au Roy et livré comme dessus. 34. Item, un A esmallié de France et de Hongrie, présié 60s par.; vendu au Roy et livré comme dessus. 35. Item, un coc semé de perrerie à une perle de Compiègne, présié 7l par.; vendu au Roy et livré comme dessus. 36. Item, un autre petit fermaillet semé de perrière, présié 6l; vendu au Roy et livré comme dessus.
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37. Item, un Pent à col d’un saphir, dedens une boursete, présié 100l par.; vendu au Roy et livré comme dessus. 38. Item, une loupe de saphir grosse, encerclée en or, présié 60s par.; vendu au Roy et livré comme dessus. 39. Item, un bien gros saphir à Pent à col, présié 100l par.; vendu au Roy et livré comme dessus. 40. Item, un gros saphir emprès à Pent à col, présié 10l; vendu au Roy et livré comme dessus. 41. Item, une louppe de saphir assis en argent, à Pent à col, présié 60s par.; vendu au Roy et livré comme dessus. 42. Item, un autre saphir à Pent à col, présié 100l par.; vendu au Roy et livré comme dessus. 43. Item, un autre saphir cler, à Pent à col, présié 16l par.; vendu au Roy et livré comme dessus. 44. Item, un autre saphir à Pent à col, plat, prisié 4l par.; vendu au Roy et livré comme dessus. 45. Item, une liace de perles où il a 21 fil et en chascun fil 20 perles, 2s p. pour pièce, vault le fil 40s par.: valent 42l par.; vendu au Roy et livré comme dessus. 46. Item, d’une autre liace où il a 7 filz et en chascun fil 20 perles, présié 3s 6d la pièce, valent sur le tout 24l 10s par.; vendus au Roy et livrés comme dessus. 47. Item, une autre liace où il a 9 fils, en chascun fil 20 perles, 18d pour pièce, valent sur le tout: 13l 10s par.; vendu au Roy et livré comme dessus. 48. Item, une autre liace de perles où il a 8 fils et en chascun fil 20 perles, 3s la pièce, valent 24l par.; vendus au Roy et livrés comme dessus. 49. Item, unes paternostres où il a 48 grosses perles, 6 saphirs et 12 saigniaus d’or, et un nouel de perles, présié 100l; vendu au Roy et livré comme dessus. 50. Item, unes paternostres où il a 92 perles, 5 baloys et 5 saphirs, présié 150l par.; vendu au Roy et livré comme dessus. 51. Item, unes paternostres où il a 101 perles et 12 saigniaus d’or, présié 40l par.; vendu au Roy et livré comme dessus. 52. Item, unes paternostres où il a 5 grosses perles d’Escosce et saigniaux d’argent, présié 15l par.; vendu au Roy et livré comme dessus. 53. Item, une pierre de Cassidoine aveques ce qui est pendant, 40s par.; vendu au Roy et livré comme dessus.
54. Item, menues perles en un drapel, pesans 3 onces, 15 esterlins, 6l l’once, valent 22l 10s par.; vendu au Roy et livré comme dessus. 55. Item, 47 perles en un neu, présié 24l; vendu au Roy, livré comme dessus. 56. Item, 2 onces de perles en un neu de drapel, présié 30l; vendu au Roy et livré comme dessus. 57. Item, un petit escrin d’argent doré esmallié des armes de France et de Angleterre et de Hongrie présié 8l, vendu au Roy et livré comme dessus. 58. Item, plusieurs doublez et signiaus à paternostres 66l 10s par.; vendus au Roy et livrés comme dessus. 59. Item, un escrin de cuir garni d’argent, 16l par.; vendu au Roy et livré comme dessus. 60. Item, un fermaillet donc le fons est esmallié de France, à 4 camahieuz, 4 perles et une émeraude, présié 20l; vendu à la royne Johanne d’Evreux. 61. Item, un autre fermaillet de petite pierrerie, à un couronnement esmallié, présié 6l par.; vendu à la royne Johanne d’Evreux. 62. Item, unes paternostres où il y a 10 saphirs, et sont les paternostres d’or, présié 48l par.; vendu à madame la royne Johanne d’Evreux. 63. Item, unes paternostres de geest à saigniaux d’or, où il a sainctuer présié 12l; vendu à madame la royne Johanne d’Evreux. 64. Item, un petit tableau d’or en guise de croissant, présié 10l par.; vendu à mons. de Beaumont. 65. Item, un grenat assis en une autre pierre, 40s assis en cuvel; vendu à Pierre Neelle. 66. Item, un escrin d’ivoire garni d’argent, une boueste d’ivoire dedens et deux vaissellès d’argent dedens, vendu 40s p.; à Pierre de Neelle. 67. Item, 1100 de doubles d’argent en un drapel, présiés 50s par.; vendus à P. Neelle. 68. Item, une gravouere de cristal garnie d’or, 40s par.; vendue à Pierre de Neelle. 69. Item, un escrinet d’yvoère garni d’argent, à 1 pou de fretin dedens 40s p.; vendu à Pierre de Neelle. 70. Item, une petite boueste de cuir garnie d’argent 5s; à Pierres de Neelle. 71. Item, une béricle garnie de cuivre o tout un estui de cuir, 20s par.; vendu à Pierre Neelle.
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72. Item ung pou de frétin de perrière en un escrinet 8l par.; vendu à P. Neelle. Tercia somma ab alia. . . . . . . . . . . . . . . . . . . . . 1200l 15s par. 73. Item, une courte touaille de l’euvre d’Outremer 40s par. 74. Item, une vielle bourse de soie et d’argent tret 40s par. 75. Item, une bourse de saye sanz or, où il a sanctuaire et une petite touaille de l’euvre d’Outremer 60s par. 76. Item, 12 grosses perles d’Escosce qui sont venues des deux manteaus Madame, présiés 24l, balliés en garde à Pierre des Essars, vendues 30l par. 77. Item, uns tableaus de fust paint pour chapelle présié 6l par.; vendus au Roy et livrés par Johan Billouart et Pierres des Essars. 78. Item, 4 florins d’or desguisés en une boueste d’argent esmalliée, présié tout 100s par.; vendu à Pierre des Essars. 79. Item, une bourse de soie de l’euvre d’Angleterre où il a sainctuers, 40s; vendue à Pierres des Essars. 80. Item, 20 florins de Florence présiés 21l. 81. Item, 3 royauls présiés 4l 2s 6d. 82. Item, 1 florin ou mouton 25s. 83. Item, 1 mace 33s. Valent tout: 28l 6d par. balliés à missire Nicole. 84. Item, en un sac, en maallez blanches et en doubles, 18l 3s, balliés à missire Nicole. 85. Item, un escrinet paint de France et de Hongrie, garni de cuivre, 40s par.; vendu à Pierre Neelle. Quarta somma ab alia. . . . . . . . . . . . . . . . . . . . . . . . 97l 3s 6d
joyaux et vesselle d’argent. 86. Premièrement. Un ymage de saint Loys à un entablement et à une mitre de perrerie, qui tient son doit en une main et une petite couronne en l’autre, pesant 20 mars et 2 onces. No proisiée pour ce que Madame l’a lessié au Roy, livré à luy par Johan Billouart et Pierre des Essars le xxiije jour d’octobre l’an mil ccc xxviii. 87. Item, un ymage de saint Jehan à un entablement esmallié de Hongrie, pesant 24 mars, 3 onces, 18 esterlins
154
et obole, 8l. par. le marc, valent 195l 17s 6d. Il est lessié à madame d’Arley par le testament. 88. Item, un tabernacle à une Annonciacion à un entaillement de cuivre, pesant 15 mars, 7 onces, sanz l’entaillement, 8l le marc, valent 127 l par.; lessié à messire l’évesque par le testament Madame. 89. Item, uns tableaus que madame de Sezile envoia à Madame, prisié 180l par. laisié à madame la mère du Dalphin et livré aus gens du Dalphin par sa lettre donnée la veille de la S. Symon et S. Jude, l’an xxviii, livré à mons. Ymbert, son chancelier, et à un de ses chevaliers. Nota. Ces quatre parties ne sont pas gectés. 90. Item, une crois d’argent sourorée, à deux ymages en costé, de Notre Dame et de Saint Johan, pesant 6 mars, 4 onces et 10 esterlins, 100s le marc, valent 32l 3s 9d par.; vendus à mons. de Beaumont. 91. Item, deux plateaux d’argent, pes. 6 mars, 2 onces, 4l 10s le marc, valent 28l 2s 6d par.; vendus à mons. de Beaumont. 92. Item, une sonnete d’argent de 45s par.; vendue à mons. de Beaumont. 93. Item, deux chandeliers d’argent, pes. 10 mars, 4l 12s le marc, valent 46l par.; vendus à mons. de Beaumont. 94. Item, un orcel d’argent à eaue benoiste et le getouer, pes. 3 mars, 2 onces, 4l 10s le marc, valent 14l 12s 6d; vendu à mons. de Beaumont. 95. Item, un vairre d’argent doré à coste, pes. 1 marc, 5 onces et demie. 96. Item, 25 hanas d’argent pour Eschançonnerie, pesant 24 mars et demi, 4l 9s le marc, valent 109l 6d par.; vendus à mons. de Beaumont. 97. Item, un grant reliquaire à plusieurs reliques, où il a une grant pièce de la vraie Crois, et est ou pris de 800l; vendu au Roy et livré par sire Johan Billouart et Pierre des Essars. 98. Item, un bel parement à touaille, à perles, prisié 400l; vendu au Roy et livré comme dessus. 99. Item, deux grans chandeliers à 3 lyons esmalliés enmantelez, pes 6 mars, 7 onces, 5 estellins, 8l le marc, valent 55l 5s par.; vendus au Roy et livrés à lui le xxxe jour d’octobre par J. Billouart et P. des Essars. 100. Item, un pastour, en entablement, esmallié, et 1 gobelet de cristal sus, pes. 9 mars, une once, 7l 9s le marc,
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valent 68l 8s 9d par.; vendu au Roy et livré xxxe jour d’octobre par J. Billouart et P. des Essars. 101. Item, un broetier d’argent où il a escrin en la broete, pesant 5 mars, 6l 10s le marc, valent 32l 10s p.; vendu au Roy et livré xxxe jour d’octobre par Johan Billouart et P. des Essars. 102. Item, 12 hanaps d’argent dorez, plains, à esmaus ou fonz de France et de Hongrie, dont les 10 vindrent de chiés les Bardes et le 2 de l’Eschançonnerie, pesants 12 mars, une once, 5 esterlins, 100s le marc, valent 60l 15s 10d par.; vendus au Roy et livrés le xxxe jour d’octobre par les dessusdiz. 103. Item, une galie d’argent dorée à esmaus, pesant 22 mars, 5 onces, 4l 15s le marc, valent 107l 9s 4d ob.; vendu au Roy et livré comme dessus. 104. Item, une autre grant gallie dorée, esmalliée dehors sur 4 babouins, à 4 brochetes; pesant tout ensemble 37 mars, prisiée 110s le marc, valent 203l 10s par.; vendue au Roy et livrée comme dessus. Quinta somma ab alia . . . . . . . . . . . . . 1971l 3s 2d ob. parisis. Autres joyaux et vaissele présié par les dessusdiz orfèvres et vendue en la manière que il apparra en la fin de ces joyaux et de ceste vessele. 105. Premièrement. Un calice o tout la plateine et la cuiller d’argent dorée à un pommeau esmallié de France et de Navarre, pes. 3 mars, 5 onces et 15 estellins, 110s le marc, valent 20l 9s ob. par.; vendu à Pierre Neelle et Guill. le Flament. 106. Item, une crois esmalliée toute sengle, pes. 6 mars, 1 once, 15 esterlins, 100s le marc, valent 31l 22d ob. p.; vendue au diz P. et Guillaume. 107. Item, une crois esmalliée à deux ymages en costé de Nostre-Dame et de Saint-Jehan, pes. 7 mars, 7 onces et demie, 100s le marc, valent 39l 13s 9d; vendue au diz P. et G. 108. Item, un calice d’argent doré tout plain et la plateine, pes. un marc, 6 onces, 100s le marc, valent 8l 15s par.; vendu au diz P. et Guillaume. 109. Item, deux buretes d’argent dorées, pes. 2 mars 3 onces. 100s le marc, valent 11l 17s 6d; vendues aus dessus diz. 110. Item, deux autres buretes d’argent blanc, pes. 1 mars, 5 onces, 15 estellins, 4l 8s le marc, valent 7 l 11s 3d p.; vendues. au diz P. et G.
111. Item, quatre chandeliers, pesans 10 mars, une once, 4l 12s le marc, valent 46l 11s 6d; vendus au diz P. et G. 112. Item, un encensier d’argent, pesant 2 mars, 4l 15s le marc, valent 9l 10s; vend. ou diz P. et G. 113. Item, un portepais d’argent, pesant 2 mars, 4l 16s le marc, 9l 12s; vend. au diz P. et G. 114. Item, un entablement, ouquel a Nostre Dame et deux angeles, à tableaux esmalliés d’armes, pes. 7 mars, une once, prisié, 8l le marc, valent 57l par.; vend. au diz P. et G. 115. Item, un ymage de Nostre Dame à une couronne de perles, pes. 5 mars, 5 onces, 6l le marc, valent 33l 15s; vend. au dit P. et G. 116. Item, une crois à un crucefix, assis sur un entablement à quatre escus de France et de Hongrie, pesans 13 mars, 3 onces, 17 estellins et ob., 100s le marc, valent 67l 8s 7d ob. par.; vend. aus diz P. et G. 117. Item, un godet à un esmail ou fons, de France et de Hongrie, pes. 1 marc, 10 esterlins, 100s le marc, valent 106s 5d; vendu au dit P. et G. 118. Item, un cerf enmantelé esmallié de France et de Hongrie, et un mirouer, pes. 11 mars, une once, 4l 12s le marc, valent 50l 12s p.; vend. aus diz P. et G. 119. Item, un hanap d’une coquille de perle à couvercle surs un pié esmallié, pesant 5 mars, 2 onces, présié 8l par. le marc, valent 42l par.; vend. aus diz P. et G. 120. Item, une damoisele d’argent en quatre pièces, pesant 7 mars, 10 esterlins, présié 4l 8s le marc, valent 31l 18d par.; vend. au diz P. et G. 121. Item, une salière d’argent dorée, pesant 9 onces, présié sur le tout 8l par.; vendue au diz P. et G. 122. Item, deux esparjouers dorés à gicter eaue rose, pesant 2 mars, 10 esterlins, présié 100s le marc, valent 10l 6s 3d par.; vendus aus diz P. et G. 123. Item, une petite salière d’une perle, garnie d’argent, présiée 65s; vendue aus diz P. et G. 124. Item, une coupe de cristal à un pié d’argent, pesant 3 mars, 8l le marc, valent 24l; vend. au dit P. et G. 125. Item, une salière esmalliée à trépié à trois serpenteles, pes. 4 mars, 10 esterlins, 8l le marc, valent 32l 10s par.; vend. aus diz P. et G. 126. Item, un dragier de cristal à un pié esmallié, pes. 7 mars et demi et 5 esterlins, 10l le marc, valent 75l 6s 3d par.; vend. au diz P. et G.
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127. Item, une noiz d’Inde sur un pié d’argent, pesant marc et demy, 10 esterlins, prisié pour tout 6l par.; vend. aus diz P. et G. 128. Item, deux salières de deux cers, pes. 3 mars, 7 onces, prisié 7l le marc, valent 27l 2s 6d; vend. au diz P. et G. 129. Item, 2 douzainnes de cuilliers d’argent blanc, pes. 2 mars, 7 onces, 15 esterlins, 4l 10s pour le marc, valent 13l 6s 2d ob. par.; vend. ou dis P. et G. 130. Item, un coq d’une perle et une géline de perle de coquille, pes. ensemble 10 mars, une once, presié 7l le marc, valent 70l 17s 6d par.; vend. au dit P. et G. 131. Item, un estui d’argent à poudre, esmallié, et un tuiau d’argent à boire lait pour les yelz, tout prisié 50s par.; vend. au diz P. et G. 132. Item, un hanap d’argent doré en guise de voirre à couvercle, pes. 2 mars, 5 onces, 7 esterlins et ob., 7l le marc, valent 18l 13s 7d ob. p.; vend. au dit P. et G. 133. Item, deux bouteilles d’argent esmalliées, pes. 17 mars, prisié 110s le marc, valent 93l 10s; vend. au diz P. et G. 134. Item, deux barils d’argent vairré, pes. 10 mars et demi, 100s le marc, valent 52l 10s par.; vendus au diz P. et G. 135. Item, deux petis barillès d’argent à mettre eaue rose, pes. 1 marc, 2 onces, 12 estellins ob., 110s le marc, valent 7l 6s 1d par.; vendus aus dis P. et G. 136. Item, 24 saussieres d’argent nuèves, pesans 15 mars, 4l 10s le marc, valent 67l 10s, vend. aus diz P. et G. 137. Item, 12 plaz à fruit d’argent nués, pesans 12 mars, une once, 4l 10s le marc, valent 54l 11s 3d; vend. aus diz P. et G. 138. Item, deux bacins d’argent dorés à esmaus de plice au fons, pes. 14 mars, 15 esterlins, 110l le marc, valent 77l 10s 4d; vend. aus diz P. et G. 139. Item, deux bacins dorés à esmaux au fons, pes. 11 mars, 4 onces, 110s le marc, valent 63l 5s par.; vend. aus diz P. et G. 139 bis. Item, deux bacins dorés, sanz esmaus, pes. 16 mars, 4 onces, 110s le marc, valent 30l 15s par.; vendus aus diz P. et G. 140. Item, deux bacins d’argent vairrié, pes. 8 mars 6 onces 15 esterllins, 4l 16s le marc, valent 42l 9s par.; vendus aus diz P. et G.
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141. Item, 10 quartes d’argent dorées, pesans toutes ensemble 58 mars, 3 onces, prisié 110s le marc, valent 321l 15d par.; vend. aus diz P. et G. 142. Item, un hanap d’argent à couvercle esmallié et de cristal, pes. 3 mars, 7 onces et 10 esterllins, 6l 10s le marc, valent 25l 11s 10d ob. p.; vend. aus diz P. et G. 143. Item, une nef d’argent dorée esmalliée, pes. 21 mars, 3 onces, 6l le marc, valent 128l 5s par.; vend. aus diz P. et G. 144. Item, deux flascons d’argent vairrié, pes. 25 mars, 4l 10s le marc, valent 112l 10s par.; vend. aus diz P. et G. 145. Item, un petit pot à eaue, d’argent doré cizelé, pesant 1 marc, 4 onces, 15 esterllins, 110s le marc, valent 8l 15s 4d; vendu aus diz P. et G. 145 bis. Item, un hanap de cristal à couvercle, à pié d’argent esmaillié, pes. 2 mars, 7 onces, 15 esterlins, 7l le marc, valent 20l 15s 7d ob.; vendu aus diz P. et G. 146. Item, un gobelet de cristal à un petit pié esmaillié, pes. 2 mars, 3 onces, 7l 10s le marc, valent 17l 16s 3d par.; vend. aus diz P. et G. 147. Item, un gobelet à pié à couvercle, trois petis pos d’argent à biberon, un petit bacin à laver et un hanap à couvercle, tout lié en un drapel, pesant tout 1 marc 5 onces, 4l 10s le marc, valent 7l 6s 3d par.; vend. aus diz P. et G. 148. Item, un godet de cristal, présié 60s p.; vend. aus dis P. et G. 149. Item, un hanap de madre à pié d’argent, pesant un marc, 2 onces, pesant sur le tout 6l 10s p.; vend. aus diz P. et G. 150. Item, une coupe de madre à pié d’argent, présié 6l 10d; vend. aus diz P. et G. 151. Item, deux petites coupes de madre sanz pié, prisié 4l; vend. aus diz P. et G. 152. Item, un hanap de madre jaune, 10s p.; vend. aus diz P. et G. 153. Item, trois salières de cristal, 40s pour pièce, valent 6l par.; vend. au diz P. et G. 154. Item, un mirouer d’argent esmallié, pesant marc et demi, présié 7l 10s p. sur le tout; vend. aus diz P. et G. 155. Item, une escriptoire et un cornet d’argent esmallié, pes. 5 onces, 15 esterlins, présié tout 100s p.; vend. au dit P. et G.
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156. Item, un pigne et mirouer d’yvoire, présié 6l par.; vend. aus diz P. et G. 157. Item, une fiole d’argent dorée à metre eaue rose, prisiée 56s; vend. aus diz P. et V. 158. Item, deux barils de jaspre garnis d’argent, présié 10l p.; vend. aus diz P. et G. 159. Item, six plas d’argent dorez plains, pes. ensemble 30 mars, 6 onces, 15 esterlins, 110s le marc, valent 169l 12s 9d ob. par.; vend. au diz P. et G. 160. Item, six quartes d’argent plaines, pes. toutes ensemble 31 mars, 5 onces, 4l 9s le marc, valent 140l 14s 7d ob. p.; vendus aus diz P. et G. 161. Item, une douzaine de cuilliers d’argent, pes. 1 marc, 4 onces, 4l 10s le marc, valent 6l 15s par.; vendus au diz P. et G. 162. Item, deux chopines à eaue, dorées, pes. 4 mars 3 onces, 100s le marc, valent 21l 17s 6d; vend. aus diz P. et G. 163. Item, deux bacins à laver, d’argent pes. 12 mars, 4l 8s le marc, valent 54l par.; vend. aus diz P. et G. 164. Item, un gobelet d’argent à pié et à couvercle, pesant un marc, 7 onces, 4l 15s le marc, valent 8l 18s 1d et ob. par.; vend. aus diz P. et G. 165. Item, 21 hanaps d’argent plains, pes. tout ensemble 20 mars, 3 onces, 4l 9s le marc, valent 90l 13s 4d ob. par.; vendus aus diz P. et G. 166. Item, un pot à aumosne d’argent blanc, pesant 8 mars, 4 onces, 4l 8s le marc, valent 37l 8s par.; vendus au diz P. et G. 166 bis. Item, six quartes d’argent blanc, pes. ensemble 24 mars, 3 onces, 4l 8s le marc, valent 151l 5s par.; vendus aus diz P. et G. 167. Item, deux pos à eaue, blans, pes. 5 mars 7 onches, 4l 8s le marc, valent 25l 17s par.; vend. au diz P. et G. 168. Item, onze platz à fruit et un grand à couvercle, pesant ensemble 15 mars, 5 onces, 4l 9s le marc, valent 69l 10s 7d ob. par.; vend. au diz P. et G. 169. Item, quatre chandeliers d’argent à mettre à table, pesans ensemble 11 mars, 4l 9s le marc, valent 48l 19s par.; vendus au diz P. et G. 170. Item, une nef d’argent et une langue de serpent aveques, pesans ensemble 15 mars, 4 onces, 10 esterlins, 4l le marc, valent 70l 9d par.; vend. au diz P. et G.
171. Item, six plas d’argent et 48 escueles, 2 cuilliers 2 pos à sausse, pes. tout ensemble 114 mars, 5 onces, présié 4l 8s le marc, valent 504l 7s par.; vend. au diz P. et G. 172. Item, uns gobeles d’argent, pes. 5 mars, 4l 12s le marc, valent 23l par.; vend. au diz P. et G. 173. Item, deux plas à dragié et trois cuilliers dedens, pesant ensemble 9 mars, 4 onces, 10 esterlins, 4l 12s le marc, valent 43l 19s 9d par.; vend. au diz P. et G. 174. Item, trois bacins d’argent à laver chief, pes. 16 mars, 4l 8s le marc, valent 70l 8s par.; vend. aus diz P. et G. 175. Item, un orcel à eaue beneste à tout le gutineur ? et un pou de fretin, pes. 2 mars, 5 onces, 4l 8s le marc, valent 11l 11s par,; vendus au diz P. et G. 176. Item, deux bacins à laver chief, pesans 20 mars, 4l 10s par. le marc, valent 90l par.; vend. aus diz P. et G. 177. Item, un arbre de courail à langues de serpent, présié 40s par.; vend. au diz P. et G. Toutle laquelle vesselle dessus dite, dont la somme mont 3654l 5s 3d par., fut vendue aus diz P. et Guillaume le Flament en la manière qu’il s’ensuit. C’est assavoir le marc d’argent blanc et vairié, l’un par l’autre, 4l 10s par. le marc. Le marc d’argent doré 110s par. Le marc d’argent doré esmaillié 6l 10s par. Et monta la somme toute de la vente 3661l 10s par. Et ainsi se creut du pris 7l 4s 9d. Sexta soma ab alia . . . . . . . . . . . . . . . . . . . . . . . 3661l 10s par. 178. Item, une coupe de madre à pié d’argent, dorée, esmalliée, pes. tout 2 mars, 2 onces, 15 esterlins, 6l le marc, valent 14l par.; vendue à messire Nicole de Cailloue. 179. Item, un hanap de madre 20s; vendu à messire P. de Villepereur. 180. Item, une summe, un bahu, une malle et deux coffres de soye pour un chien, garnis d’argent, prisié tout 100s; vend. à Pierres des Essars. 181. Item, une ceinture ferrée d’or et à perles, présié 40l par.; vendue à messire Johan le mercier 45l par. 182. Item, une ceinture ferrée d’or à perles et à croissans, présiée 20l par.; vend. à P. Neelle. 183. Item, une bource à pelles broudée, en quoi Madame fut espousée; vendue à P. des Essars 70l. 184. Item, un escrin de fust garni d’argent entallié; vendu à P. Neelle.
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185. Item, quatre petites cuilliers de cristal, 5 petites broches de courail et 2 fouez, présié tout 70s; tout ce en un drapel; vendu à P. Neelle. 186. Item, 5 mars 6 onches d’argent de seaus et d’autres choses, et y a une boueste et un mirouer, tout ensemble prisié 26l par. ; vend. à P. Neelle. 187. Item, un petit saigneau d’or à une pierre dedens et une petite chainnette d’argent; vend. à P. Nelle 60s par. Septima summa ab alia . . . . . . . . . . . . . . . . . 195l 10s parisis.
Tout lequel or dessus dit, excepté celui qui a esté vendu au Roy, fut vendu ensemble au dessus dit P. Neelle et G. le Flament le mar 64l par. l’un par l’autre. Et pesa tout ensemble 8 mars, 30 esterlins. Monta la somme 524l parisis. Octava summa ab alia, pro auro. . . . . . . . . . . . 1258l parisis.
livres de chappelle, roumans et autres livres. Premièrement. Livres de Chapelle.
Joyaux d’or. 188. Premièrement. Un hanap d’or à couvercle, séant sur un trépié d’un serpent, pesant 7 mars, 4 onces, 12 esterlins, ob., présié 64l par. le marc, valent 485l par.; vendu au Roy et livré le xxxme jour d’octobre par Johan Billouart et P. des Essars. 189. Item, une coupe d’or à pié; pesant 3 mars, 7 onces, 2 esterlins et ob., prisié 64l le marc, valent 249l par.; vend. au Roy et livré comme dessus. 190. Item, un hanap d’or à couvercle, sans pié; pes. 2 mars, une once, 2 estellins et ob., prisié 62l par. le marc, valent 132l 14s 4d ob. par.; vend. ou dit Pierre et Guillaume le Flament si comme il s’ensuit. 191. Item, une petite salière en guise de lyon, à couvercle, une petite fiole d’or et deux broches d’or; pesant tout 1 marc, 5 onces, 5 esterlins, prisié 62l par. le marc, valent 100l 53s 9d par.; vend. au diz P. et G. si comme dessus. 192. Item, un gobelet d’or à pié et à couvercle; pes. 2 mars, 5 esterlins, présié 60l le marc, valent 120l 37s 6d p.; vend. au diz P. et G. 193. Item, un hanap plain sans couvercle, pesant 11 onces, 60l par. le marc, valent 82l 10s par.; vendus au diz P. et G. 194. Item, 3 onces, 15 esterlins d’or de seaus et autre fretin en un drapel, prisié 26l par.; vend. au diz P. et G comme dessus. 195. Item, deux culliers et une fourchète d’or, qui vindrent de l’Eschançonnerie, pesant 4 onces, 62l le marc, valent 31l par.; vend. au diz G. et Pierre Neelle comme dessus.
158
196. Un bréviaire où Madame disoit ses heures, à l’usage des Jacobins, à fermaus d’argent, présié 45l; vendu au Roy, livré comme dessus. 197. Item, un autre bréviaire audit usage, nuef, 50l par. fermaus et tout; vendu au Roy et livré comme dessus. 198. Item, un beau sautier à letters d’or et d’asur, que le Pape li donna présié 30l par.; vendu au Roy et livré comme dessus. 199. Item, unes heures couvertes d’ais esmalliés garnis de perrière, prisié ais et tout, 28l par.; vendus au Roy et livré comme dessus. 200. Item, un bréviaire des festes anuelz à l’us de Paris, à quatre fermaus d’argent, présié tout 20l par.; vendu à mons. de Beaumont. 201. Item, un petit bréviaire à l’us de Jacobins, où Marguerite aidoit à dire les heures Madame, présié 12l; vend. à Johan Billouart. 202. Item, un autre bréviaire à l’us de Paris, à fermaus d’or, présié tout 60l par.; vendu à missire Thebaut de Meaux. 203. Item, deux greelz notés, 6l par.; vendus, l’un à Pierres des Essars 50s par., l’autre à missire P. de Villepereur 70s par. 204. Item, un bréviaire en deux volumes notés, prisié, vendu à Pierre des Essars, 34l p.; pour S. Germain l’Auceurrois. 205. Item, un messel noté présié 16l; vendu à Pierre des Essars pour S. Germain. 206. Item, un épistolier vendu à Pierres des Essars 40s pour S. Germain. 207. Item, un ordinaire 4l; vend. à Pierres des Essars.
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208. Item, un prousessionnaire noté; vendu au dit Pierre des Essars 6s. 209. Item, deux soutiers présiés 4l par.; vendus à P. des Essars. 210. Item, sept caers, notez de pluseurs offices, présié 20s; vendus à Pierres des Essars, 30s par. 211. Item, un séquencier du Roy Charles, rendu à mons. l’évesque de Cornouaille pour le rendre au Roy Robert, à cui il estoit, et l’a rendu.
Roumans. 212. Premièrement. Un grant roumans couvert de cuir vermeil de Fables d’Ovide qui sont ramoiées à moralité de la mort Jhesu Crist, présié 50l p.; vendu au Roy et livré comme dessus. 213. Item, un grant roumans, où il a dix sept ystoires, et se commence de l’anemallat aus juys, présié 30l par.; vendu au Roy et livré comme dessus. 214. Item, un roumant couvert de cuir vert Des enfans Ogier, présié 8l.1 215. Item, un roumans des X comandemens de la Loy, 40s p. 216. Item, un de la Penthère, présié 40s. 217. Item, un petit De la Trinité, présié 20s. 218. Item, un, couvert de cuir vermeil, du Roumans de la Rose, présié 50s.2 219. Item, un petit de l’Advocacie Nostre Dame présié 10s. 220. Item, un petit roumant sans ais de la Penthère, 10s p.; vendu à Johan Billouart. 221. Item, la Bible en françois en 2 volumes, présié 80l par.; vend. à mons. de Beaumont. 222. Item, un roumans de la Vie de Sains, présié 6l.3 223. Item, un livre en françois De regimine Principum, présié 100s.
1. Items 214–17 are marked “Vendus à la royne Johanne d’Evreux.” 2. Items 218–19 are marked “Vendus à Johan Billouart.” 3. Items 222–30 are marked “Vendus à la royne Johanne d’Evreux.”
224. Item, un roumans de la Conqueste de Césile, présié 16l. 225. Item, un chançonnier de mons. Gasse Brulé, présié 20s. 226. Item, le roumans des vii sages et d’Ysopet, présié 100s. 227. Item, un Institute en françois, présié 16s. 228. Item, un roumans du Reclus de Moliens, présié 30s. 229. Item, un petit livret en englais et en françois, présié 5s. 230. Item, un roumans de la vie des Pères et de Balaham et de Josaphat, présié 16l. 231. Item, un summate ou code en françois, présié 4l.4 232. Item, un roumans de chançons noté, présié 20s. Nona somma ab alia. . . . . . . . . . . . . . . . . . . . . . . . . . 530l 13s.
vestemens, dras et autres choses de chapelle. 233. Premièrement. Trois chappes à mors d’argent esmalliées, chasuble, tunique et domatique, 2 estoles, 3 fanons, 3 aubes, 3 amiz parez, frontel, dossel, touaille parée de draps de fleur de liz; présié tout ensemble et vendu à Suplicet le chasublier, pour l’évesque de Chartres, 68l p. 234. Item, trois chapes sanz mors, chasuble, tunique et domatique, 2 estolles, 3 fanons, les paremens de 3 aubes et 3 amiz, frontel et dossel, tout de drap d’or; tout vendu à Eustace la chasublière 74l. 235. Item, une aube parée de un autre drap d’or, pour les dimenches et le festes, de ix liçons, présié 16l par.; vendue à mons. François de Montflascon, 20s. 236. Item, 3 sourceintes de soye vermeilles, 15s par.; vendu à mons. Adan de Précy, les deux, 10s, et une à mons. Nicole, 5s. 237. Item, une touaille blanche de soye délyée, pour escommigner, 5s; vendue à P. des Essars. 238. Item, deux draps d’or de petit pris, pour parer autel, 4l par.; vendus à Eustace la chasublière.
4. Items 231–32 are marked “Vendus à missire P. de Coignières.”
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239. Item, quatre aumuces, 6 sourpelis, présié 4l; vendus 6l à mestre Guillaume de Fourqueux. 240. Item, huit touailles à autel, présié 16l; vendu à mons. de Beaumont. 241. Item, quatre touailles à essuyer mains, présié 4s; vend à mons. Franç. 242. Item, un petit oreillier à mettre souz le messel, 2s par.; vend. à missire Nicole. 243. Item, un corporallier de samit vermeill à tous les corporauls, 4s.5 244. Item, un autre corporallier ouvré, à ymages, présié 16s. 245. Item, quatre aubez, 3 amiz, des queles les 3 sont esartés des paremens dessus diz, dont les 3 aubes parées sont aveques la chapelle seconde escripte, demeure une aube desparée, présié 20s; vendue à missire Franç., 24s par. 246. Item, deux vielles custodes de cendal vermeil, présié 24s; vend. à missire Franç., 30s par. 247. Item, deux autres custodes de cendal, emble, 60s; vend. à P. des Essars. 248. Item, un frontel, un dossier de viès draps de soye, 20s; vend. à missire Franç. 249. Item, une petite touaille ouvrée, pour letrin, 5s par.; vend. à Huistasce la chasublière. 250. Item, un esmouchouer de soye, broudé, 6s par.; vendu à Pierre des Essars. 251. Item, une boueste d’yviere à mettre pain à chanter, garnie d’argent, 40s; vend. à J. Billouart. 252. Item, pour les Mors: chasuble, domatique et tunique, 3 chapes à noyaux de perles, frontel et dossel, 2 estoles, 3 fanons, 3 colerez, les paremens de 3 aubes et les aubes et les amiz, le parement de la touaille d’autel, tout de drap noir dyaprez, présié 180l par.; vend. à missire P. de Condé, pour Nostre Dame de Paris. 253. Item, pour Nostre-Dame: 3 vies chapes blanches, et à chascune un mors d’argent, une chasuble blanche, tunique et domatique, frontel et dossel de drap d’or nuef, présié tout 64l par.; venduz à mons. de Nouyers. 254. Item, une chasuble, tunique et domatique de samit vermeil, vendue à Guillaume le frère Soupplicet, 23l par. 5. Items 243–44 are marked “Vendus à Pierre des Essars.”
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255. Item, deux bons draps d’or touz nuefs, présié 20l par.; vend. à Johan Billouart, 22l par. 256. Item, pour Caresme: deux devantiers vies, de drap encendrés, un frontel, un dossier nuef, de draps encendrez, fourrez de toille vermeille, et une chasuble de ce drap meismes, fourrée de cendal vermeil, présié tout 20l; vendu à madame la royne Johanne de Evreux. 257. Item, une touaille à Apoustres et à arbres, de soye, présié 8l par.; vendue à mons. de Beaumont. 258. Item, un frontel, un dossier, de draps, fais à l’aguille, présié 12l par.; vendu à Pierres des Essars, 16l par. 259. Item, une aube, un amit, non parez, estole et fanons et paremens viez. Et sont les diz paremens de viez draps d’or remanens d’orfrais; tout ensemble vendu à Pierres des Essars, 60s par. 260. Item, une touaille de viez paremens, présié 12s; vend. à Pierres des Essars, 21s par. 261. Item, deux sayeries de soye, l’une vert, l’autre vermeille, royées de travers, 30s; vendus à missire Franç. pour le pris. 262. Item, une touaille parée, à Apostres, cointe, présié 100s; vendue à Eustace la chasublière. 263. Item, cinq rochès; vendus à Pierre des Essars, 16s. 264. Item, un tapis de chapelle, vendu à Huistace la chasublière, 20s par. 265. Item, deux paremens à deux petis autiex, et 2 estolles et 2 fanons de petite value; vendu tout 6l par. à missire François de Montflascon. 266. Item, une chapelle jaune, nuève, de samit, fourrée de cendal, en laquelle a trois chappes, chasuble, tunique et domatique; vendue à mons. P. de Villepereur, 80l par., pour l’évesque de Chartres. Decima soma ab alia . . . . . . . . . . . . . . . . . . . . . . . . . 596l 14s.
Inventoire des robes Madame, livrées par Johanot, son tailleur. 267. Premierement. Une robe donnée à madame Pasque par le testament, laquele estoit de marbré vermeil, de 4 garnemens, fourrée de menu vair. 268. Item, une robe d’autre marbré plus vermeil, de 4 garnemens, fourrée de menu vair, la quele fut donné à Marguerite de Nantueil par le testament.
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269. Item, une robe d’escarlate paonnecé, de 4 garnemens, fourrée de menu vair, donnée par le testament à Agnès de Boulonnoys. 270. Item, une robe de marbré de Brouesselles, de 4 garnemens, fourrée de menu vair, donnée à Ysabeau de Til par le testament. 271. Item, une robe de pers, auques de 4 garnemens, fourrée de menu vair, donnée à Johanne, fame Perrotin de Napples, par le testament. 272. Item, deux cotes hardies, fourrées de menu vair, données à Marie et à Johannette, fille de ladite Marie. 273. Item, un mantel ront, fourré de menu vair, donné à la lavendière. 274. Item, une cote et un sercot de marbré violet, donc le sercot est fourré de menu vair, donné à la fame Johan de Gaangni le taillouer, fillole Madame. Toutes ces robes dessus dites non getées, pour ce que elles furent données. 275. Item, une robe de veluau, fourrée de cendal violet, et est de 2 garnemens, présié 18l par., non getée, balliée de commandement aus exécuteurs à suer Marie de Coulencour, quar Madame li avoit donnée. 276. Item, une robe de violet veluiau, de 5 garnemens, fourrée de menu vair, présié 120l par.; vendue à madame de Beaumarchès, 180l par. 277. Item, une robe de veluau encendrez, de 4 garnemens, fourrée de menu vair, présié 70l par.; vendue à Guillaume Pidouë Bouffart, 80l par. 278. Item, une robe de drap caignet, de 4 garnemens, fourrée de cendal noir, présié 28l par.; vendue à madame de Beaumarchès, 36l par. 279. Item, un corset ront et un mantelet de marbré vermeillet, fourré de cendal ynde, présié 6l; vendu à missire Adam de Précy (ou Pacy). 280. Item, un mantelet double, fons de cuve, présié 4l 5s; vendu à missire Thébaut de Meaux. 281. Item, un mantelet d’un marbré brun naïf sengle, présié 100s par.; ballié à mons. Nicole; et fut donné à suer Ysabeau de Valoys. 282. Item, un corset sengle d’un marbré vermeillet, 4l par.; vendu à missire P. de Villepereur. 283. Item, une robe de veluau noir, de 3 garnemens, sanz pennes, présié 20l.
284. Item, une robe de soye d’Illande, de 3 garnemens, fourrée de cuissètes de lièvres blans, presié 10l. 285. Item, une robe de soye d’Irlande violete, de 3 garnemens de menu vair, présié 20l par. 286. Item, une robe de tiretaine noire de Saint-Marcel en graine, de 3 garnemens, fourré de taffetais, présié 8l. 287. Item, une robe de tiretaine de Saint-Marcel tannée, de 2 garnemens, fourrée de tartaire violet, présié 4l 10s. 288. Item, une robe de tiretaine de Saint-Marcel toute vermeille, de 2 garnemens, fourrée de taffetas, présié 4l 10s par. 289. Item, une robe de camelin blanc, de 5 garnemens, fourrée de cendal noir, présié 32l p.6 290. Item, un corset ront de camoquois vyolet, fourré de menu vair à pourfil, présié 24l par. 291. Item, un autre corset de camoquois ynde, fourré de menu vair à pourfil, présié 20l par. 292. Item, une cote hardie de camelin caignet, fourré de cendal ynde, présié 70s p. 293. Item, une robe de broissequin, de 2 garnemens, fourrée de cendal ynde, présié 6l p. 294. Item, un corset de camoquois sanz manches, violet, fourré de menu vair, présié 6l p. 295. Item, une fourreure de menu vair, à mantel, présié 11l par. 296. Item, un mantel à Alemant, ront, d’escarlate violet, fourré de menu vair, présié 12l. 297. Item, un mantel à Alemant de escarlate noire, fourré de menu vair, présié 26l. 298. Item, un mantelet sengle, de camelot, présié 20s. 299. Item, une robe de tiretaine de Saint-Marcel, de 2 garnemens, fourrée de cendal ynde, présié 100s. 300. Item, un mantelet ront et un chaperon de vyolet, fourré de menu vair; et vint de l’Escuerie; présié 24l par. 301. Item, cinq chapes pour damoiseles, de drap marbré, donc les chaperons sont fourrés de cendal, présié ensemble 30l par. 302. Item, cote et sercot de marbré brun, sengles, présié 10l. Toutes les robes devant dites, qui sont à Billouart vendues, li furent vendues le pris qui est escript sur les présiées, et 20l oultre. 6. Items 289–302 are marked “Vend. à Billouart.”
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Remenans de draps. 303. Premièrement. Une pièce de drap pers, tenant 7 aunes, présié 9l par.7 304. Item, six aunes de drap royé, de la livrée aus Escuiers, présié 4l 10s par. 305. Item, cinq aunes de mugelaine, présié 60s par. 306. Item, cinq aunes et demie de noire burnete, présié 6l 10s par.8 307. Item, onze aunes d’escarlate blanche, présié 13l. 308. Item, en deux pièces, de la livrée des Chevaliers de Penthecoste mil ccc xxviii, 7 aunes, présié 7l 10s p.9 309. Item, une pièce de vert jaune, tenant 4 aunes et demie, présié 50s. par. 310. Item, 2 aunes et demie de drap vert, présié 40s par.10 311. Item, 8 aunes de camelin, présié 8l par. 312. Item, 3 aunes de drap en plusieurs pièces, 60s par. Undecima somma ab alia. . . . . . . . . . . . . . . . . 648l 5s parisis.
Couvertures. 313. Premièrement. Un couverteur et demi de marbré violet, fourré de menu vair, présié tout ensemble pennes et drap, 140l par.; vend. à madame de Bouloigne. 314. Item, un couvertouer et demi de marbré, fourré de gris, présié tout ensemble pennes et drap, 40l par.11 315. Item, un couvertouer de drap pers, fourré de gris, présié tout ensemble penne et drap, 12l par. Duodecima somma ab alia. . . . . . . . . . . . . . . . . 192l parisis.
Coutetespoinctes et Tapis. 316. Premièrement. Une coutepoincte de cendal ynde, à fleur de liz, présié 25l par. Et trois tapis de la sorte, 7. Items 303–5 are marked “Vend. à missire Nicole.” 8. Items 306–7 are marked “Ces 2 parties furent balliés à missire Nicole pour faire robes à frère Roger à son compaignon, et ne sont mie getées.” 9. Items 308–9 are marked “Vend. à Johanne la coustière et à Estienne Chevalier.” 10. Items 310–12 are marked “Vend. à Johanne la Coustière et à Estienne Chevalier.” 11. Items 314–15 are marked “Vend. à G. de Dicy.”
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présié 15l par. Et le demourant de la chambre fut donné à l’Ostel-Dieu. Valent par le tout 40l par.; ballié à l’Ostel- Dieu de Paris, et n’est pas geté. 317. Item, un ciel d’une salle de marramas, à une bordeure de marramas, armez de Hongrie, ballié à messire Nicole, pour ballier à metre sur la tombe Madame. Non geté. 318. Item, quatre tapis de laine ouvrés de papegaus et à compas, présié 20l par.12 319. Item, un dossier de sale et un suige (pour siége) à marguerites, présié 16l par. 320. Item, un eschiquier, à eschas d’ivoire et d’ibernus; vend. à mestre G. de Fourqueus, 40s p. 321. Item, huit carreaux pour char, de camoquois taney et vermeillet, présié 12l.13 322. Item, neuf carreaux de laine vers, présié 60s par. 323. Item, huit carreaux; vendus Johan Billouart, c’est assavoir 2 grans et 6 petis, d’un camoquois plonquié, présié 8l p. 324. Item, huit tapis d’une sorte, à parer une chambre, à ymages et à arbres, de la devise d’une Chace, dont il en y a six de 4 aunes de lonc, et un de 7 aunes de lonc, et un des 4 aunes de lonc, touz de 2 aunes de lé; montent 68 aunes carrées, présié 64l par.; vend. à missire l’évesque de Laon. 325. Item, deux tapis velus d’outremer, présié 8l; vendus à Pierre des Essars. 326. Item, un viez materas brun, de bougueran; vendu à Pierre Neelle, 30s. 327. Item, une chambre de cendal ynde, où il a coutepoincte, ciel et ceveciel, deux tapis de meismes et courtines, présié 30l par.; vend. à Estienne Chevalier et Johanne la Coutière, si comme il est contenu cy après. 328. Item, une chambre de bougueran blanc, où il a coutepoincte, ciel, cheveciel, courtines et une grant courtine, 3 tapis et 12 tayes à quarreaux, présié 45l par.14 329. Item, une coutepoincte de bougueran blanc, 8l par. 330. Item, un doublet de bougueran blanc, 5l. 12. Items 318–19 are marked “Vend. à G. de Dicy.” 13. Items 321–22 are marked “Touz ces carreaux furent venduz à missire P. de Villepereur 20l.” 14. Items 328–39 are marked “Vend. à Johanne la coustière et Estienne Chevalier.”
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331. Item, un chiel et un chevet de cendal ynde, mauvais, présié 10l. 332. Item, une coutepoincte dont le fons est de samit semé de dalphins, et la bourdeure des armes de Hongrie, présié 32l par., et le chiel et le chevez de meismes entretenans, présié 22l par.; valent pour tout 54l. 333. Item, une chambre tané, où il a coutepointe, chiel, chevecier et courtines entour le ciel, de tartaire, tennée, et la chambre de cendal tenné, et 14 tapis de meismes la chambre, donc il en y a six de 5 aunes de lonc chascun, et huit de 4 aunes de lonc chascun, et sont touz de 2 aunes de lé. Montent les tapis 120 aunes, et 12 carreaux de meismes, c’est assavoir quatre grans et huit petis; présié toute la chambre ensemble, 160l par. 334. Item, un cheveciel ynde plonquié de cendal, présié 100s par. 335. Item, une coutepoincte de cendal ynde, fourrée de toile vert, et un ciel et les courtines de meismes, présié tout 16l par. 336. Item, sept toyes (pour taies) de cendal pour carreaus, à fleurs de lis, présié 70s. 337. Item, une chambre noire de cendal, ciel, chevecier, trois courtines et 3 pièces de viez chevès et de viez chiels, présié ensemble 20l. 338. Item, une coutepoincte de bougueran pommetée, présié 16l par. 339. Item, un doublet de fusteine ridée royé, présié 10l p. Toutes les choses dessus dites signées, vendues à Estienne Chevalier et Johanne la Coutière, donc la somme monte, du pris que elles furent prisées, 386l 10s par.; furent venduz aus diz Estienne et Johanne le xiiije jour de novembre, l’an xxviii. Ensemble 420l par. 340. Item, trois courtines de cendal vermeil et blanc, présié tout ensemble, vendu aus diz Estienne et Johanne, 16l par. Tercia decima somma ab alia . . . . . . . . . . . . . . . 575l 10s par.
342. Item, une pièce de toile de Reinz, tenant 30 aunes, présié 12l par. 343. Item, une pièce de toille de Compiègne, tenant 10 aunes, présié 6l par. 344. Item, quatre cuevrechies en une pièce de toille de Compiègne, présié 48s. 345. Item, une pièce de toille bourgoise, tenant 35 aunes, 3s l’aune, 105s par. 346. Item, une pièce de teille bourgoise, tenant 23 aunes, 2s 6d l’aune, 57s 6d p. 347. Item, une pièce de teille bourgoise, tenant 15 aunes, 3s l’aune, 45s par. 348. Item, une pièce de teille bourgoise, tenant 18 aunes, 3s 6d l’aune, valent 64s. 349. Item, une pièce de toille bourgoise, tenant 21 aunes, 3s l’aune, valent 63s. 350. Item, une pièce de teille, tenant 15 aunes, 4s l’aune; 60s par. 351. Item, une autre pièce, tenant 17 aunes, 3s l’aune, valent 51s par. 352. Item, une pièce de napes, tenant 43 aunes, 8s par. l’aune, valent 17l 4s p. 353. Item, une douzainne de touailles, chascune de 2 aunes de lonc, 8s p. pièce, valent 4l 16s par. 354. Item, une pièce de touailles, tenant autant, à celui pris, valent 4l 16d. 355. Item, quatre draps de quatre lez, 40s pour pièce, valent 8l par. 356. Item, quatre draps de trois lez, 20s pour pièce, valent 4l p. 357. Item, neuf draps de deux lez, à baingneoères, 6s pour pièce, 54s par. 358. Item, 46 aunes de fustaine en trois pièces, 4s l’aune, valent 9l 4s. Tout ce linge jusques ci fut vendu tout ensemble à Erembour de Mousteruel, le viije jour de novembre l’an mil ccc xxviii, 160l parisis.
Draps linges et linge nuef.
Inventoire de viez linge.
341. Premièrement. Une paire de draps de six lez de 6 aunes de lonc, tenant sur le tout 70 aunes, présié 40l p.
359. Premièrement. Dix nappes toutes entières, chascun de 7 aunes, présié 20s par. la pièce, valent 10l par.
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360. Item, 16 aunes de nappes, chascune de 5 aunes, présié sur le tout 7l par. 361. Item, onze nappes, de 3 aunes et demie chascune, présié tout 72s par. 362. Item, 62 touailles coupées de 2 aunes chascune, présié sur le tout 100s. 363. Item, 22 touailles et 7 pesnes, présié 22s. 364. Item, 45 nappes mauvoises, dépéciées, présiées sur le tout 4l par. 365. Item, 12 nappes plaines, de plusieurs longueurs, présié sur le tout 36s. 366. Item, un faisselet de très mauvaises nappes et très mauvaises touailles, toutes derromptez (ou derrompeez), et de pou de valeur, présié tout 5s par. Tout ce linge acolé, vendu à mons. de Nouyers, 32l 15s par., et livré à Johan Billouart pour lui. Quarta decima summa ab alia . . . . . . . . . . . . . . 192l 15s par.
Veluiaux ceintures et autres choses, et Bourses. 367. Premièrement. Cinq pièces de veluaus coquès; vend. ensemble 196l par. 368. Item, un veluau noir et un violet, 45l par.15 369. Item, un nassis d’or de Cipre, présié 40l 370. Item, 2 nacez, demie aune mains, 20l par. 371. Item, un marremas, présié 11l. 372. Item, 3 aunes et demie de taffetais chingant, présié 60s. par. 373. Item, deux camelloz en 2 pièces et 3 demies pièces, touz encendrés, présié 21l par. 374. Item, 2 petites pièces de drap vert samit, présié ensemble 16l par. 375. Item, un camoquois ynde, présié 8l par. 376. Item, une touaille de soye eschiquetée, tenant 3 aunes et demie, pour faire un dossier, et une autele pour faire un frontel, présié 6l par.; vend. à l’évesque de Cornouaille. 377. Item, quatre tayes à oreilliés de saye, présié 60s par.16 15. Items 367–75 are marked “Tout ce vendu à Laudebelon.” 16. Items 377–82 are marked “Tout ce vendu à l’évesque de Cornouaille le dit pris.”
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378. Item, une chaère de cuir garnie de fer et une dossière de fer, 7l par. 379. Item, 12 boutons d’yvoire, une surgenie? (ou surqenie) et 1 touaille à autel, 20s par. 380. Item, deux taies à oreilliés et plusieurs choses de l’euvre d’Outremer, 100s. 381. Item, uns couteaus à trenchier, 4l. 382. Item, deux touailles d’autel, pour paremens, 100s. 383. Item, 29 aunes de tartaire roy, et 2 pièces, présié 12l par.; vend. 7 aunes et demie, 8s l’aune, à missire P. de Villepereur, et 21 aunes et demie à Johan Billouart, 9l par. 384. Item, une chaère de cuivre, garnie de veluau roy, 100s p.; vendue à Gillet le Chasublier. 385. Item, une pomme d’ambre, garnie d’or et à perrerie, présié 30l par.17 386. Item, une autre pomme d’ambre, garnie d’argent, présié 20l. 387. Item, un escrin d’ivoire à ymages, garni d’argent, présié 10l par. 388. Item, un petit ponconnet de cristal, garni d’argent, à mectre sainctuères, présié 20s par. 389. Item, uns pendens à une sèle de Hongrie, un cornet, une corne, un fer, tout présié, 20s par.; vendu à Pierre des Essars. 390. Item, une ceinture des armes de Hongrie, 35s par.; vendue à missire Nicole de Cailloue. 391. Item, une surceinte des armes de Hongrie, 35s par.; vend. à mestre Guillaume de Fourqueus. 392. Item, une ceinture, une bourse et une gibecière, et une autre gibecière, 35s par.; vend. à missire François de Montflacon. 393. Item, plusieurs pièces de cuevrecies, en un coffret, prisié tout ensemble o tout le coffre, 48l par.; vend. 60l à Johanne l’aumosnière. 394. Item, deux vielles ceintures, 4l par.18 395. Item, 2 livres de saye deffillée, de toutes couleurs, 6l p. 396. Item, une ceinture de cuir, une bourse tanée, et un aguillier, 10s. 397. Item, une ceinture et une bourse jaune, 20s p. 17. Items 385–88 are marked “Tout vendu à la royne de France ledit pris.” 18. Items 394–427 were purchased by Johanne l’Aumosnière.
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398. Item, une sourceinte de paon, une bourse et un aguillier, 50s. 399. Item, une bourse garnie de perles, 6l par. 400. Item, un fournement et unes tables, 40s. par. 401. Item, une bourse de l’euvre d’Engleterre, où il a deux lyons à perles, 60l par. 402. Item, une petite boursete à rosetes, 50s par. 403. Item, une petite gibecière de l’euvre d’Engleterre, 60s par. 404. Item, une ceinture ferrée, à doublez vers, 60s par. 405. Item, 5 ceintures, 2 blanches et 3 noires, présié 7l. 406. Item, 3 fournemens, 60s. 407. Item, une petite bourse, où il a les armes de Bar et d’Engleterre, présié 10l par. 408. Item, une ceinture à 3 boutons de perles, 4l par. 409. Item, 20 pièces, que bourses, que aguilliers, 11l par. 410. Item, un fournement ynde, garni d’or, 10l 10s par. 411. Item, unes paternostres de gest, et une bourse, 10s. 412. Item, deux tréçons danbefain, et une surceinte, 24s. 413. Item, 2 paere de ciseaux, 20s par. 414. Item, un petit saint Johan d’ivoire, 60s. 415. Item, uns viez orfrais de chasuble, 12s par. 416. Item, un saint Estienne d’yvoire, 30s par. 417. Item, 14 petites surceintes, 42s par. 418. Item, une douzainne de petites bourses, 20s p. 419. Item, une ceinture, 40s par. 420. Item, un mirouer et une boueste, d’ivoire, 8s. 421. Item, une ceinture viez, une gibecière et un cadran, un coutel; et tout viez, 4l par. 422. Item, uns couteaux à manche d’argent, 20s. 423. Item, 2 fouès à chevaux, 10s. 424. Item, une desvuidouère, une damoisele, et unes tables, et un estui.19 425. Item, une ceinture noire, et unes tables d’yvoire, 100s. 426. Item, deux gibecières, 4l. 427. Item, deux renges d’espée, l’une vert, l’autre vermeille, et deux gaines, présié 10l par. 19. Items 424–25 are marked “100s.”
Toutes les parties acolées dessus dites furent vendues à Johanne l’Aumosnière, donc la somme monte 106l 16s par., li furent vendues 112l par. Quinta decima somma ab alia. . . . . . . . . . . . . . . . 657l 5s par.
Inventoire de coffres. 428. Premièrement. Une paire de coffres, de fust ferrés, vendu à mons. l’évesque de Cornouaille, 50s par., et un petit coffre de cuir, 5s; valent pour tout 55s. 429. Item, un petit coffre, de fust ferré, 12s par., vendu audit évesque de Cornouaille. 430. Item, six petis coffres, c’est assavoir 2 rouges, 2 noirs, un petit couvert de cuir, et un autre fustin, 9l par.; vend. à Pierres des Essars. 431. Item, huit escrins, 100s par.; vend. à J. Billouart. 432. Item, une paere de coffres cloués, 60s par.; vend. à mons. des Nouyers. 433. Item, deux vies coffres de Chappelle; vendus à Pierres des Essars, 40s par., pour Saint Germain. 434. Item, deux coffres de Chapelle, cloués, vies; vend. à Eustace la Chasublière, 30s par. 435. Item, un coffre ferré, où les veluaus estaient, 30s par.; vend. à mestre Guillaume de Fourquois. 436. Item, sept vies coffres de chambre, cloués; vend. à Gassot, 6l p. 437. Item, une paire de coffres; vendus à Pierre Neelle et à Guillaume le Flamenc, pour porter leur vesselle, 4l par. Sexta decima somma ab alia. . . . . . . . . . . . . . . . . . 35s 7s par.
Vessellemente d’estain rendue par le Saussier. 438. Premièrement. 3 douzaines et demie d’escuèles, d’esteim nuèves, présié sur le tout 48s. 439. Item, 100 autres escuelles d’esteim, et 12 mauvaises, depeciées, prisié sur le tout 4l 10s. 440. Item, deux coffres où elles sont. Tout prisié 8l, pour escuèles et coffre; vendu à Gillet, de l’Aumosnerie. 441. Item, audit Gillet, vendu 30 escuelles brisées, et un scel, tout 24s.
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442. Item, un pennier blanc pour aumosne, 10s p.; vendu à P. des Essars. Septima decima somma ab alia. . . . . . . . . . . . . . . . 9l 14s par.
Inventoire de la cuisine Madame par Pierre de Sentré. 443. Premièrement, 10 paeles à bouez, présié 15l p. 444. Item, 2 grans chaudières à 4 anneaux chascune, présie 16l par. C’est assavoir la plus grant 10l, et l’autre 6l par. 445. Item, un baquet à 4 anneaus, prisié 4l par. 446. Item, un autre baquet plus petit, prisié 40s p. 447. Item, 4 autres baquès, 4l 10s par. 448. Item, 4 paeles à queue, 20s par. 449. Item, 3 puisetes, 20s par. 450. Item, 5 petis pos d’arain, 60s par. 451. Item, 2 petites chaudières, et un grant pot d’arain, 70s par. 452. Item, 3 broches et 2 contrerostiers, de fer, 40s par. 453. Item, 2 guerils sengles et 1 double, 40s par. 454. Item, 3 mortiers, 3 pestiaus, 2 penniers, et un coffre, 20s par. Tout ce vendu à mons. de Noyers, le pris de 55l p., et livré pour lui à Johan Billouart. Octava decima summa ab alia. . . . . . . . . . . . . . . . . . 55l par.
Inventoire de plusieurs choses, Coffres et autres choses, qui estoient de l’Eschançonnerie et autres offices. 455. Premièrement, 2 coffres rons, ferrés, à porter vesselle; vendus 30s par. 456. Item, une cuirie pour le chariot, 8l par. 457. Item, 25 pos de cuir, 25d. 458. Une chaudière pour fruicterie, 12s. 459. Item, deux sacs, unes balences, une cloyere et limaignon, 20s par. 460. Item, une vielle somme, et une banne, 15s par. 461. Item, deux coffres lons, pour torches, et deux autres coffres de cuir, ferrés, 4l. 462. Item, un entonnouer de cuir, 3s; vendu à Gillet de l’Eschançonnerie. 463. Item, quatre bouges, à tout la ferreure, pour forge, 60s par.; vend. au mareschal.
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464. Item, quatre paellas petites à queue, pour oignemens, un pot à laver mains, de cuivre, deux petis pos de cuivre, cinq chandelliers de cuivre. Tout ce vendu à mons. Franç., 32s par. 465. Item, onze barils ferrés, 6l 12s par.; vend. deux au grant Prieur, 24s par.; à Johan Billouart quatre, 48s par.; à Pierres des Essars quatre, 4s par.; et à Johan Billouart un, 12s par. 466. Item, quatre autres barils, 30s par.; deux vendus à Pierre des Essars, 15s, et à missire P. de Villepereur deux, 15s. Nona decima somma ab alia. . . . . . . . . . . . . . . . . 29l 19s par.
Sambues et autres choses, qui sont venues de l’Escuerie, rendues par Johan de Bouchon. 467. Premièrement. Une sambue, à tout le lorain, garnie d’argent, donc la sambue est de veluau violet, et sont les escuex d’argent esmallié de Puille et de Hongrie. 468. Item, une autre sambue, sur violet, et sont les arçons d’argent tres, et est le siège d’un veluau noir, broudé de rosetes, et est le lorain garni d’argent, et la garnison de la sele aussi. 469. Item, une autre sambue de veluau encendré, et est le lorain et toute la garnison d’argent. Ces trois sambues devant dites furent depeciées en la présence des exécuteurs, et présié l’argent, 65 mars, vend. à Jehan Poilevillain et P. Neelle, ensemble 290l par., et les fus et les veluaus à Guillaume de Meaux, 24l par. 470. Item, une vielle sambue de drap pers, donc les arçons sont de perles yndes, et est la garnison de la sele et le lorain de cuivre, présié 8l par.20 471. Item, une autre sambue pareille, excepté que les perles sont violés, prisié 8l. 472. Item, quatre sambues pour damoiseles, présié 12l par.; vend. à Johanne la Coutière les trois, 8l par., et l’autre fut donnée à Johan de Bouchon pour sa fame. 473. Item, une sambue pareille, nuève, présié 8l.21
474. Item, une selle à paleffroy et le lorain, 4l.
20. Items 470–71 are marked “Vend. à Johanne la coutière et à Estienne Chevalier.” 21. Items 473–74 are marked “Vend. à Johanne la coutière.”
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475. Item, un parement à paleffroy, d’un pers asuré, semé de fleurs de lis, 8l par.22 476. Item, un tané, 60s par. 477. Item, un autre, d’un pers noir, 50s par. 478. Item, le tapis du char Madame décendre, et 6 esois au bout; vend. à Estienne Chevalier et à Johanne la Coutière, 30s p. 479. Item, une couverture de drap pers pour batel.23 480. Item, une couverture de teile pour batel. 481. Item, un tapis velu de Roumenie; vendu à missire Franç., 60s par. 482. Item, quatre flautees et 1 pou de toille grosse; vend. à Gassot le Peletier, 32s par. xx ma somma ab alia . . . . . . . . . . . . . . . . . . . . . . . . . . . 378l 12s
Inventoire des chevaux Madame, rendus par Johan de Bouchon, son escuier. 483. Premièrement, 1 grant cheval morel, qui n’a que 1 oel; et fu du char Madame; vendu à Johan de Bouchon, 120l par. 484. Item, un cheval morel.24 485. Item, un cheval ferrant. 486. Item, un cheval lyart, qui fu du char.25 487. Item, un paleffroy morel. 488. Item, un paileffroy liart. 489. Item, un pallefroy bay. 490. Item, un morel cheval, qui fut du char Madame; vendu à madame de Valois, à tout le colier, 40l par. 491. Item, un cheval bay.26 492. Item, un cheval ferrant. 493. Item, un cheval bay, qui estoit du chariot; vendu à Pierre des Essars, à tout le collier, 12l par.
22. Items 475–77 are marked “Tout vendu à Estienne Chevalier et à Johanne la coutière.” 23. Items 479–80 are marked “Vend. aus diz Est. et Johe 8l p.” 24. Items 484–85 are marked “Vendus au Roy 200l t., qui valent 180l p., et furent du char Madame.” 25. Items 486–89 are marked “Vendus au Roy de Navarre, tout ensemble les 4, 272l p.” 26. Items 491–92 are marked “Qui estoient du chariot; vend. à Johan Billouart, ou tout les colliers, 40l par.”
494. Item, un cheval bay baucen, qui estoit du char aus damoiseles; vend. à Philippe de Nantuel, o tout le colier, 10l 10s. 495. Item, 2 chevaux du char aus damoiseles; vendus à Godeffroy le Courratier, 24l p. 496. Item, un cheval bay.27 497. Item, un cheval gris. 498. Item, un cheval gris; vendu à Johanot le fourr, 4l t., valent 64s par. 499. Item, un cheval blanc du chariot. Il fut rendu à mons. l’évesque de Cornouaille, à qui il estoit, si comme missire Nicole de Cailloue et missire Thébaut de Meaux, le tesmoignèrent. 500. Item, un cheval blanc, qui fut d’un serjant des foires de Champaigne, qui mourut en la terre Madame. Il fut rendu à ses hoirs, pour ce que il avoit esté pris sans cause. 501. Item, un petit noir, rendu au Gratteur, ménesterel, à qui il estoit. xxjma somma ab alia. . . . . . . . . . . . . . . . . . . . . . . . 692l 14s p.
Inventoire de Chars et de charios, et d’autre hernais. 502. Premièrement. Le char Madame, avec la couverture de drap pers et de toile, vendu à mons. Pierres de Maucourt, chevalier, 115l par. 503. Item, les coliers et les trais de cinq chevaux dudit char, trois selles, l’avalouère et la dossière; vend. à Guillaume du Moustier, 12l par. 504. Item, le char aus damoiseles, donc la couverture est de drap et de toille, deux selles, une avalouère, et une dossière. Item, une letière sanz hernois et sanz courtine; vend. ensemble 36l par., à la dame de Beaumarchès. 505. Item. 2 charios; vendus à Pierres des Essars, 10l par. xxijma somma ab alia. . . . . . . . . . . . . . . . . . . . . . . . . . 173l par.
Inventoire de vins. 506. Premièrement. 14 queues de vin nouvel, venu à Paris du Mès le Mareschal, en Grève, et 10 queues de 27. Items 496–97 are marked “Qui estoient du char aus damoiselles; vendus à Johanne la Coutière, o tout les coliers, 11l par.”
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vin viez, venu de Fonteinebliaut des vins de Gastinois, et tenoient 5 sestiers, ovec la gauge; vendu par Dimenche le Courretier, demourant en la rue du Temple, à Robert le Paumier, 4l par. la queue, l’une par l’autre, valent 96l 8s 4d par. 507. Item, 2 tonneaus de vins, venus de Corbuel à Paris, des vignes Pierres d’Escharçon et Johan de Tigery; vendus à l’évesque de Cornouaille, 7l par. le tonnel, valent 14l par. 508. Item, d’icelles vignes meismes, 2 tonneaus; vendus à missire Nicole du Calloe, 14l par. 509. Item, d’icelles vignes meismes, 2 queues de vin; vendues à mons. François de Montflacon, 7l par. 510. Item, 2 queues de saugié, des vins du Mez; vend. en Grève, 10l par. 511. Item, 2 queues de vin viez, qui estoient eu chastel de Courbuel; vend. à Johanot de Saumur, 7l par. 512. Item, ou cellier du Temple, une queue de vin vermeil viez, et une queue de saugie blanc, viez vuidié environ demi pyé, et une bessière en une queue, où il a environ 1 muy de vin; vendu tout à Gillet, de l’Eschançonnerie, 8l. xxiijma somma ab alia. . . . . . . . . . . . . . . . . . . . . 156l 8s 4d par.
Inventoire de Coutes, qui estoient en l’ostel du Temple. 513. Premièrement, une grant coucte en un coissin. présié 100s par. 28 514. Item, trois autres coute, présié chascune 4l p., valent 12l par. 515. Item, trois coutes, 60s la pièce, valent 9l. 516. Item, une coute, 40s par. 517. Item, 17 coutes, 30s la pièce, valent 25l 10s p. xxiiijma somma ab alia . . . . . . . . . . . . . . . . . . . . . . . . 60l par.
Inventoire de plusieurs autres choses qui estoient au Temple. 518. Premièrement. Ou cellier 23 queues vuides; vendues ensemble à mons. Pierres de Villepereur, 40s par. 519. Item, 7 quartes et demie d’uyle d’olive, pourrie et de nulle valeur, ne ne pout estre vendue. 28. Items 513–17 are marked “Vend. ensemble à mons. des Noyers, 60l par. Et monte le pris 55l 10s p.”
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520. Item, 2 sestiers et 6 bouesseaus de pois, le sestier 12s, valent 30s par.; vendus à l’évesque de Cornouaille, et à missire Nicole. 521. Item, 10 bouesseaus de fèves, 6s 4d; vend. à Gieffroy de Breton. 522. Item, 2 sestiers de fèves viez, et 3 minos; vend. à Gieffroy le Breton, 13s 9d. 523. Item, une chauffouere, 2s 6d.29 524. Item, 1 bacin ront, 6s par. 525. Item, 1 bacin plat, 6s par. 526. Item, 1 petit bacin ront, 2s 6d. 527. Item, 1 chauderon d’estuves, 10s. 528. Item, 1 chaudière, 10s. 529. Item, 1 coquemart, 3s. 530. Item, un bacin plat, 8s.30 531. Item, 1 bacin ront, 6s. 532. Item, une poche de fer, 3s.31 533. Item, uns fers à gauffres, et une autre paele, 5s 6d. 534. Item, 2 coqmars, 6s par. 535. Item, 24 tables, 15 paere de trétiaux, 2 dréçouers, 26 fourmes; vend. au Hospitaliers, 7l par. 536. Item, 25 lars et demi, des quiex furent vendus 19 lars et demi à Johanot de Saint Marcel, 17l par. 537. Item, 6, vend. à plusieurs personnes, 6l par. 538. Item, 1 mortier et un pesteil à batre espices, ballié à Jaques de Boulonnois. xxvma somma ab alia. . . . . . . . . . . . . . . . . . . . . . . . . . 37l 18s 7d 539. Item, un drap d’escarlate morée, moullié et tondu, tenant 17 aunes; vend. 60l par.; vend. à Pierre des Essars, pour la Royne. Somme toute de ces choses dessusdites jusques ci. 17,004l 16s 7d ob. parisis.
Inventoire des choses qui estoient à Courbuel en l’ostel Madame. 540. Premièrement. 6 petites coutes et 6 coissins, présié 100s par.32 29. Items 523–29 are marked “Vendu à Ysabeau de Til, 40s.” 30. Items 530–31 are marked “Vend. à Marie de la Chambre, 14s.” 31. Items 532–34 are marked “Vendu à Philippe de Nantuel, 14s 6d.” 32. Items 540–42 are marked “Vendu à Johanne la Coutière.”
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541. Item, 10 draps petis, pour mesnie, et 4 viez nappes, prisié 30s par. 542. Item, 4 viez tapis de lainne, et 2 dépeciés 32s par. 543. Item, 20 nappes, que plaines que ouvrées, et 2 touailles, en 1 penne, tout en un coffre, présié coffre et tout, 6l par.; vend. à mons. Adam de Préci, 8l par. 544. Item, une pièce de teille, tenant 32 aunes, 32d l’aune, valent 4l 5s 4d par.33 545. Item, une pièce de toille, tenant 27 aunes, 3s 6d l’aune, valent 4l 13s 6d par. 546. Item, une pièce de toille, tenant 33 aunes, 3s 6d l’aune, valent 115s 6d par. 547. Item, une pièce de toille, tenant 10 aunes, 3s 6d l’aune, valent 35s par. 548. Item, 4 nappes, tenant 20 aunes en une pièce, présié 5s l’aune, valent 100s par. 549. Item, 4 nappes en une pièce, 100s par. 549 bis. Item, un buscau, tenant 12 aunes, présié 48s p. 550. Item, 1 buscau, tenant 13 aunes, présié 52d p. 551. Item, une pièce de touailles, tenant 30 aunes, présié 50s p. 552. Item, une autre pièce de touailles, tenant 30 aunes, 60s par. 553. Item, unes pièce de touailles, tenant 15 aunes, présié 22s 6d. 554. Item, 5 touailles en une pièce, de 5 aunes chascune, 37s 6d. 555. Item, 4 touailles en une pièce, 32s par. 556. Item, 2 pièces de petites touailles, tenant 24 aunes, 3s l’aune, valent 72s, donc Pierres des Essars prist la moitié, et mons. de Nouyers l’autre. 557. Item, 17 touailles, en 4 pièces, tenant 5 aunes chascune, présié 2s 6d l’aune, valent 10l 12s 6d; vendu à mons. de Nouyers, donc Billouart eut une pièce, tenant 15 aunes, de 37s 6d. 558. Item, une pièce de toille, tenant 32 aunes, 32d l’aune, valent 4l 5s 4d par. Mons. Nicole, chapelain, mons. de Nouyers, les out vend. à lui. 559. Item, une pièce de toille, tenant 39 aunes, 3s 6d l’aune, valent 6l 16s 6d.34 560. Item, 2 nappes en une pièce, 40s. 33. Items 544–54 are marked “Vendu à mons. De Nouyers.” 34. Items 559–61 are marked “Vend. à Johan Billouart.”
561. Item, un buscau, tenant 14 aunes, présié 56s. 562. Item, une pièce de toille, tenant 32 aunes, 3s 6d l’aune, valent 112s par.; vend. à P. des Essars. 563. Item, 2 napes en une pièce, présié 50s par.35 564. Item, 2 nappes en une pièce, présié 60s par. 565. Item, 3 orilliés, prisié 32s par. 566. Item, uns grans tabliaus pour chappelle, et un eschiquier, vies, prisié 16l par.; vend. à P. des Essars pour Madame la Roynne. 567. Item, 12 draps mauvais, petis, 4l par.; vend. à mestre G. de Fourqueus. 568. Item, 17 draps mauvais, petis, 64s par.; vend. à missire Nicole. 569. Item, une pièce de drap de Loviers, tenant 18 aunes, 10s l’aune, valent 9l par.36 570. Item, un drap de royé de Gant, entier, moullié et tendu, 10l p. 571. Item, 2 vielles coustespointes, 1 petis couverteurs, 2 tapis, une flaxaye, et 2 mortiers, 4l 16s par. 572. Item, 3 viez pos de cuivre, 5 viez paeles, 4 petiz pos d’estain, 18 escuelles d’estain, tout vendu 70s par. 573. Item, 2 seaus à eaue, 6s par.37 574. Item, un pié à bacin, 1 banc, 1 mortier et 1 péteil, 14s par. 575. Item, une queue à vin aigre, où il a environ 1 muy, 25s par. 576. Item, une huche longue, qui vint de Tigery, 16s. 577. Item, 3 viez socz à chaine, 2 coutres et une cheville de fer; vend. à P. le Courant, 18 s; et 2 lieures, et 2 trais, 6s par. S. à li 24s p. 578. Item, 2 huches nuèves. présié 28s; vend. à Jehan de Saumur. 579. Item, 1 grant Roumant viel, de plusieurs ystoires; non présié, non vendu, quar il est moult gastés. 580. Item, 1 drap marbré vermeillet, de Loviers, entier, rendu à la fame Johan de Tygery, à qui Madame commanda en son vivant que il li fust ballié, à la relacion Guillaume de Fourques et Nicole de Cailloue. Somme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156l 13s 8d par.
35. Items 563–65 are marked “Vend. à P. des Essars.” 36. Items 569–72 are marked “Tout vendu à Johanne la Coutière.” 37. Items 573–76 are marked “Vendu tout à Philippot de Meaux.”
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Tygery. 581. Premièrement, 4 huches à buleter et à pestrin.38 582. Item, une autre huche à metre lars. 583. Item, une petite huche. 584. Item, une petite table, une fourme, 2 trètes, et 3 chaères petites, présiées 4s, et tout vendu. 585. Item, 2 chevaux qui furent Johan de Thygery et 2 qui furent Pierres d’Escharçon, 2 charètes, 1 tombereau, 2 viez chaines et tout le harnois des chevaux; vendu à Pierres le Contant, 32l par. 586. Item, 3 queues où il a despense, présié 20s.39 587. Item, 3 queues vuides, présié 6s. 588. Item, 2 tones à fouler et 1 cuvier, 30s. 589. Item, environ 200 de vèce, présié 32s.40 590. Item, 300 d’autre vèce, présié 18s. 591. Item, 18 sextiers du blé de Tygery, venu et vendu en Grève, à Paris, le sextier 12s 6d par., à Jehan de Saint Marcel; valent 11l 5d par. 592. Item, 8 sextiers d’avoine venus de Tigeray; vend. à mons. Nicole de Calloue, 13s par., valent 104s p. 593. Item, 8 rastelliers à brebis; vend. 12s à Jehan le Mesnagier, de Corbuel. 594. Item, receu premier jour de février, de Robin l’Ostellier, serjant de Corbuel, pour deniers que il devoit par la fin de ses comptes, les partiez dudit Robin, 55l 13s 9d par. Somme, puis l’autre. . . . . . . . . . . . . . . . . . . . . . . 111l 8s 9d par. 595. Item, 3 viez huches, un estal de cuisine, 2 trétiaux, 2 petites selles, une fourme petite à Escharçon, présié 16s par. 596. Item, une petite table à piés, 2 viez ais, 2 petites fourmes, présié 5s. 597. Item, une queue où il a environ un pié de vin; vendu à Tévenon Richon, 20s. 598. Item, 2 queues de despense, présié 20s. 599. Item, 3 cuves, que grans que petites, 4 cuviers? 2 tinneis? 2 mauvais entonneurs, 2 tonnelès à verjus, une civière et un lardier, 60s p. (Nota. Pas de nº 600.) 601. Item, 200 ou environ de vèce, présié 32s par. 38. Items 581–83 are marked “Prisié tout 24s par.; vend. à Johan le Mesnagier de Courbuel.” 39. Items 586–88 are marked “Vend. à Estienne de Corbuel.” 40. Items 589–90 are marked “Vend. à Renier, du Séjour.”
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Toutes ces choses vendues à Thevenon Richon, et à Guillaume de Saint Pers, et à plusieurs autres, par P. le Courant. 602. Item, 4 chartées de gros fain et 2 chartées d’autre; vendu à Jehan Postellet, 4l. 603. Item, viijm de fein, 80 bottaus mains, venus à Paris du chastel de Corbuel, et fut botelé du commandement les exécuteurs; vendu à Symon de Lille, mons. François et autres, 50s le millier, valent 19l 16s par. Somme puis l’autre . . . . . . . . . . . . . . . . . . . . . . . . . . 31l 9s par.
Inventoire de moebles qui estoient à Fonteinnebliaut. 604. Premièrement. Une grande coute pour Madame et le coissin; vendus à Drion le chevalier, 8l par. 605. Item, à Robin le Gastellier, vend. une autre coute. Item, 24 coutes et 24 coissins, 21 coute sans coinssins; vend. ensemble 37l par. 606. Item, à Pierres Maciquart, 10 coutes et 10 coissins; vend. 9l par. 607. Item, à Jehan d’Aubligny (ou d’Anbligny), 3 coutes et 3 coissins, 54s p. 608. Item, à Johan Rousseau, 4 coutes et 4 coissins, 64s p. 609. Item, à Robin le Gastellier, 20 coutes, 20 coissins; vend. 20l par. 610. Item, une queue de verjus et une autre queue plaine à moitié; vend. à Drion le clerc, 4l par. 611. Item, xm de pommes; vend. à Robin le Gastellier, 40s par. 612. Item, à lui une cuve et la chapelle pour estuve, 36s p. 613. Item, à Philippot du Til; vend. unes aumoires de fust qui estoient en la chambre, présié 24s. Somme de Fonteinebliaut. . . . . . . . . . . . . . . . . . . . . . . . 83l 18s Le rentage de Byère fut vendu pour l’aoust xxviii à Drion le Queu, 37l par., et 37 m. d’aveine à la mesure de Gastinois, non paiés, et sont deus à l’Ascension prochain.
Inventoire des biens qui estoient à Moret. 614. Premièrement, 8 coutes et 7 coissins, lessés en garde à Sicaire? présié 10l par.; vend. à Aagnesine, 11l par.
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615. Item, 2 nascelles, présié 40s.41 616. Item, une saimme aveques les cordes, présié 60s. 617. Item, les poissons qui sont en l’estanc de Mourcient et de toutes les eaues du domaine, furent vendus au Roy, ensemble 800l par., par marchié fait aus thrésoriers. Somme pour Moret. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816l.
Inventoire des biens qui estoient à Flagi. 618. Premièrement. Pour les terrages à la par Madame, 3 m. 1 sextier de grain à la mesure dou lyeu, pour l’aoust l’an xxviii, c’est assavoir demi muy fourment, demi muy sègle, et 25 sextiers d’avene, présié par Regnaut le Munier et Johan de Launoy. Le blé 14s par. le sextier l’un par l’autre, et l’avoine 8s le sextier. Non vendu. 619. Item. Robin Gaudin doit 9 sextiers d’avoine pour l’aoust l’an xxvii, présié 8s le sextier. Et ne sont pas vendu, quar il sont à poier à l’Ascension.
Inventoire fait à Lorrez. 620. Premièrement. Laurent Verreau doit pour l’aoust l’an xxviii, pour les terrages à la part Madame, 14 muis que blé que avène, tel comme il y a en la granche, présié le blé 4s 6d le sextier, et l’avoine 3s 4d par. le sextier.42 621. Item, les miniaus ne sont pas cuillis juques à la mi-caresme, et pevent valoir par estimacion 15 sextiers de sègle à la mesure du lyeu, et peut valoir le sextier 4s 6d par.
Inventoire fait à Grez. 622. Premièrement. Guillaume Patin tient les terrages, et doit pour ce 6 m. d’avoine à la mesure du lieu, présié la mine 20d par.43 623. Item, Gieffroy Vuide Bourse doit de terme passé 8 muis et demy avène, présié 20d la mine; vendue ensemble à Robin de Guye, et à Perot Jaoylier, 21l par. 41. Items 615–16 are marked “Vendus à Renart.” 42. Items 620–21 are marked “Et sont à paier à l’Ascencion proch.” 43. Items 622–23 are marked “Ils sont à paier à l’Ascencion proch.
Inventoire fait à Nemox 624. Premièrement. Jehan le Doyen, autrement des Vignes, et Johan Arnoul, tiennent les terrages à 26 muys, c’est assavoir 12 muis sègle et 14 muis avoine; de ce chiet pour les assignés 5 muys et demi de seigle, et demi muy avoine, demeure pour Madame 6 muis et demi de seigle et 13 muis et demi avene, présié le sègle 24d la mine, et l’avoine 20d la mine; vendu le sègle à Estienne Crestienne 2s 6d la mine, valent 19l 2s par. et l’avoine 50s le muy, valent 33l 15s par. 625. Item, 5 escuelles d’esteim, vend. au prévost 3s par. Somme de Nemox. . . . . . . . . . . . . . . . . . . . . . . . . . 53l 10s par.
Inventoire faite au Mez le Mareschal. 626. Premièrement. En la grant sale 6 grans tables, présié 60s.44 627. Item, 14 tables mendres, présié 42s. 628. Item, 22 fourmes, présiés 24s. 629. Item, 33 trétiaus. 630. Item, 1 derecouer, présiés 18d. 631. Item, en la chambre dessous, où les escuiers gésaient, 5 grans tables fournies de cat., présiés 40s par. 632. Item, 8 petites tables, présié avec les trétiaus, 16s. 633. Item, 25 fourmes, que grans que petites, présié 25s. 632. Item, 65 trétiaus, présié le remanant les tables fournies, 2d la pièce. 635. Item, 8 coutes, 7 coissins, présié 7l par.; vend. à missire Johan Cartaut, 7l. 636. Item, 7 queues vuides, vend. à Johanot, 14s p. 637. Item, 3 tonneaus vuis à despense, vend. à Jahot, 12s par. 638. Item, ou pressouer 3 grans cuves.45 639. Item, une en la tour. 640. Item, 3 autres cuves, présié 30s. 641. Item, en la tour, 4 fourmes, 2 tables et 7 trétiaus, présié 6s. 642. Item, environ vijc fagos, vend. à Jahot, 12s. 44. Items 626–34 are marked “Lessié au Roy tout; et sont au Mès le Marescal.” 45. Items 638–39 are marked “Lessié au Roy.”
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643. Item, 5 escuelles d’estaim, présiés 5s, vend. à Jahot. 644. Item, 5 muis et demi, moitié blé, moitié avène, des terrages; vendus pieçà par Johan à Johan Caschier de Dourdines, le blé 2s la mine, et l’avoine 16d la mine; et en a receu la monnoie li diz Jahos et mis en la réparation de l’ostel, si comme il dit. Monte la somme 11l par. 645. Item, les muniers doivent blé pour le mouturage juques au jour du trespassement Madame. 646. Item, monnoie reçeue par Jahot de Montigny. Primo des misses Thierry, 40s par. 647. Pour cens le jour Saint Leu, 6d. 648. Item, pour cens, le jour Saint Remy, 15l 2s 5d. 649. Item, pour autre cens dessus les vignes, 9s 9d à ce terme. 650. Item, à ce terme pour les cens de la Gerville, 60s. 651. Item, pour les cens du Mès à la saint Denys, 44s 3d. 652. Item, de Dryon le clerc, 20s. Somme du Mez le Mareschal. . . . . . . . . . . . . . . . . . 43l 19s 11d.
Lorrys en Gastinois. 653. Premièrement, 3 bonnes coutes et 3 coissins, présié, la meilleur 60s par., et les autres 40s pour pièce, valent 4l par., valent pour tout 7l par. 654. Item, 2 mendres coutes et 3 coissins.46 655. Item, 2 coutes sans coissins, présié ensemble. 656. Item, 7 mauvais draps touz descirés.47 657. Item, 4 nappes mauvaises. 658. Item, 1 tablier. 659. Item, 4 touailles, que bonnes que mauvaises. 660. Item, 2 oreilliers, présié 6s. 661. Item, 1 couvertouer rouge, fourré de gris, tout pelé, présié 25s. 662. Item, 1 autre de contrefille, fourré de connins et de chevriaux, présié 15s. 663. Item, une coute poincte blanche, présié 8s. 664. Item, 3 mauvais tapis royés, présié 20s. 665. Item, 4 pos de cuivre, donc l’un est depeciés, une petite paele d’arain à 2 anneaus, une paelle de fer toute 46. Items 654–55 are marked “60s par.” 47. Items 656–59 are marked “Présié tout 16s par.”
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dépécié, et 1 pot d’estaim pour aumosne; présié tout 48s par. Et y a un des pos de cuivre, le greigneur, à 24s p. 666. Item, une petite chaudière, présié 8s. Tout ce vendu à Jaquemin le concierge, ensemble 18l par. Somme par soy. Somme par soy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18l par. 667. Item, les terrages et les minages sont vendus à Girart le Paignye, 48 muys de grain, c’est à savoir 14 muys fourment, 14 muys sègle et 20 muys d’avène, donc les rentiers prennent les 14 muys fourment, et 6 muys de sègle, demeure que il doit 8 muys sègle et 20 muys avoine. Et dit que il ne les doit juques à l’Ascencion. Présié le blé 2s 4d la mine, et l’avene 2s la mine. Et sont à poier à l’Ascencion prochaine. 668. Item, 17 chièvres, que grans que petites, présié l’une par l’autre 20s par., et sont données aux amis Madame.
Chasteauneuf. 669. Premièrement, une queue de verjus viez.48 670. Item, une queue de verjus nouvel. 671. Item, 2 queues de vin des treilles. Somme par soy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10l par. G. secunda. Somma grossa ab alia,. . . . . . . . . . 1324l 19s 4d p.
Inventoire des biens qui estoient ès hostiex Madame en Normendie. 672. Premièrement. Au Plessis, 219 chiefs de brebis à leine et une pel d’aignel, vend. à Mahieu Gaudart 218, chascune beste 9s par., valent 98l 2s, et la 19e beste davantage. 673. Item, 58 pouceaus (sic), vend. à Thomas Hanon, du Pont St Pierre, 58l par. 674. Item, une truie et 4 pourcelès petis.49 675. Item, 10 petis pourceaus non vendus. 676. Item, 6 vaches et un torel, vend. à Robin le boucher, 16l 10s par. 48. Items 669–71 are marked “Vendu ensemble à Thevenin le Jordinier, 10l par.” 49. Items 674–75 are marked “Et en comptera J. de la Prée, et d’un petit cheval qui li est demouré.”
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677. Item, 4 chevaux de charue, vendus les 3 (sic), aveques les colliers et leur harnois, à Guillebert Poline, 24l par. 678. Item, 2 selles à charetier, 2 dossières, l’une nuève et l’autre viez, 2 viez avalouères, 2 coliers de limons, 4 autres enhernechiés, une bonne cherète 2 viez cherètes ferrées, 2 tumbereaus sans roez, 2 chérus à fers et à roueles, et 4 herches. Tout vendu ensemble audit Guillebert Pooline, 9l par. 679. Item, les blez de la granche ne pevent estre présiés juques à tant que il soient vendus et les pois aussi. Et en comptera ledit Johan, et a ballié sur ce 39l 10s. 680. Item, environ xijc de vèce, vendu vijc au balli de Gysors 8l 8s par. Et le remenant est de la granche. 681. Item, environ 6 chartées de fain, vend. à Guillebert Pooline, 10l. 682. Item, environ 28 acres de blez en terre, faiz aus coux Madame. 683. Item, 10 costes de poirreaus ou environ. 684. Item, la revenue du moulin juques au trespas Madame. Et des autres revenues de l’ostel, Johan de la Prée en comptera. 685. Coutes. Premièrement, 2 coutes de 2 lez et 2 coissins.50 686. Item, 7 autres petites coutes et 7 coissins. 687. Item, 1 couvertouer ver, fourré de connins. 688. Item, un couvertouer rouge, fourré de connins. 689. Item, 1 couvertouer de pers banc? fourré de connins. 690. Item, 3 viez mauvaises coutespointes, qui furent de samit noir. 691. Item, 3 couvertouers de burel petis sans fourreure. 692. Item, un couvertouer de pers cler sengle. 693. Item, 1 couvertouer rouge tout dépécié. 694. Item, 6 carreaus à seoir, de bourre, touz viez. 695. Item, 2 petis orelliers à lit.
Hernoys de cuisine.
696. Premièrement, 2 pos d’arain à traire vaches.51
50. Items 685–95 are marked “Sont apresiés et à vendre, et en comptera J. de la Prée.” 51. Items 696–719 are marked “Non vendu et en comptera J. de la Prée.”
697. Item, un grant bacin à laver mains. 698. Item, 1 autre mendre. 699. Item, 2 chaufeurs. 700. Item, 2 trépiés, l’un grant et l’autre petit. 701. Item, 1 grant chenet de fer et 2 petis. 702. Item, un bacin à laver testes. 703. Item, une lèchefrée d’arain à queue de fer. 704. Item, une viez paelle d’arain. 705. Item, 2 paelles de fer de nulle valleur. 706. Item, 4 plateaus d’estein mauvais. 707. Item, un petit potonnet (ou poçonnet) de cuivre. 708. Item, un pot de cuivre plus grant. 709. Item, 3 viez paelles d’arain à bouez. 710. Item, une autre à 2 anneaux. 711. Item, 3 viez chaudières. 712. Item, 1 grant pot de cuivre à 2 anneaus de fer. 713. Item, 20 escuelles d’esteim et 4 saussières. 714. Item, 9 pos d’estaim, que grans que petis. 715. Item, 1 grant mortier. 716. Item, 49 fourmes et 31 tables, 68 trétiaux et 5 chaères. 717. Item, 1 banc en la sale. 718. Item, une broche de fer et unes tenailles de fer, viès. 719. Item, 8 huches mauvaises, donc l’une et ferrée.
Chappelle. 720. Premièrement, 2 chasubles, une de samit rouge, et l’autre de drap de soye à oiselès jaunes, fourrées de teille taincte, et un corporalier viez de cendal vermeil, et 2 corporeauls dedens.52 721. Item, une aube parée, estole et fanon de meismes. Et une aube et 2 amiz desparés. 722. Item, 1 calice d’argent doré. 723. Item, un oreillier de saye pour le messel. 724. Item, 2 messals, l’un nuef, l’autre viez. 725. Item, 1 rochet. 726. Item, 1 frontel et 1 dossel de cendal noir, de fleur de lis batus d’or, fourrés de toile. 727. Item, 4 mauvaises touailles d’autel. 52. Items 720–30 are marked “Tout ce lessié à l’ostel, pour ce que il y a chappellain perpetuel.”
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728. Item, un viez chandellier de cuivre. 729. Item, 1 orcel d’estaim à eaue benoiste. 730. Item, une huche pour les aournemens. 731. Item, du balli de Gisors, receu pour muy et demy d’avène vendu à li, 13l 10s. 732. Item, de li pour vij c de pesas et iiijc fuerre d’avoine, 77s. 733. De li pour vijc fuerre de blé, 42s. Somme reçeue pour le Plessis. . . . . . . . . . . . . . . . . . . 282l 19s.
Maineville. 734. Premièrement, 26 coutes et 23 coissins, présié tout ensemble 12l, lessié à mons. de Nouyers, pour 12l par. 735. Item, en la granche devant, environ 60 chertées de fain, présié 60l, non vendu. 736. Item, de 60 mines d’aveine que les gens de la ville doivent, vendu à Estienne Flaquet et au neveu, au bailli de Gisors, 3s la mine, valent 18l par. 737. Item, Ode de la Rue doit rendre à Noël ccc xxviii à Maineville, pour les 3 villes S. Denys, 190 mines d’avoine, non vend. 738. Item, 3 chenès de fer.53 739. Item, une cloche pour moustier, gésant. 740. Item, 36 tables à trétiaus et 36 fourmes. 741. Item, 2 grans mortiers.54 742. Item, 1 grant banc. 743. Item, viijm de tuylle ou environ. 744. Item, 10 verveux, 2 trainaux, un trainel et une chausce à peeschier, qui valent environ 30s. 745. Item, en la chapelle un messel. 746. Item, une chasuble. 747. Item, une aube, un amit, une estole, un fanon. 748. Item, un autel benoist et 3 touailles à autel. Somme receu de Meineville . . . . . . . . . . . . . . . . . . . . . 30l par.
53. Items 738–40 are marked “Donc il y a 12 tables noèves et 10 fourmes lessiés en l’ostel que Madame fist faire.” 54. Items 741–48 are marked “Lessié à l’ostel.”
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Item les debtes que Perceval Vincent, receveur Madame, a balliées à recevoir par les exécuteurs, partie receue et partie à recevoir. Premièrement. La fame feu Philippon Guillebert pour son? compte des enchières de la vente de Mez, 29l 5s. Garcin de Chevigny, dit de Prégirmaut, pour 3 amendes, 120l p. Gauillaume d’Ampouville, pour partie d’une amende de 60l pour le remenant, 45l 10s 4d p. Mons. Johan d’Uisy, pour le restas de ses comptes, 24l 2s 6d p. La fame feu Estienne le Voussi, jadis receveur, pour son restas, 94l 9s 3d p. Estienne Bouteau, pour une amende, 200l. poié 120l. Jehan Chamaillart, prévost de Chasteau Landon, pour le charroy d’Orfarville, que il a tenu puis la Saint Johan, 11s 4d par. Item, ledit prévost, pour les cens de la Saint Pierre et S. Pol. 4l 5s 6d. Item, ledit prévost, pour les cens de la Saint Remy, 101s 9d. Item, ledit prévost, pour les cens de la Saint Denys ensievant, 27s 2d. Item, Pierre le Convers de Baugency, pour le restat du compte que il a receu pouiz la Saint Johan, 60l 7d. Item, ledit Pierre, pour 8 mines de noys et pour une livre de poivre, 29s par. Item, les fieffermes de Normendie, 194l 3s 7d. Mons. Pierres de Giroles, pour une amende, 20l p. La Boulote de Neufville, de la somme de 24l, que elle devoit pour amende, 10l par.55 Thiesselot Quatressouls, dudit lieu, pour le remenant de 10l pour amende, 60s. La fame Renaut Pillastre, pour amende, 10l. Gillet Thion, pour 13 brebis d’espave, 59s. Missire Nicole de Challoue, pour 6 royés achatez à Prouvins pour la livrée des petis varlès, du terme de ceste Toussains, qui coustèrent 12l 8s la pièce, et 6 autres qui coustèrent 11l 4s, et pour 36s que les draps coustèrent à amener de Prouvins à Paris, 143l 8s par. 55. This item and the next are marked “Madame leur quitta par ses lettres.”
Appendix 2
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Mestre Johan de Herches, pour le droit que Madame avoit ès brebis de Thigery, 8l par. Item, ladicte Royne devoit à Jehan de l’Ospital 11l, lesquiex ledit Perceval a paiez pour lad. Dame, et li donne cour lieu. Somme pour Perceval. . . . . . . . . . . . . . . . . . . . 988l 12s 10d p. De ce receu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550l 9s 9d. Resta à recevoir. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426l 3s 2d.
Item, autres debtes deues à Madame au temps de son trespassement. Premièrement. Guillaume le Tourneur, de Courbuel, demourant pour amende de greigneur, somme, 60s. Item, vij jours en décembre, poié par Chardot Godart, pour le grillage des boys de Violete et de Cornouaille, en la chastellenie de Corbuel, 100s. Item, ce jour, pour le crois de 600 florins royals, pris la pièce pour 28s et mis en Gastinois pour 28s 4d, 10l par. Item, pour 292 connins, vendus à Philippot le poullallier de Corbuel, à prendre en la garenne de Ferrières, 60l le millier, du temps que Madame vivoit, 17l 10s. Item, Gieffroy Challot, prévost de Samoys (ou Sainoys), pour 5 minaus d’aveine pris sus Henri le Queu, pour debte que il devoit à Madame, vendu à li, 12s 6d. Item, de li pour celle cause des biens dudit Henri, 30s p. Item, de l’appostolle de Moret, pour la vente de 15 queeus wides, prises à Fonteinebliaut, 60s. Item, de Aucher, le jour S. Luce, pour deniers que il devoit pour prest fait à li par Madame, 10l p. Item, de Renaut de Villers, prévost de Montargis, pour les cens de Poocourt, au terme de la S. Remy, 38s p. Item, de Pierre de Sourti, serjant de Chasteau Landon, pour le demourant des esplois Johan du Cimetière, jadis prévost de Chasteau Landon, 9l 5s 7d p.
Item, de Gieffroy, portier du Temple, pour les coutumes du Temple, depuis la Saint Denys l’an xxvii, juques à cel jour l’an xxviii, 48l. Item, de Martin de Villeines, pour les jardins du Temple et les prés du Temple, ascensés à lui depuis la Saint Martin l’an xxvii, juques à la S. Martin l’an xxviii, 58l par., de ce chiet, pour ce que Madame ne vesqui pas l’an entier, et en vouloit porter le prieur de l’Ospital les porées et les poreaus, lesquiex devoient garantir li exécuteur pour ce 16l par., et de la somme de 58l, a compté missire Thyerry, garde de la Chambre aus Deniers, en ses receptes, 12l par. Restat receu 30l p. De Guillaume Soufflet, pour deniers recouvrez de li qui li estoient paiez 2 foiz 9l 3s 1d. De Johannot L’Ermite, tondeur, pour 8 aunes et demie de drap des escuiers, demourant de la livrée de la Toussains l’an xxviii. 8l par. Item, de li, pour 3 aunes et demie du drap des clers, de ce terme, 66s. Somme de ces parties . . . . . . . . . . . . . . . . . . . . . . . . 160l 5s 2d.
Recepte des fieffermes de Normendie pour le terme de la S. Michel l’an xxviii. Premièrement. Du balli de Caen, 1516l 5s 4d ob. tornois, valent 1213l 3d ob. par. Item, en la ballie de Rouen, par la main du viconte d’Auge, 645l 5s 11d t., valent 516l 4s 9d par. Somme pour les diz fieffermes. . . . . . . . . . . . . . . . 1729l 5s ob. Tertia. Somma grossa ab alia,. . . . . . . . . . 2752l 18s 11d ob. p. Somme toute de cest présent inventoire. . . . . . 21,082l 14s 11d.
Appendix 2
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Appendix 3: Glossary
Based on Gay and Stein, Glossaire archéologique; the “Table des mots techniques” in Douët-d’Arcq, Comptes de l’argenterie des rois de France au xive siècle; and Piponnier and Mane, Dress in the Middle Ages. amiz amice, the light undergarment worn under the alb by the priest during the Mass anel or anneau a ring argent silver argent verré silver metalwork with parts that are gilded and parts that are not aube alb, a garment worn by the priest during the Mass aune a measurement of length, used especially in describing textiles baril a small container for liquids that imitates a full-sized barrel boueste a container or a case bouteille a bottle that could be capped with a plug burette a glass vessel for wine or water used in celebrating the Mass caignet Douët-d’Arcq debates whether this was a type of material, a color, or a type of weave camelin a woolen fabric of medium quality, made from camel’s hair cendal a light silk, much like taffeta, that frequently lined garments. This material was used also to line the walls of rooms. chaperon a hood char abbreviation for chariot, or carriage chopine a table vase without a foot but usually with a lid Cipre Cyprus coquille de perle mother-of-pearl cote a tunic worn over a chemise both by men and women, normally ankle length and with long tight sleeves, worn under a surcoat cote hardie a sleeved garment worn over the cote, usually outdoors. A cote hardie was often worn for horseback riding. coustepointe a lined bed cover, often decorated with needlework crucifix Clémence owned a “croix à un crucifix.” The crucifix was the sculptural body of Jesus that was attached to the cross. custode a container used in the chapel. It could hold unconsecrated bread or other objects. Clémence owned custodes of cendal silk. doit a cylinder on which rings were stored domatique dalmatic, the garment worn by a deacon or priest over the alb during the Mass écuelle a dish, often with a broad rim. Clémence had a set of forty-eight silver escueles, suggesting that these would have been the primary dishes in the place settings for her guests. émaux de plique Documents before the eighteenth century refer to all cloisonné enamels by this term, but today it refers to those with hearts, vines, rosettes, or quadrilobes on an emerald background.
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entablement a stand on which a sculpture rests or in which it is encased escarlate a woolen fabric, a high-quality material that was much more expensive than others. Often red or pink, but also blue purple and sometimes even black or white. Clémence had escarlate outfits in peacock blue, purple, and black. fiole a small-necked bottle flacon a flask. Clémence owned two of these in silver and silver-gilt. At twenty-five marcs, they were much heavier than her other containers. fleurons the vertical peaks around the top of a crown. Those of Clémence were leaf-shaped, while those of crowns worn by members of the Valois dynasty were in the shape of fleurs-de-lys. florin the monetary unit in use in Florence. Clémence had 20 Florentine florins that were exchanged for 21 Parisian pounds (80). frontel the cloth hung on the front of the altar hanap a drinking vessel, sometimes with a base livre the Parisian pound used in Clémence’s inventory and testament. One livre = 20 sous = 240 deniers. The Parisian pound was worth 1.25 livres tournois. mantel a loose outer garment or cloak cut in the round, open down the front and fastened either on the shoulder or in front mantelet a short, full garment, usually for men, open on both sides marbré a textile in a category of fabrics called meschi, which were primarily of Italian origin and were made by combining different colored wool fibers, then carding and combing the wool without mixing the fibers completely, allowing the material to appear to change from one shade to another as the textile moved marc a measurement of weight used in Clémence’s inventory. 1 marc = 8 onces = 160 estelins = 192 deniers menu vair fur that frequently lined the inside of garments. Together the pieces of fur rendered a spotted pattern. nef an often richly decorated container to hold salt, spice, or objects used at the table. It often took the shape of a boat, but other forms have survived as well. Opus Anglicanum a type of embroidery originating in England and characterized by an underside couching technique paonnecé a color evocative of the highly saturated hue of the paon, or peacock pastour a paten pent-à-col a pendant pié the foot on a metalwork piece like a hanap robe an outfit comprising several garments, usually including a cote, a surcoat, and a mantel salière a container used on the table to hold salt. It was often in the shape of a boat but sometimes took other forms. samit a weft-faced compound twill, heavy silk textile often used in clothing surcoat a garment usually worn indoors over the cote. One of the garments included in a robe. The open surcoat had very wide sleeves that revealed the cote worn underneath and, sometimes, its side lacing.
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tabernacle a devotional work, often made by goldsmiths, that took the form of a miniature building tableau a depiction on metal, wood, or cloth, or a folding diptych or triptych tartaire textiles produced in Mongol-held areas stretching from eastern Europe to China toile a woven cloth veluau velour, or velvet. Clémence’s most costly dress was made of purple velour.
Appendix 3
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Notes
Introduction
1. Chronicle attributed to Geoffroi de Paris in de Wally and Delisle, Recueil des historiens, 22:161, lines 7427–41. “Car en mer perdi mains joyaus, / Des siens les meillors, les plus biax. / Aussi li et sa compaingnie / Furent près de perdre la vie; / Dont forment se doulourousoit, / Et par très grant doulor disoit: / ‘Omnipotens, biax Sire Diex, / Qui es gouvernerres des ciex / Et qui soustiens trestout le monde, / Garde que ta gent ci n’afonde. / Ne sueffre pas que ta gent muire / Por moi; mès saus les fai conduire, / Et por elz touz ci me retien. / Por moi ne doivent perdre rien; / Mès por elz touz me retenez.’ ” 2. According to Aubin-Louis Millin, in 1790 an inscription around Clémence’s effigy read, “Cy-gist, de bonne mémoire, madame Clémence de Hongrie jadis royne de France et de Navarre, fame du roy Loys, fils du roy Philippe-le-Bel, et fut fille de haut prince, le roi de Hongrie; laquelle tréspassa au Temple à Paris, xiii jour en octobre, l’an de grace m ccc xxviii. Priez dieu pour l’ame.” Millin, Antiquités nationales, 4:82. Both the inventory and this inscription give the date of Clémence’s death as October 13, although later historians cite October 12. 3. Earenfight, Queenship in Medieval Europe. 4. S. Bell, “Medieval Women Book Owners.” 5. Martin, Reassessing the Roles of Women, 3–33. 6. Woodacre, Queenship in the Mediterranean. 7. On Jeanne d’Évreux, see E. Brown, “Jeanne d’Évreux”; E. Brown, “Testamentary Strategies of Jeanne d’Évreux”; Holladay, “Education of Jeanne d’Évreux”; Boehm, “Le mécénat de Jeanne d’Évreux.” 8. Boehm, “Jeanne d’Évreux, Queen of France,” 53. 9. Richard, Une petite-nièce de saint Louis. 10. Buettner, “Le système des objets”; Keane, “Most Beautiful and Next Best”; Keane, Material Culture and Queenship, 61–76. 11. The inventory survives as Bibliothèque nationale de France, Clairambault 471, and was published in 1874. Douët-d’Arcq, “Inventaire et vente.”
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12. The much shorter inventory of Jeanne de Boulogne, second wife of Jean II, dates to 1360. Douët-d’Arcq, Inventaire des meubles, 547–62. Although we do not have inventories for Jeanne d’Évreux and Blanche de Navarre, their testamentary documents are rich in detail. 13. De Bourchenu, “Testament de Clemence de Hongrie reyne de France.” The original testament is lost, but copies survive. Bibliothèque nationale de France, n.a. fr. 9636 and De Camps 43, n.a. fr. 7371. I am grateful to Elizabeth A. R. Brown for calling the latter document to my attention. 14. Gaborit-Chopin, L’inventaire du trésor. 15. Buettner, “Past Presents,” 614. 16. Stanton, “Isabelle of France and Her Manuscripts,” 228. 17. Keane, Material Culture and Queenship, 77–115. On gender and medieval art, see also Dressler, “Continuing the Discourse.” 18. Bibliothèque nationale de France, Clairambault 832, 393–457; Bibliothèque nationale de France, ms fr. 7855, 157–88; Bibliothèque Sainte-Geneviève, ms 786, 686–711; Bibliothèque municipale de Rouen, ms 3406 (Leber 5870, Menant 9), fols. 49r– 88v; and extracts (Bibliothèque nationale de France, ms fr. 9497, 339–43). E. Brown, “Ceremonial of Royal Succession . . . Louis X,” 228 n. 6. I am grateful to Elizabeth A. R. Brown for calling the document to my attention and generously sharing a draft of her transcription with me. I quote Bibliothèque nationale de France, ms fr. 7855, throughout this study. 19. Gilles de Rome, Le livre du gouvernement des rois et des princes, Bibliothèque nationale de France, ms fr. 1202. 20. It was most likely Jeanne d’Évreux who commissioned the French translation. Mastny, “Durand of Champagne and the ‘Mirror of the Queen,’ ” 125; Mews, “Speculum dominarum,” 14–17. 21. Mauss, Gift, 37–43. 22. Bourdieu, Logic of Practice, 98–111. 23. Weiner, Inalienable Possessions.
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24. Appadurai, Social Life of Things. 25. Buettner, “Past Presents,” 598. 26. Buettner, “Le système des objets.” 27. Also important in terms of gift giving is Buettner, “Women and the Circulation of Books.” 28. Keane, Material Culture and Queenship. 29. Holladay, “Fourteenth-Century French Queens,” 92–95. I am grateful to Joan Holladay for sharing this article with me before its publication.
Chapter 1
182
1. Minieri-Riccio, Genealogia di Carlo II d’Angiò, 39. Minieri-Riccio cites the document Reg. Ang. 1272. E. n. 16 fol. 188, of the now-destroyed archives of Naples. 2. Léonard, Les Angevins de Naples. Caroline Bruzelius has written extensively about the architectural patronage of Charles I and Charles II, Clémence’s grandfather. See, by Bruzelius, “Ad Modum Franciae,” “L’architecture du royaume de Naples,” and Stones of Naples. 3. After Clémence’s grandfather Charles II died, a complex question of succession faced the family. Clémence’s brother, the young Carobert, was the rightful heir to the Crowns of both Hungary and Naples, but it would have been exceedingly difficult for a minor to effectively rule such geographically distant lands. So the family engineered an arrangement whereby Carobert and loyal advisors were sent to claim the Crown of Hungary, while the Crown of Naples went to Marie’s third son, Robert, Carobert’s uncle. 4. The pope ratified the decision to make Marie the guardian of her three grandchildren. Baddeley, Robert the Wise, 15. An example of the role Marie played in Clémence’s life appears in an account where Marie is recorded giving money to her “daughter” Clémence. Marie is referred to as “Illustrae Dominae Mariae Hirusalem Siciliae et Ungariae Reginae,” and then Clémence is named as her daughter “Clementia Regina Francorum et Navarrae filia dictae Reginae.” Minieri-Riccio, Studi storici su’ fascicoli angioini, 37. When Clémence married Louis, Marie contributed a crown made of one hundred ounces of gold. Huffelmann, Clemenza von Ungarn, 27.
5. Baddeley, Robert the Wise, 3. The year after Clémence married Louis, and after years of divisive negotiations, d’Euse was appointed pope and named John XXII when he was sixty. 6. Petit, Charles de Valois, 18–19. 7. Elliott and Warr, Church of Santa Maria Donna Regina; Bruzelius, “Hearing Is Believing.” 8. The way her grandfather Charles II spoke of her destiny in his testament reveals this as an option. She was to receive eight thousand gold pieces per year if she married, and only one thousand pieces per year if she went to a convent. Minieri-Riccio, Genealogia di Carlo I di Angiò, 192. 9. Huffelmann, Clemenza von Ungarn, 11. 10. E. Brown, “Case of Philip the Fair,” 236. 11. “Les barons de France s’advisèrent qu’il seroit bon que le roy de France fust marié. Adont ilz envoièrent querre une moult noble dame qui estoit fille du roy de Honguerie, et avoit à nom Clémence; et quant elle fut venue en France, le roy la prist à femme, et porta couronne.” “Extraits d’une chronique anonyme,” in de Wally and Delisle, Recueil des historiens, 22:402. On the death of Marguerite and the negotiations for the hand of Clémence de Hongrie, see E. Brown, “Kings like Semi-Gods.” 12. De Wally and Delisle, Recueil des historiens, 22:402 n. 2. The marriage contract of Clémence and Louis, dated July 1, 1315, survives today in the Archives municipales de Marseille, B 446, pièce 2. 13. Petrarch, Letters on Familiar Matters, bk. 4, letter 3, 1:186. Consoling her mourning uncle after her death, Petrarch wrote, “Quamvis enim in ipso etatis et forme flore subtracta sit, publica fere totius orbis querimonia multisque precipue populorum utriusque regni, et unde ortum et in quod translatum illud rarum et eximium decus erat, lacrimis ac lamentis, ipsa tamen felix est.” Petrarch, Lettres Familières 2:45–47. 14. E. Brown, “Kings like Semi-Gods,” 27. 15. “Et humblement se déportoit; / En parole et en fet fu sage.” De Wally and Delisle, Recueil des historiens, 22:161. 16. Allirot, “Les mariages royaux à la cour de France,” 238. 17. Her attendants must have told the clerks of its origins. 18. E. Brown, “Kings like Semi-Gods,” 9. 19. “Loys, par la grâce Dieu rois de France et de Navarre. Nous faisons savoir à touz présenz et à
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venir, que Nous, considéranz la joieuse et agréable compaingnie que Climence, par la grâce Dieu Royne de France et de Navarre, nostre très chère compaigne, nous porte humblement et amiablement, par quoi elle dessert bien que nous li en doiens faire guerredon courtoisement, à ladite Royne et à ses hoirs et à cues qui de lui auront cause, donnons perpetuelment à touz jours, sans espérance de rappel, les choses qui s’ensuivent.” Archives nationales, J 423, no. 34. The lands in Normandy that Louis gave Clémence had been confiscated from Enguerrand de Marigny, the disgraced administrator of Louis’s father. In 1315 Louis also gave Clémence a promise of income from the cities Lorris, Beaugency, Montargis, and Fontainebleau. “Continuatio chronici Guillelmi de Nangiaco,” in Naudet and Daunou, Recueil des historiens, 20:614. 20. Appendix 1, item 80. 21. Archives nationales, J 404, no. 22. 22. Geoffroi de Paris wrote in his Chronique rimée, “Li autres dient qu’il avoit / Joué à i gieu qu’il savoit, / A la paume; si s’eschaufa, / Et son conseil, qui le bifa, / L’en a mené en une cave / Froide; et i henap l’en lave / Si but trop, et froit se bouta, / Et li sitost si se coucha / Qu’au lit acouchier le convint, / Et de ce cèle mort li vint.” De Wally and Delisle, Recueil des historiens, 22:163, lines 7677–86. See E. Brown, “Ceremonial of Royal Succession . . . Louis X,” 232. 23. Elizabeth A. R. Brown studies this period closely. E. Brown, “Ceremonial of Royal Succession . . . Louis X.” 24. Coulon, Lettres secrètes, col. 55, letter 62. Here the pope sanctioned the agreement between Philippe and Clémence. 25. The chronicler who was probably Geoffroi de Paris wrote, “Clymence veuve demora, / Qui grant tems souvent en plora.” Chronique rimée, in de Wally and Delisle, Recueil des historiens, 22:164, lines 7703–4. 26. On November 14, Galot, Clémence’s goldsmith, came to the residence of Mahaut d’Artois in Paris to announce the birth of the child. Richard, Une petite- nièce de saint Louis, 64. “La royne Climence qui estoit enceinte chei en une quartaine qui moult greva sa porteure et enfanta i. filz qui avoist nom Jehan qui mourut assez tost.” “Chroniques de
Saint-Denis,” in Naudet and Daunou, Recueil des historiens, 20:699. Almost immediately Mahaut d’Artois was accused of witchcraft and poisoning Louis. At trial Clémence testified that there had been nothing unusual in the behavior of the countess toward her husband, and Mahaut was acquitted on October 9, 1317. Richard, Une petite-nièce de saint Louis, 21–22, 41–42. 27. Huffelmann, Clemenza von Ungarn, 36–38. 28. For the letters from the pope to Clémence, Philippe, Charles de Valois, and others involved in the conflict, see Coulon, Lettres secrètes, cols. 26–62. See also, for discussion of the conflict, Lehugeur, Histoire de Philippe le Long, 61–72. 29. Coulon, Lettres secrètes, cols. 180–82. 30. The advice the pope offered Clémence is key to the examination of her public gift giving in chapter 6. 31. Archives nationales, JJ 53, no. 270; E. Brown, “Ceremonial of Royal Succession . . . Louis X,” 267. 32. When Philippe was attacked in his own residence at the Louvre in 1305, he sought refuge at the Temple, and in 1315 Enguerrand de Marigny, fallen superintendent of finances, had been imprisoned at the Temple before his execution. Hoffbauer, Paris à travers les âges, 366. 33. Ibid., 114–15. 34. Ibid., 118–19. 35. Matthew Paris, Chronica majora, 5:478–80. 36. Philippe gave the city of Corbeil to Clémence in June 1318. Archives nationales, JJ 65a, fol. 85. And he assigned the income from other cities to her as well. Archives nationales, JJ 56, 183, no. 423; E. Brown, “Ceremonial of Royal Succession . . . Louis X,” 234 n. 29. In September of 1318 Philippe gave her income from Fontainebleau, Samois, Moret, Grez-sur-Loing, Flagy, Lorrez-le-Bocage, Nemours, Château-Landon, Montargis, Lorris-en- Gâtinois, Vitry-en-Loge, Boiscommun, Château- neuf-sur-Loire, Yèvre-le-Châtel, Neuville-en-Loge, Beaugency, and the forests of Bière, Paucourt, Chaumontois, Vitry, and Goumats. Guerout, Registres du trésor des chartes, 2:2050. 37. Clémence was in Avignon on November 28, 1318. Coulon, Lettres secrètes, cols. 681–82, letter 779; Viard, Les grandes chroniques de France, 8:343. The convent was a Dominican institution founded by Clémence’s family. Coulet, “Un couvent royal.”
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38. Huffelmann, Clemenza von Ungarn, 60–61. 39. A receipt indicates that Clémence paid to have twenty “ballots” of her “draps, couvertures, et vestements” transported from Aix-en-Provence to Paris. Coulet, Aix-en-Provence, 213. Coulet cites the document Archives départementales des Bouches-du- Rhône, dépot d’annexe d’Aix, 308 E 4, fol. 53v. 40. In 1322 Clémence received substantial payments from Charles. For example, shortly after Philippe’s death, Charles paid her the large sum of 13,263 pounds parisis. Viard, Les journaux du trésor de Charles IV le Bel, cols. 37, 299. 41. Hellot, Chronique parisienne anonyme du xive siècle, 70; Archives nationales, J 411, no. 43. 42. This foundation was next to Saint-Magloire, the church to which she processed in 1318. Hellot, Chronique parisienne anonyme du xive siècle, 103; Le Grand, Les maisons-Dieu et léproseries du diocèse de Paris, 23; Allirot, Filles de roy de France, 333. 43. Terroine, Fossier, and Montenon, Chartes et documents, 3:87. 44. Petrarch, Letters on Familiar Matters, 1:186. 45. Nolan, Queens in Stone and Silver. 46. Douët-d’Arcq, Collection de sceaux, 1:288: “s[igilum] clemencie dei g[racia regina francie et n]avarre.” 47. Gaborit-Chopin, “Reliquary of Elizabeth of Hungary,” 350. 48. Erlande-Brandenburg, Gisants et tombeaux, 21. 49. “Ci gist li cuers du grant roy Charles q’ conquit Cezile q’ fu freres de mo[n] seigneur S. Loys d’France et lie ceste tombe la royne Clemence sa niece.” Millin writes that there were two more lines, not visible today, that dated the effigy to 1326. “Fut enterré l’an de grâce m ccc xxvi. Séant le chapître general des frères prêcheurs à Paris à Pentecoste.” Millin, Antiquités nationales, 4:60. 50. Erlande-Brandenburg, Le roi est mort, 118. 51. Baron, L’enfant oublié, 58. 52. E. Brown, Saint-Denis, 411. 53. Baron, “Jean 1er, roi de France,” in L’art au temps des rois maudits, 130. 54. Appendix 1, items 1, 7. 55. “La chapelle St. Louys, à main droicte des martyrs, joignant le degree de l’abbayie. Où il y a contre le mur une grande Notre Dame peinte, avec la figure de Louys Hutin, à genoulx à coste droict, adsisté de son petit Jean couronné par derrière luy, et à
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coste gauche, la figure à genoulx de la royne Marie [Peiresc crossed out “Marie” and wrote “Clémence”] de Hongrie, sa seconde femme, couronnée. Et le dessoubz peint en tapisserie de lozanges de France et de Hongrie, qui est faiscé d’argent et de gueulles. L’habit du roy Louys faict comme celuy de son image aux Heures de sa première femme, de couleur néantmoings de brunette.” Cf. Bibliothèque nationale de France, n.a. fr. 5174, fol. 31v; Carpentras, ms 1791, fol. 128v. Published in Montesquiou- Fezensac and Gaborit-Chopin, Le trésor de Saint- Denis, 2:420. 56. Elizabeth A. R. Brown has reconstructed decoration of this chapel and discussed this painting. E. Brown, “Chapels and Cult of Saint Louis,” 291. See also Ferré, “Clémence de Hongrie,” 233–35. 57. Archives nationales, K 42, no. 8a. 58. Appendix 1, item 78. 59. “Item, une grant belle et noble chasse de laton ou cuivre doré estant sur quatre pilliers de pierre au dessus dudit autel, en laquelle sont et reposent des Reliquiaires du precieux corps Monseigneur Sainct Spire, Patron principal, apres nostre Seigneur ihesu Xrist et la glorieuse Virge Marie, dicelle eglise, autour de laquelle chasse sont tenans douze ymaiges dargent dorez.” Dufour, Le trésor de Saint-Spire de Corbeil, 11. 60. De La Barre, Les antiquitez de la ville, 186.
Chapter 2
1. Appendix 1, item 1. 2. Ibid., item 81. 3. Ibid., item 82. 4. E. Brown, “Jeanne d’Évreux”; E. Brown, “Testamentary Strategies of Jeanne d’Évreux,” 218. I am grateful to Elizabeth A. R. Brown for sharing these essays with me before their publication. 5. The king’s representatives were Jean de Billouart, his chief financial officer, and Pierre des Essars. Jean de Billouart is listed as the “maître en la chamber des comptes” in a document of July 1, 1327. Maillard, Comptes royaux, 2:170. 6. Multiple currencies had to be converted, which enables us to see, for example, that the exchange rate was 1.25 pounds tournois to 1 pound parisis
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in 1328. Before the inventory total, 1,516 pounds tournois were converted to 1,213 pounds parisis. 7. Welch, “From Retail to Resale,” 285–86; Mueller, “Procurators of San Marco.” 8. Clothing is documented entering the second-hand market in Strasbourg as well, where laypeople from 1275 to 1520 often gave garments that could be sold to support the construction and upkeep of the cathedral. The book of donors recorded these donations but did not detail the format of the sale. Stanford, “Donations from the Body for the Soul,” 173–76. 9. Welch, “From Retail to Resale,” 285. 10. Regulations governing the auctions were made in 1425 and 1441. Mallett, Florentine Galleys in the Fifteenth Century, 40–45. 11. Schnapper, “Probate Inventories, Public Sales.” 12. Guiffrey, Inventaires de Jean duc de Berry, 2:218. Examples of this pattern are items 89, 92, 93, and 94 of the 1416 inventory. I am grateful to Brigitte Buettner for calling these instances to my attention. 13. His belongings were sold and distributed after his death, and the final report was submitted in 1321. 14. National Archives, London, E101/393/4. See Stanton, “Personal Geography of a Dowager Queen.” 15. Douët-d’Arcq, Inventaire des meubles, 547–62. 16. Leber, “Le compte de l’execution.” 17. Gaborit-Chopin, L’inventaire du trésor, 1–23. 18. Bapst, Testament du roi Jean le Bon, 25–53. 19. Moranvillé, Inventaire de l’orfèvrerie et des joyaux; Guiffrey, Inventaires de Jean duc de Berry. 20. Gaborit-Chopin, L’inventaire du trésor, 3–6. 21. Douët-d’Arcq, Inventaire des meubles, 547–62. In modern French, meubles refers to furniture, but in the fourteenth century this term denoted anything movable, including clothing and jewels. 22. Ibid., 561: “pour les officiers qui ce despartoient et pour ce que li falut aller aultre part pour doubte des autres choses qui ne se perdissent, etc.” 23. Appendix 1, item 74. 24. Jordan, Women and Credit, 32–36. 25. The Bardi were particularly active thirteenth- and fourteenth-century bankers. Sapori, Le compagnie dei Bardi e dei Peruzzi, 5–9. 26. Huffelmann, Clemenza von Ungarn, 52. 27. Mack, Bazaar to Piazza, 1. 28. Ibid., 15.
29. Baker, Islamic Textiles, 57. 30. Mack, Bazaar to Piazza, 51. 31. Ibid., 52. 32. Grossman and Walker, Mechanisms of Exchange, 1–16. 33. Lightbown, Mediaeval European Jewellery, 25–32. 34. Barnet, Images in Ivory, 3–5; Horton, “Swahili Corridor,” 86, 93. 35. Lightbown, Mediaeval European Jewellery, 69–70. 36. Ibid. 37. Lightbown, Secular Goldsmiths’ Work, 58–59. 38. Lightbown, Mediaeval European Jewellery, 237. 39. Ibid., 31. 40. Bibliothèque nationale de France, ms fr. 7855, 158: “4 soieries, une broudée des armes de France, l’autre de France et de Castelle.” 41. Gaborit-Chopin, “Les collections d’orfèvrerie.” 42. Poull, La maison souveraine et ducale de Bar, 258. 43. Gaborit-Chopin, “Les collections d’orfèvrerie.” 44. Abbot Suger on the Abbey Church of St.-Denis, 59. Italics added by the author. 45. Ibid., 63. Italics added by the author. 46. Ibid., 63–65. 47. Brigitte Buettner observes Blanche’s distinctive language. Buettner, “Le système des objets,” 54. 48. “Item, à nostre très chier cousin le conte d’Estampes, un fermail d’or à une chaenne d’or, lequel fait reliquiaire et fermail, ouquel a un cerf ou milieu, dont le corps est d’un saphir, et autour a trios rubys, trois dyamans, treze perles et six esmeraudes, et dedens pluseurs bonnes reliques; et le nous donna madame la royne Jehanne.” Delisle, “Testament de Blanche de Navarre,” 33. 49. Boehm, “Le mécénat de Jeanne d’Évreux,” 24. 50. Keane, Material Culture and Queenship, 61–76. 51. Ibid., 143. 52. Leber, “Le compte de l’execution,” 165. 53. Appendix 1, item 77. 54. M. Rouse and R. Rouse, “Goldsmith and the Peacocks.” 55. Ibid., 285. 56. Dehaisnes, Histoire de l’art dans la Flandre, 190–91. 57. Richard, Une petite-nièce de saint Louis, 246–47. 58. Dehaisnes, Histoire de l’art dans la Flandre, 250–55: “une grande couronne d’or a gros safirs, a fins rubis, a fines esmeraudes et a grosses fines pielles d’Orient.”
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59. Ibid., 301. 60. Nocq, Le poinçon de Paris, 3:142. 61. Ibid.; Gaborit-Chopin, L’inventaire du trésor, 32. Gaborit-Chopin quotes Bibliothèque nationale de France, n.a. fr. 21201, fols. 24r, 24v. 62. Gaborit-Chopin, L’inventaire du trésor, 37. Gaborit- Chopin quotes Bibliothèque nationale de France, n.a. fr. 21201, fol. 67v. 63. Ibid., 66. Gaborit-Chopin quotes Bibliothèque nationale de France, n.a. fr. 21201, fol. 30r. 64. Nocq, Le poinçon de Paris, 3:142. 65. Vidier, “Le trésor de la Sainte-Chapelle” (1907), 207. 66. Richard, Une petite-nièce de saint Louis, 246. Richard quotes Archives d’Arras, A 1003. 67. Ibid., 247. 68. Ibid., 247–48. 69. Ibid., 248. 70. Ibid., 248–49. 71. Nocq, Le poinçon de Paris, 1:37. 72. Martin, “Exceptions and Assumptions.” 73. Dahl, Trade, Trust, and Networks, 25–31. 74. Richard, Une petite-nièce de saint Louis, 203. 75. Howell, Commerce Before Capitalism in Europe, 1–48. 76. These objects appear in the 1343 inventory of the treasury of Notre-Dame. Fagniez, Inventaires du trésor de Notre-Dame de Paris, 19, item 91. 77. “Ce joyeux séjour des plus agréables divertissements offre, en de très-grandes montres pleines de trésors inestimables, toutes les espèces les plus diverses de joyaux réunis dans la maison dite les Halles des Champeaux. Là, si vous en avez le désir et les moyens, vous pourrez acheter tous les genres d’ornements que l’industrie la plus exercée, l’esprit le plus inventif se hâtent d’imaginer pour combler tous vos désirs. . . . dans quelques endroits des parties inférieures de ce marché, et pour ainsi dire sous des amas, des monceaux d’autres marchandises se trouvent des draps plus beaux les uns que les autres; dans d’autres de superbes pelisses, les unes faites de peaux de bêtes, les autres d’étoffes de soie.” Le Roux de Lincy and Tisserand, Paris et ses historiens, 51. Translation, R. Berger, In Old Paris, 11–12. 78. “Dans la partie supérieure de l’édifice, qui forme comme une rue d’une étonnante longueur, sont exposés tous les objets qui servent à parer les
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différentes parties du corps humain: pour la tête, des couronnes, des tresses, des bonnets; des peignes d’ivoire pour les cheveux, des miroirs pour se regarder, des ceintures pour les reins, des bourses pour suspendre au côté, des gants pour les mains, des colliers pour la poitrine.” Le Roux de Lincy and Tisserand, Paris et ses historiens, 51. Translation, R. Berger, In Old Paris, 11–12. 79. La dame de Beaumarchès is identified in a document of December 21, 1326, as a noblewoman who held rights to the toll at the arch in the city of Corbeil. Coüard-Luys, Cartulaire de Saint-Spire de Corbeil, 177. 80. Bibliothèque nationale de France, ms fr. 7855, 162.
Chapter 3
1. “Il ne porteront, ne pourront porter Or, ne pierres precieuses, ne couronnes d’Or, ne d’Argent.” Laurière, Ordonnances des roys de France, 1:541. 2. Killerby, Sumptuary Law in Italy, 25. 3. Hunt, Governance of the Consuming Passions, 18–33. 4. Ibid., 112. 5. Bynum, Jesus as Mother, 82–109. 6. Crane, Performance of Self, 6, 11–38. 7. Coulon, Lettres secrètes, cols. 180–82, letter 231. Coulon dates this letter between September 5, 1316, and May 17, 1317. 8. Appendix 1, item 73. 9. Appendix 2, after item 232. “Nona somma ab alia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530l 13s.” 10. Silver and gold appear in other parts of her inventory as well, for example on the harnesses of her horses and woven into many of her best textiles. 11. Leber, “Le compte de l’execution,” 122–25. 12. For example, Jeanne’s first crown was “une couronne dor desmeraudes ou il y a x florons et sur chascun floron une perle, et y a x troches de perles chascune de vi perles et en chascune troche un petit rubis d’Alexandrie.” Leber, “Le compte de l’execution,” 122–23. 13. Appendix 1, item 77. 14. Clémence’s son’s effigy still has the inserts. Such glass imitations of precious stones also appear as decoration on a purse in her inventory, where they are referred to as doublez, or “doubles” (17).
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15. “Item dominae Clementiae Reginae franciae anulum unum cum uno rubino, quem donavit ei quondam Rex Carolus secundus vir eius.” Minieri-Riccio, Genealogia di Carlo I di Angiò, 200. 16. The numerous surviving images of the Coronation of the Virgin suggest that this was probably the subject matter, not a coronation of a European queen. 17. Crane, Performance of Self, 15–20. 18. Gay and Stein, Glossaire archéologique, 2:225. 19. Lightbown, Mediaeval European Jewellery, 31. 20. Winston-Allen, Stories of the Rose, esp. 111–26. See also Lightbown, Mediaeval European Jewellery, 342. 21. As cited by Lightbown, Mediaeval European Jewellery, 343. 22. Keane, Material Culture and Queenship, 151–59, 166–69. 23. Lightbown, Mediaeval European Jewellery, 343. 24. Appendix 1, items 10, 11, 12, 72, 73. 25. Gaborit-Chopin, L’inventaire du trésor. Several of Clémence’s key sculptures that were also important gifts are the subjects of chapter 7. 26. Alison Stones argues persuasively that this image depicts the Comtesse de la Table de Coeuvres. Stones, “Full-Page Miniatures of the Psalter-Hours.” 27. “Item 1 tableau d’argent esmaillié.” ms fr. 7855, 160. 28. L’art au temps des rois maudits, 228–31. 29. An ordinance of 1260 decreed that all crucifixes had to be made in one piece so that the body would not break apart. Gay and Stein, Glossaire archéologique, 1:510. 30. Laurière, Ordonnances des roys de France, 1:542. 31. “Bourgois qui auront la valüe de deux mille livres tournois, & au-dessus, ne pourront faire robe de plus de douze sols six derniers tournois, l’aune de Paris.” Ibid., 1:543. 32. “Item. Nul Bourgois, ne Bourgoise, ne portera vair, ne gris, ne Ermines, & se delivreront de ceux que ils ont, de Pâques prochaines en un an.” Ibid., 1:541. 33. Appendix 1, item 26. 34. “Pour 5 veluiaus adsurez, déliverez audit Toutain, pour faire une robe à nostre sire le Roy, de 4 garnemenz, que il ot le jour de son sacre, 15l pour pièce, valent 75l.” Douët-d’Arcq, “Comte de l’argenterie de Geoffroi de Fleuri,” in Comptes de l’argenterie des rois de France, 48. 35. Leber, “Le compte de l’execution,” 157.
36. The custom of giving attendants dresses in one’s testament appears frequently in the late medieval period. 37. Minieri-Riccio, Genealogia di Carlo I di Angiò, 204. 38. Cardon, La draperie au Moyen Âge, 196. 39. Douët-d’Arcq, “Comte de l’argenterie de Geoffroi de Fleuri,” 18–19. “Item, pour 8 onces de cendal noir dont le coffre fu envellopé, 20s. . . . Item, pour 35 onces de cendaus indes, que l’en bati dessus des armes de France, et en furent bordez les 2 draps de Turquie dessus dis, 4s l’once, valent 7l.” Interestingly, the royal expenses for the infant Jean’s funeral were 111 pounds, while those for his father were only 59 pounds. 40. Bibliothèque nationale de France, ms fr. 7855, 164. 41. Crane, Performance of Self, 73–106. 42. In the marriage contract Clémence is listed as a guest. Archives nationales, J 411, no. 43. 43. Campbell, “Art of Gothic Ivory Carving”; Barnet, Images in Ivory, cat. nos. 54–60. 44. L’art au temps des rois maudits, 159. 45. Zupko, French Weights and Measures, 11. 46. Minieri-Riccio, Genealogia di Carlo I di Angiò, 200: “et unam cupam de auro in qua dicta Regina bibere consueverat.” 47. Rebora, Culture of the Fork, 16. 48. Gay and Stein, Glossaire archéologique, 1:736–37. 49. Gaborit-Chopin, L’inventaire du trésor, 17, also item 762. 50. Lightbown, Secular Goldsmiths’ Work, 30. 51. Wixom, “Saltcellar of Crystal and Gold.” 52. Lightbown, Secular Goldsmiths’ Work, 20. 53. These were sorted into lots of new bowls, other bowls, and broken bowls. Although the word étain can denote both pewter and tin, it seems likely that these bowls were tin, because they sold for so little. She had more in Corbeil (572) and in Nemours (625, 643). 54. Bauer, Klimeš, and Kopřiva, Crystals from the St. Vitus Treasury, 46–47. 55. Gaborit-Chopin, L’inventaire du trésor, 49. 56. Lightbown, Secular Goldsmiths’ Work, 48, 72. 57. Leber, “Le compte de l’execution,” 140. 58. “Nulle Bourgeoise n’aura char.” Laurière, Ordonnances des roys de France, 1:541. 59. Quant li temps est frès comme beurre Il me fauldroit avoir un curre,
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A cheannes, bien ordonné Dedenz et dehors painturé, Couvert de drap de camocas. . . . pour quoy ne l’araige, A quatre roncins atelé? Raynaud, Oeuvres complètes de Eustache Deschamps, 9:44, lines 1269–73, 1276–77, as transcribed in Boyer, “Mediaeval Suspended Carriages,” 360. Translation by Boyer, 360 n. 7. 60. Bibliothèque nationale de France, ms fr. 7855, 182. 61. Ibid. 62. Such small dogs appear, even eating on the table, in the January calendar page of Jean, duc de Berry (fig. 31). 63. Appendix 1, item 25.
Chapter 4
1. The classic study of this manuscript is Sandler, Peterborough Psalter. M. R. James was the first to identify the Brussels manuscript as the Psalter originating in Peterborough. James, Lists of Manuscripts, 16. Gaspar and Lyna, Les principaux manuscrits à peintures, 63–64, 173; Avril, La librairie de Charles V, 63–64. 2. The Peterborough Psalter has 141 folios. The text is written in two columns of thirty-one lines. Folios 1r–6v include a calendar for Peterborough Abbey, followed by an explanation of the Psalms, the prayer before the Psalter, and then the Psalms in folios 14–89. The Peterborough litany and canticles follow. Various prayers appear in folios 100–105. The Psalter of the Virgin, the litany of the Virgin, and other prayers come next, followed by prayers to God-the- Father, the Son, the Holy Spirit, archangels, angels, and saints in folios 122–41. 3. We do not know whether the Psalter was meant for the envoy or for the pope himself. The Psalter first appears in the Book of Walter of Whittlesey, a history of the Peterborough Abbey that ends in 1321, “a certain psalter, written in letters of gold and blue and admirably illuminated” (quoddam psalterium literis aureis et assures scriptum et mirabiliter luminatum). Friis-Jensen and Willoughby, Peterborough Abbey, xxii and 39.
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4. Gaspar and Lyna, Les principaux manuscrits à peintures, 63–64, 173. 5. Sandler, Peterborough Psalter, 9–10. 6. Bousmanne and Van Hoorebeeck, La librairie des ducs de Bourgogne, 1:191. 7. R. Rouse and M. Rouse, Manuscripts and Their Makers, 1:209. 8. The arms of Poitiers that appear on the opening folio are those of the fifteenth-century owners of the book. The palette, scale, level of detail, and style of the arms clearly differ from those of the other decoration on the page. 9. Lord, “Marks of Ownership in Medieval Manuscripts.” Another surviving copy of the Ovide moralisé, Bibliothèque de l’Arsenal, ms 5069, also dates to the queen’s lifetime, but there is nothing that ties the manuscript to Clémence. Lord, “Three Manuscripts of the Ovide moralisé,” 163. 10. Pichard, Bossuat, and Raynaud de Lage, Le Moyen Âge, 1093–94. 11. For a discussion of this process, see Blumenfeld- Kosinski, Reading Myth. See also Seznec, Survival of the Pagan Gods. 12. Morgan, “Old Testament Illustration,” 172. 13. R. Rouse and M. Rouse, Manuscripts and Their Makers, 1:208–11. 14. Ibid., 2:178–79. 15. The Rennes manuscript belonged to Christophe-Paul de Robien, an eighteenth-century collector and historian, and the current cover of the book bears his arms. The manuscript was seized during the French Revolution and has been in the collection of the Bibliothèque de Rennes since the beginning of the nineteenth century. Cassagnes-Brouquet, L’image du monde, 120 n. 4. 16. Ibid., 8. 17. R. Rouse and M. Rouse, Manuscripts and Their Makers, 1:10 and 110. 18. Hamilton, Pleasure and Politics; Pichard, Bossuat, and Raynaud de Lage, Le Moyen Âge, 643. Marie de Brabant commissioned the Kalendarium regine from the astronomer Guillaume de Saint-Cloud in 1296, and the same astronomer translated the work into French (Le calendrier) at the behest of Jeanne de Navarre, Clémence’s mother-in-law. 19. Folios 86v–103v, poems in honor of the Virgin, beginning in the list with “Le marriage de Nostre Dame” and finishing with “D’un cleric qui saluoit
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volentiers Nostre Dame,” are a collection of works that count as one “story” in the volume. Cassagnes- Brouquet, L’image du monde, 25–29. I am grateful to Petra Waffner, who is writing her dissertation at the University of Hagen, Germany, about Rennes ms 593, for sharing her observations about the manuscript with me. 20. Le Goff, “Pourquoi le xiiie siècle a-t-il été un siècle d’encyclopédisme?” 21. It is important to note that lists of books in the immediate possession of medieval readers were not closed sets of the manuscripts to which they had access. Medieval aristocrats regularly circulated their books, as is evident in Clémence’s inventory itself, which indicates she had a book in her library that belonged to her uncle, and it was returned upon her death. In England they also had access to wider reading libraries of the court. Stanton, “Isabelle of France and Her Manuscripts,” 227. 22. Bibliothèque nationale de France, ms fr. 7855, 159. 23. Harper, Forms and Orders of Western Liturgy, 65. 24. Ibid., 60–64. 25. In addition to the livres de chapelle at Clémence’s estate in Paris, she also had two missals at her chapel in Plessis in Normandy (724). 26. Bibliothèque nationale de France, ms fr. 7855, 163: “tres biau breviaire a l’usaige de Paris.” 27. This manuscript survives as Bibliothèque royale de Belgique 9245. R. Rouse and M. Rouse, Manuscripts and Their Makers, 1:212. 28. Pichard, Bossuat, and Raynaud de Lage, Le Moyen Âge, 1247–48. 29. Ibid. 30. Li romans de carité et miserere du Renclus de Moiliens, 1:19, stanza 34. 31. Appendix 1, item 1: “à ce que nous puissiens rendre bon compte & loïal au souverain Seigneur de l’administration qu’il nous a commise.” 32. Hamilton, “Queenship and Kinship.” 33. Bonnard, Les traductions de la Bible. 34. Mahaut d’Artois purchased from Thomas de Maubeuge a “Bible en François” for one hundred pounds. R. Rouse and M. Rouse, Manuscripts and Their Makers, 1:183; Minieri-Riccio, Genealogia di Carlo I di Angiò, 203. 35. As a point of reference, John Wycliffe first translated the Bible into English in the second half of
the fourteenth century, much later than the French translation. 36. The text Les dix commandements appears at the beginning of the Somme le roi, so the Somme le roi was sometimes referred to under this title. It was written in 1279 by Frère Lorens, the confessor of Philippe III of France. This was a compilation of the key elements of the Christian faith, focusing on the virtues and vices. 37. Jeanne’s Psalter (Bibliothèque nationale de France, ms Lat. 10525) has an inscription identifying it as having belonged to Saint Louis and stating that Jeanne gave it to Charles V. See Holladay, “Fourteenth-Century French Queens,” 76–79. On Blanche’s books, see Delisle, “Testament de Blanche de Navarre,” 30, and Keane, Material Culture and Queenship, 89–91. 38. By 1330 the queen’s executors had paid for the chapel and the transportation of Clémence’s heart. E. Brown, “Death and the Human Body,” 260. 39. Stirnemann, “Les bibliothèques princières,” 184. 40. Vernet, Histoire des bibliothèques françaises, 1:xiii–xiv. 41. Hamilton, “Queenship and Kinship,” 180–81. 42. Stanton, “Isabelle of France and Her Manuscripts,” 227. 43. Ibid., 227–37. 44. Ibid. 45. Holladay, “Fourteenth-Century French Queens,” 89. Joan Holladay’s work on Jeanne d’Évreux, Clémence de Hongrie, and Mahaut d’Artois has aided me in considering these women together. 46. Ibid., 93. 47. Bibliothèque nationale de France, ms fr. 7855, 159, 162–63. 48. “Le livre du reclus et de l’office de la messe doivent estre ou lien.” Ibid., 163. 49. Ibid., 178, 180. 50. Richard, “Les livres de Mahaut.” 51. Most of the documentation on Isabelle’s library comes from the end of her life, whereas the records of Edward’s library come from different periods throughout his life, so the evidence is not entirely equivalent. Stanton, “Isabelle of France and Her Manuscripts,” 228. 52. Ibid., 227. 53. De Hamel, History of Illuminated Manuscripts, 148.
Notes to Pages 94–100
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54. Vernet, Histoire des bibliothèques françaises, 1:xiii. 55. Joan Holladay believes this period marks a sea change, when men surpassed women as the great collectors of books. Holladay, “Fourteenth-Century French Queens,” 94. 56. Vallet de Viriville, “La bibliothèque d’Isabeau de Baviere.” I thank Anne Stanton for this observation. 57. Coleman, Public Reading and the Reading Public. 58. Minieri-Riccio, Genealogia di Carlo I di Angiò, 204. 59. R. Rouse and M. Rouse, Manuscripts and Their Makers, 2:183; Lord, “Thomas de Maubeuge,” 2. 60. R. Rouse and M. Rouse, Manuscripts and Their Makers, 1:139.
Chapter 5
1. Christine de Pizan, Book of the Body Politic, 27. 2. Chrétien de Troyes, Erec and Enide, 75–76, lines 2358–79. 3. Kinoshita, “Almería Silk.” 4. Guillaume de Lorris and Jean de Meun, Romance of the Rose, 18–19. 5. Mauss, Gift, 1. 6. Bourdieu, Logic of Practice, 98–111. 7. Buettner, “Past Presents,” 600–604. 8. The gift is recorded in Bibliothèque nationale de France, n.a. fr. 21.446, fol. 24: “Item un image de Nostre-Dame qui tient son enfant, assis en un jardin fait en manière de traille . . . et fu donné per la reine au Roy le premier jour de l’an 1404.” Paris 1400, 174. 9. Buettner, “Past Presents,” 607. 10. Abbot Suger on the Abbey Church of St.-Denis, 78–79. 11. Beech, “Eleanor of Aquitaine Vase.” 12. Marguerite Keane also studies the importance of provenance to medieval aristocrats in her article on Blanche de Navarre, “Most Beautiful and Next Best,” 367. 13. Buettner, “Le système des objets,” 50; Keane, Material Culture and Queenship, 61–76. 14. Underhill, “Elizabeth de Burgh,” 268. Both Jennifer Ward and Christopher Woolgar have done extensive research on fourteenth-century English courtly households, including those of Elizabeth de Burgh, Isabelle de France, and Philippa de Hainault. Ward,
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Elizabeth de Burgh; Woolgar, Senses in Late Medieval England; Woolgar, Great Household in Late Medieval England. 15. Christopher Woolgar examines the possessions of Philippa de Hainault, an English contemporary of Clémence, and the manner in which her ornaments, and even her attendants’ clothing, amplified her magnificence. Woolgar, “Queens and Crowns,” 201–28. 16. Crane, Performance of Self, 6. 17. Boehm, “Le mécénat de Jeanne d’Évreux”; Holladay, “Education of Jeanne d’Évreux,” 601–2. Holladay argues convincingly that the tiny book of hours commissioned for Jeanne d’Évreux by her husband was to train the young queen in appropriate acts of charity modeled on those of their great progenitor Louis IX. This education would have been key in prompting Jeanne in these donations. 18. Boehm, “Jeanne d’Evreux, Queen of France,” 40. 19. These and other gifts are discussed in Boehm, “Charles IV: The Realm of Faith,” 26–27. 20. Buettner, “Le système des objets,” 52–53; Keane, Material Culture and Queenship, 61–76. 21. Bibliothèque nationale de France, n.a. fr. 7111, fol. 91. Gorochov, Le collège de Navarre, 136; E. Brown, “La mort, les testaments et les fondations,” 133. 22. Gaude-Ferragu, “Les dernières volontés,” 35, citing Archives nationales, J 404 A, no. 23. 23. Minieri-Riccio, Genealogia di Carlo I di Angiò, 200–206. 24. Leber, “Le compte de l’execution”; Keane, “Most Beautiful and Next Best.” 25. Weiner, Inalienable Possessions.
Chapter 6
1. The chronicler of the life of Saint Magloire writes that it seemed to him to have been a Sunday in June, but a letter from Guillaume Baufet, bishop of Paris, in the Grand cartulaire de saint Magloire, promises indulgences to those who attended the translation of the relics on July 9. “Extrait de la vie de saint Magloire,” in de Wally and Delisle, Recueil des historiens, 22:166–70; Terrione, Fossier, and Montenon, Chartes et documents. There are two
Notes to Pages 100–112
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manuscripts of this account. The one published in the Recueil des historiens is from Sorbonne ms 1282, and the other is Bibliothèque de l’Arsenal ms 300. The quotations here are from the “Extrait de la vie de saint Magloire.” 2. Jordan, Great Famine, 7–23. 3. As cited in N. Brown, History and Climate Change, 251. 4. Tempestes de venz, ce me samble, De mortalité, pestilence Et famine furent en France; Guerres, pluies si largement Qu’auques les biens communément Temporeus cel an se perdirent ............................... A Paris espéciaument; Car là entour plus cruaument Cèle grant pestilence estoit, Qui tout le païs contrestoit. “Extrait de la vie de saint Magloire,” lines 2–7 and 13–16. 5. Jordan, Great Famine, 23. According to Les grandes chroniques de France, “la comete, un signe ou ciel, fu veue ou royaume de France, decourant et denonçant le detriment du royaume.” Viard, Les grandes chroniques de France, 8:327. 6. Le cors saint Magloire osté fust De la vielle chasse de fust Et translaté en la nuevelle. “Extrait de la vie de saint Magloire,” lines 47–49. 7. Et sachiez qu’en cèle journée Le temps fu cler et gracieus (Qui mout avoit esté pluieus Grant pièce avant) . . . Ibid., lines 270–73. 8. Ibid., line 89. 9. Ceux chantèrent, si comme samble, L’Alleluya mout hautement, Et bien, et mesuréement. Ibid., lines 244–46. 10. Ceus par la grant porte en alèrent, Et la neuve chasse portèrent
Par la Grant Rue, qui parée Lors estoit et encourtiné; Puis par la rue au Hoes vindrent, Et d’ilecques leur chemin tindrent Par la rue au Conte Damartin: Ibid., lines 67–73. The procession exited Saint- Magloire along rue Quincampoix, rue aux Oues, and then rue Saint-Denis. Ibid., lines 204–5. Previously, I traced this procession on a modern map of medieval Paris. When Tracy Chapman Hamilton and I found the exceptional medieval Plan de Bâle, we mapped this ritual as well as other sites of fourteenth-century women’s patronage in Paris on it while we were fellows at the Samuel H. Kress Digital Mapping and Art History Institute. I thank Jacqueline Peña for her graphic-design work on this map. 11. Ibid., lines 114–27. 12. Puis vint en grant humiliance La noble roïne Climence, Et puis revint à grant arroi La fame à Phelipe le roi, Laquèle est Jehanne apelée, Roïne des Frans couronnée, Et de Navarrois ensement. Après venoit dévotement Madame Blanche de Bretaigne. Avecques fu en leur compaigne La contesse aussi de l’Artois. ............................ De Dreux après vint la contesse. Ibid., lines 131–41, 151. 13. Another important event, shortly after this, also featured many of the same women. On February 18, 1319, Queen Jeanne de Bourgogne laid the first stone of the Hôpital Saint-Jacques-au-Pèlerins in Paris. Jeanne’s mother (Mahaut d’Artois) and the queen’s daughters (the Duchess of Bourgogne, the Countess of Flanders, and the wife of the dauphin of Viennois), as well as bishops and abbots from important sites, were all in attendance. Bordier, La Confrérie des pèlerins de Saint Jacques, 344. Perhaps in the ritual culminating at Saint-Magloire and in the ceremony of laying the first stone of the hospital of Saint-Jacques, women functioned as charitable
Notes to Pages 112–116
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intermediaries representing the populace before God. 14. Puis le texte de l’Euvangile D’argent doré parmi la ville “Extrait de la vie de saint Magloire,” lines 101–2. 15. S’en fu la Grant Rue parée D’arbres, de dras encourtiné: De faire feste n’ont finé. ........................... Chascun robe ot neuve partie: Blanc et vermeil fu la partie. Ibid., lines 52–54, 65–66. 16. Cilz cors saint dont vous m’oëz dire, De trois samis estoit couvert: C’est de jaune, et d’inde, et de vert; Ibid., lines 178–80. 17. Et puis en un ardant samit L’un après l’autre touz les mit, Envelopez de bon afaire En un nuef escrin de tartaire. Ibid., lines 195–98. 18. Puis les nobles dames offrirent, E tèles offrandes i mirent: Deus dras de soie et un fermail Dorez, à pierres et esmail Offri la roïne Climence; Jehanne, roïne de France, Deuz lampes d’argent bien dorées A saint Magloire a présentées, Et un noble fermail encor; Et avec deuz riches dras d’or, Madame Blanche de Bretaingne, Un fermail d’or de riche ouvraigne Et la contesse ausine de Dreux, Un autre; ainsi offrirent eux. Ibid., lines 249–62. 19. Ibid., 251–53. 20. Monnas, Merchants, Princes, and Painters, 13, 70. 21. Monnas, “Textiles for the Coronation of Edward III,” 16. 22. Display of wealth and number of people in attendance were crucial to the success of the event.
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Brown and Regalado, “Universitas et communitas.” The details of the parade are known from several sources: an anonymous metrical chronicle in Bibliothèque nationale de France, ms fr. 146 (ca. 1317), the Livre de Fauvel, and Viard, Les grandes chroniques de France. 23. Viard, Les grandes chroniques de France, 8:288–90. Trans. Brown and Regalado, “Universitas et communitas,” 142. 24. Brown and Regalado, “Universitas et communitas,” 126. 25. The Liber quare survives in numerous copies, some dating to as early as the eleventh century. Collomb, “Écrire la performance processionnelle,” 107. 26. “Que signifie la procession? La procession est le chemin ver la patrie celeste. L’eau bénite s’avançant est la pureté de la vie. Les luminaires, œuvres de miséricorde, conformément au verset: ‘Restez en tenue de travail et gardez vos lampes allumées’ (LC 12, 35). Suit la croix, signe triumphal qui purifie.” Ibid. 27. Ibid., 108. 28. Eliade, Sacred and the Profane, 71–72. 29. Gvozdeva and Velten, Medialität der Prozession, 23–24. 30. Pettitt, “Morphology of the Parade.” 31. Lors à grant joie et à solas Espiritel, ceus le baisoient Qui là furent, et aouroient En dévocion et en lermes. “Extrait de la vie de saint Magloire,” lines 186–89. 32. Durkheim, Elementary Forms of Religious Life, 230. 33. C. Bell, Ritual Theory, Ritual Practice. 34. Phythian-Adams, “Ceremony and the Citizen”; Hanawalt and Reyerson, City and Spectacle in Medieval Europe. 35. Kertzer, Ritual, Politics, and Power, 69. 36. Ibid., 67. 37. Terroine, Fossier, and Montenon, Chartes et documents, 2:343–44. 38. Et pour la presse de la gent Garder, là avoit maint sergent. “Extrait de la vie de saint Magloire,” lines 155–56. 39. Mahaut was acquitted October 9, 1317. Richard, Une petite-nièce de saint Louis, 21–22, 41–42.
Notes to Pages 116–122
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40. Coulon, Lettres secrètes, cols. 180–82, letter 232. 41. Ibid., 838–42, letters 974–75. 42. Puis vint en grant humiliance La noble roïne Climence, “Extrait de la vie de saint Magloire,” lines 131–32. 43. Italics added by the author for emphasis. Coulon, Lettres secrètes, col. 180, letter 231: “curandum est tibi summopere ut pedem tuum a lapsu cohibens . . . operum ipsius hostis insidiis obvies, ejusque lares per laudabilem occupationem enerves, nedum ab omni mali specie abstinens quin etiam hiis que tuo sint placita Creatori solerter intendens, et . . . , celsitudini tue sano consilio suademus quatinus castitatem cum humilitate ac caritate perseveranter observans, te in cibo sobriam, in loquendo modestam et, . . . in cultu corporis et ornatu vestium non effusam.” 44. McNamara and Halborg, Sainted Women, 75–76. 45. Sedulius Scottus, On Christian Rulers, 169. 46. Holladay, “Education of Jeanne d’Évreux,” 601–2. 47. Mastny, “Durand of Champagne and the ‘Mirror of the Queen.’ ” Only ten copies of Durand de Champagne’s Miroir survive, and no edition has been published. Durand de Champagne drew on the twelfth-century De consideratione by Bernard of Clairvaux and the thirteenth-century De eruditione principum by William Peraldus, as well as the writings of other church fathers. The Miroir des dames enjoyed wide circulation among the French royalty. In the early sixteenth century Ysambert de Saint Léger revised the Miroir des dames for Marguerite de Navarre. I studied the fifteenth-century Bibliothèque nationale de France, ms fr. 610. 48. Gilles de Rome, Le livre du gouvernement des rois et des princes, 1.2.17: “le peuple aime moult le Roy quant il est larges et depart les biens si comme il doit. . . . Et quant le roy donne et despent pour avoir vaine gloire et louenge du monde ou pour autre choses et ne donne pas pour bien ce que il donne il nest pas large ni liberal. Donc se le Roy vault etre large et liberal il doit aider aux bons et faire bien a ceulx qui en sont dignes pour bien et non pour la vaine gloire du monde.” Bibliothèque nationale de France, ms français 1202. 49. Ibid.: “nous dirons de une vertu grant qui est en faire grans despens convenablement en grans euvres
que lon appelle selon latin magnificence cest adire vertu de grant force et de grand euvre.” 50. Crane, Performance of Self, 3. 51. “Celle année et celle devant fu moult grant chierté de blé et de vin en France, que le sextier de fourmant fu vendu au pris de lx sols parisis. Mais ainsi comme par miracle, la chierté cessa soudainement, si que le sextier revint à xiii sols.” Viard, Les grandes chroniques de France, 8:341.
Chapter 7
1. Appadurai, Social Life of Things, 5. 2. Rogadeo, “Il tesoro della regia chiesa,” 420–21: “577. Item Ymago una de argento longitudinis palmi fere minus cum dimidio ipsarum . . . [lacuna] corona una in capite ad modum mulieris Regine ornata de nochis et alijs lapidibus, missa per Reginam Francie, ponderis librarum sex et unciarum novem.” The entry in the inventory has a lacuna, suggesting either that the sculpture included a crown or possibly that, in addition to the silver sculpture, Clémence sent a crown with gems. A separate entry for the chalice and paten appears in the inventory as well. Ibid., 322: “34. Item calix unus magnus de argento deauratus, cum patena una de argento deaurata in cuius pomo et pede sunt ymalti duodecim ad arma quondam domini Loysii Regis Francie cum ymaginibus et in patena ex parte inferiori est Agnus Dei et ex parte superiori sunt arma quondam domini Regis Francie, ponderis librarum duarum et unciarum undecim cum dimidia.” I am grateful to Matthew J. Clear for calling my attention to these entries in the inventory of Saint Nicholas of Bari. 3. Rogadeo, “Il tesoro della regia chiesa,” 320–22. 4. “Item une ceinture a pelles que li donna la Royne d’Angleterre.” Bibliothèque nationale de France, ms fr. 7855, 160. 5. Ibid., 167: “la plus bel doré a test de liepart pour envoyer au Roy d’Ermenie.” Another example of international giving between men occurred when Philippe de Valois in 1331 gave King Edward III of England relics, which Edward shared with his mother, Isabelle, and others. The gifts are recorded for October 15, 1331. Lyte, Calendar of the Patent
Notes to Pages 122–128
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Rolls . . . : Edward III, 2:190. I am grateful to Anne Stanton for this reference. 6. Bousmanne and Van Hoorebeeck, La librairie des ducs de Bourgogne, 1:190. 7. Appendix 1, item 10. 8. Marguerite Keane finds that Blanche de Navarre often chose gifts because the giver knew that the object would resonate with and have special meaning for the recipient. Keane, Material Culture and Queenship, 180. 9. Frinta, “Closing Tabernacle,” 104. 10. Pujmanova, “Robert of Anjou’s Unknown Tabernacle in Brno.” 11. In the codicil of March 20, 1396, Blanche said, “nous voulons et ordonnons que à nostre dit neveu il demeure, et desormais ensuivament à ses successeurs, senz estre aucunement estrange, et les requerons que ilz le facent tousjours garder comme precieux et noble jouel venu de noz anccesseurs, et qu’il ne parte point de la lignie.” Delisle, “Testament de Blanche de Navarre,” 29, item 196; Buettner, “Le système des objets,” 51; Keane, Material Culture and Queenship, 86. 12. Fennell, “Unpacking the Gift,” 89–93 and 98–99. 13. Bibliothèque nationale de France, ms fr. 7855, 164: “1 couteau a manche de fust et de fer qui fu saint Loys si comme l’en dit.” Ibid., 176: “Item la coupe d’or saint Loys ou l’en ne boit point.” 14. This was the cup that the goldsmith Jean de Lille repaired in 1353. Gaborit-Chopin, L’inventaire du trésor, 37. Gaborit-Chopin quotes Bibliothèque nationale de France, n.a. fr. 21201, fol. 67v. 15. Bibliothèque nationale de France, ms fr. 7855, 177. 16. Appendix 1, item 12. 17. De Bourchenu, Histoire de Dauphiné, 1:159. 18. Although I have not seen evidence that Clémence ever went to Hungary, she may have practiced charity there. Camillo Minieri-Riccio wrote without reference that Clémence had an orphanage built in Buda. Minieri-Riccio, Genealogia di Carlo I di Angiò, 40. 19. Gaborit-Chopin, “Reliquary of Elizabeth of Hungary,” 349–50. 20. The piece described in the inventory was probably not the reliquary shrine of Elizabeth of Hungary, since the description mentions coats of arms, which do not appear on the extant piece.
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21. The price of the similar shrine in Clémence’s inventory (114) was fifty-seven pounds, which would not have been prohibitively expensive for a successful goldsmith to shoulder. Analysis of the finances of Simon de Lille, for example, indicates that he was a wealthy landowner on retainer for the king. Records show that Simon produced objects for members of the aristocracy for which he was paid up to three thousand pounds. M. Rouse and R. Rouse, “Goldsmith and the Peacocks,” 284–86. 22. Pocquet du Haut-Jussé, Les papes et les ducs de Bretagne, 229–30. Cornouaille is in Brittany. 23. Appendix 1, item 11. 24. Humbert was the second son of Clémence’s sister, Béatrice. He spent much of his youth at the court of Robert d’Anjou, and it was evidently a shock to him when in 1333 his older brother was killed in battle and he was required to rule the Dauphiné. Clearly what he longed for was a well-funded existence without responsibility. Eventually, in 1343, he sold the Dauphiné to Philippe de Valois. Cox, Green Count of Savoy, 25–30. 25. Clémence’s book the Vies de saints, which may have been the Golden Legend, written in the thirteenth century by Jacobus de Voragine, included a detailed story of the lives and martyrdom of these women. Jacobus de Voragine, Golden Legend, 256–60. 26. Holladay, “Relics, Reliquaries, and Religious Women,” 67, 89–94. 27. Ibid., 86. 28. Ibid., 78–80. 29. Richard, Une petite-nièce de saint Louis, 247: “Item, pour ii chiez des xim virges garniz d’argent, dis et sept livres et deux souls.” Richard cites the archives of Arras, A 406. 30. The inventory of goods owned by Isabelle was made in 1358 and included the relic. National Archives, London, E 101/393/4, fol. 10r: “Unum capud xim virginum cum uno circulo auri cum pluribus petris”— it then passed to her son, Edward III, “liberatur domino regi per secundum indenturam thesaurarii sine precio.” I am grateful to Christopher Woolgar for this reference. 31. In comparison, reliquaries of the virgins do not appear in the 1363 inventory of the dauphin who became King Charles V. Gaborit-Chopin, L’inventaire du trésor.
Notes to Pages 129–135
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32. Appendix 1, item 73. 33. Nocq, Le poinçon de Paris, 3:256. 34. Torriti, “Busto reliquiario di sant’Orsola.” I appreciate Joan Holladay for calling this reliquary to my attention. 35. Kohl, “Icons of Chastity.” 36. Huffelmann, Clemenza von Ungarn, 60–61. 37. Appendix 1, item 72. 38. L’art au temps des rois maudits, 225. 39. The miter was added after the original creation of this sculpture of Saint Blaise. 40. Gaborit-Chopin, “Le bras-reliquaire de saint Luc,” 5–10. 41. There is much literature about the manner in which medieval dynasties established their legitimacy through the cult of saintly ancestors. For example, Kelly, New Solomon, 96–104; Klaniczay, Holy Rulers and Blessed Princesses; Boehm, “Charles IV: The Realm of Faith.” 42. Buettner, “Le système des objets,” 52–53. Buettner remarks that Blanche de Navarre used a similar
approach, strategically placing behavior manuals that had belonged to early fourteenth-century rulers into the hands of Louis d’Orléans and Isabeau de Bavière. 43. Exceptions are the textiles she offered at Saint- Magloire and the dresses she gave her ladies-in- waiting upon her death.
Conclusion
1. Appendix 1, item 1. 2. We began this project in GIS, have used Neatline, and have since moved to Carto while experimenting with the best platform for the larger project. 3. See http://alpage.huma-num.fr/en/. 4. Keane, Material Culture and Queenship, 204. 5. Salet, “Remarques sur le vocabulaire ancien de la tapisserie.”
Notes to Pages 135–142
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Index
Page numbers in italics refer to illustrations. Advocacie Notre Dame, 95–96, 100 agency, 9–10, 32, 106 Aix-en-Provence, 22, 28, 36, 55, 98, 123 church of Notre-Dame-de-Nazareth, 22, 98, 123 angels, 49, 132 Angevin dynasty, 98, 137, 139 animals, 45, 63, 78, 81, 188, n. 62. See also dogs, baboons, dolphins, falcons, hens, lions, parrots, roosters, stags Annunciation, 10, 63–64, 67, 89–91, 134 appraisals, 6, 8, 33–35, 40, 57, 67, 132 books, 83, 91, 102 clothing, 33 joyaux, 47–49 textiles, 70 Arabic and pseudo-Arabic, 37 armor, 68, 132 artists, 16, 44, 46–49 auctions, 6, 33–35, 185, n. 10 baboons, 73, 78 balas rubies, 36, 40 Bar, 44 Bardi bankers, 19, 36, 122–23 Bari, 126, 128, 139 basilica of Saint Nicolas, 126 barils, 75, 76 Béatrice, dauphine of Viennois, 9, 44, 129 Béatrice de Provence, queen of Naples and Jerusalem, 14, 63 beds and bedding, 37, 44, 78 Beguines, 135 behavior, 17, 54, 104, 124–25 behavior manuals, 10, 12, 54, 97, 104, 124–25 belts, 51, 109, 128 Belun, Laude, 49–50 bibles, 67, 96–97, 99, 101–2 Blanche de Castile, queen of France, 41–42, 97–98 Blanche de Navarre, queen of France, 6, 9 bequests of books, 98, 131
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bequests of objects, 46, 64, 111 collector, 46 patronage of, 10 testament of, 6, 9–10, 46, 64, 98 body, 11–12, 17, 53–55, 58, 135 books. See manuscripts books of hours, 47, 64, 95, 99, 101 boxes, 39, 78, 113, 116 breviaries, 95–96, 99, 101 buyers, 34–35, 50–52 cabochons, 60, 116 cameos, 44, 46, 63 candlesticks, 76 capital, 36 Carobert, king of Hungary, 14, 132, carriages, 51, 77–78 castle of love, 39, 70, 83, 85 catharsis, 121 chalices, 48, 64, 66, 128, 132 chaplets, 58, 70 charity, 12, 111, 123–24 chasubles, 50, 70, 95, 105 Charles I d’Anjou, count of Anjou, king of Naples and Jerusalem, 14, 16, 24, 25, 98 Charles II d’Anjou, king of Naples and Jerusalem, 14, 16, 25, 61, 97–98, 128 Charles IV, emperor of Bohemia, receiving relics, 110 Charles IV, king of France, 8, 22, 28, 59, 101 Charles V, king of France, 8, 35, 80–81, 100, 110 inventory of, 8, 44, 64, 71, 77, 81 Charles VI, king of France, 107 Charles de Valois, 14 Charles Martel d’Anjou, titular king of Hungary, 14, 137 chasing, 137 châsse, 30–31, 109 Châsse of Saint Romain, 31 chopines, 75 Chrétien de Troyes, 12, 105 Christine de Pizan, 12, 104–5 Christus, Petrus, painter, 40 circulation of objects, 32, 35–38, 111, 131–32, 141
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class, 11, 34, 51–52, 54, 66, 71, 125 Clémence de Hongrie, queen of France clothing of, 66–69 coats of arms of, 23 confessor of, 134. See Jacques de Corvo domains of, 17, 19–21 effigy of, 3–4 gift giving of, 112–25, 126–40 inventory of, 6–9, 32–37, 53–79 jewels of, 58–64 liturgical pieces of, 66 manuscripts of, 80–103 objects of, 55–58, 64–66, 71–77 paintings of, 77 personal grooming of, 69–70 status of, 2, 6, 12–13, 68–70, 123, 134 testament of, 23, 28, 51, 55, 96, 137 textiles of, 70–71 clothing, 18, 33, 54, 58, 66–69 coats of arms, 23, 36, 41–44, 98, 130 cohesion, social, 121–22, 125 collateral, 36 collections, 7–9, 35, 44–46, 58, 78–79 collectors and collecting, 44, 46, 100–101, 137 Colmar treasure, 60–61 color, 61, 66–68, 89, 108, 116 combs, 39, 51, 69 commodities, 50, 123 community, 54, 120–21, 139 comparanda, 8 coral, 40–41, 64 Corbeil, 20, 22, 30–31, 37, 66, 77, 102 coronation, 17, 63, 119, 187, n. 16 crops, 18, 112 crosses, 49, 64, 66, 116 crowns, 8, 23–24, 58–59, 132, 134, 185, n. 58 crystal, 40, 69, 73, 75–76, 108–9, 137–38 currencies, 184, n. 6 Cyprus, 40 damoiselles. See ladies-in-waiting Dante, 16 David and Goliath, 81–82 dealers, 6, 32, 44, 49–52, 92 debt, 9, 16, 19, 33, 36, 123 De la Penthère, 95
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depression, 18 De regimine principum. See Gouvernement des rois et des princes devotion, private, 64, 125, 129 diasper cloth, 119 didactic literature, 10, 96. See also behavior manuals digital humanities, 141–42 dining, 58, 71–76 discounts, 33 disease, 18, 112, 121 Dix commandements de la loy, 97, 189 n. 36. See Somme le roi dogs, 4, 48, 70, 78 dolphins, 44, 78 doomsday, 113 dress, 18, 23–24, 51, 59, 67–69. See also clothing Durand de Champagne, 10, 124 eclipse, 92–93 écuelles, 74, 75 education, 14, 54, 99, 129 Edward II, king of England, 9, 23, 100, 120 Edward III, king of England, 99, 119 effigies, 2, 3–4, 24–28, 59, 61, 128. See also tombs Eleanor of Aquitaine Vase, 108, 109 Elizabeth de Burgh, 108 Elizabeth of Hungary, queen of Hungary, 24, 48, 126, 128, 132–34. See also Reliquary shrine of Elizabeth of Hungary enamels, 46, 63, 107, 116–17, 132, 135 basse-taille, 63, 132 cloisonné, 116 en ronde bosse, 107 Enfans Ogier, 96–97 Enguerrand de Marigny, 183 n. 19 Erec and Enide, 12, 105 etiquette, 12, 104. See also behavior manuals Ewer with a noix d’Inde, 40 exchange, cross-cultural, 37, 129, 134, 140 exoticism, 37–41, 105, 108, 116, 119 extinction, social, 2, 123 falcons and falconry, 70, 78 family, 2, 10, 14, 28–31, 129, 131 famine, 113, 121, 125 fantasy, 45
Index
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farms, 20, 37 Fauvel Master, 67, 80, 83, 88–91, 96 Félix d’Auxerre, goldsmith, 47, 49 fermaux, 41, 46–48, 60, 61–63, 116, 117 fleurons, 2, 23–24, 59, 81, 87 fleurs-de-lys, 23–24, 59, 109, 130 forks, 71, 75 Fortunatus, Venantius, 124 gemstones, 35, 45, 54, 59, 61. See also emeralds, rubies, and sapphires gender, 9, 64, 68, 100, 128, 131, 181, n. 17 generosity, 11–12, 104–6, 111, 119, 124–25 Geoffrey of Crowland, abbot of Peterborough, 81 gift giving, 24, 104–11, 112–25, 126–40. See also generosity Gilles de Rome, 10, 125 Giotto di Bondone, 16, 37 gold, 33, 36, 53–54, 71 Goldene Rössl, 107 Goldsmith in His Shop, 42 goldsmiths, 33, 46–49, 55. See also Félix d’Auxerre, Jean de Lille, Jean de Montpellier, Jean de Touyl, Jean Pascon, Pierre de Besançon, Simon de Lille gravity, 92–94 Gui de Castres, 29 Guillaume le Flament, 50 Halles des Champeaux, 51 hanaps, 33, 36, 40, 71–74 heart, 24, 26, 28 heirlooms, 98, 129, 131 hens, 76 hierophany, 120 history, 12, 24, 28, 46, 83, 97–100 horses, 33, 52, 57–58, 77–78, 101 Humbert, dauphin of Viennois, 10, 33, 134, 194, n. 24 humility, 123–25 identity, 105, 112, 123 manuscripts and, 95–96, 98 objects and, 53–55, 58–66, 70–71 illness, mental, 18, 107 import, 32, 38–39, 117 income, 6, 17–18, 20, 36–37, 123 India, 37–38, 40
indulgences, 18, 122, 190 n. 1 ingenuity, 107 interception, 121 intermediaries, 126, 139, 141 inventories, 6–7 analysis of, 6, 55–58 making of, 7–8, 32–35 comparison of, 35–36 Irmingard, 124 Isabeau de Bavière, queen of France, 101, 107 Isabelle de France, queen of England 23, 44, 99, 100, 120, 128 Islamic cultures, 38 ivory, 38–39, 46, 51, 64, 69–70, 78 Jacques de Corvo, bishop of Cornouaille, 134 Jacques d’Euse, 14, 182 n. 5. See John XXII Jean, duc de Berry, 34–35, 44, 71–72, 100 Jean I, 26, 28 Jean de Billouart, 34, 184, n. 5 Jean de Lille, goldsmith, 47–48, 194, n. 14 Jean de Montpellier, goldsmith, 135 Jean de Touyl, goldsmith, 47–48, 132–33 Jean le Bon, king of France, 5, 35, 48 Jeanne de Bourgogne, queen of France, 33, 76, 78, 111, 116, 134–37 Jeanne de Navarre, queen of France, 2, 53, 92, 97, 99, 111, 124 Jeanne II de Navarre, queen of Navarre, 16, 19 Jeanne d’Évreux, queen of France, 23 gift giving of, 109, 111 manuscripts of, 47, 80, 96–99, 102 purchases of, 33, 63–64, 70 taste of, 46, 77–78 testament of, 33, 47, 99, 111 Jewish almanac, 91–94 Joan of Arc, 68 John XXII (pope), 14, 18, 22, 139, 182 n. 5. counsel, 13–24 Peterborough Psalter and, 80–83, 128–29, 139 support of Clémence, 18 joyaux, 8, 49, 71, 132, 141 Juno, goddess, 87 keeping-while-giving, 111, 130–31, 139 Knights Templar, 16, 19, 20
Index
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ladies-in-waiting, 9, 67–68, 108 lamps, 116 land, 5–6, 17, 20–21, 36–37 land dispute, 18, 98 langue de serpent, 40, 41 largesse. See generosity law books, 98 Legouais, Chrétien, 84 Lent, 50, 70 libraries, 12, 58, 80, 94–101, 102, 125 L’image du monde, 93–94 lions, 26, 49, 71, 73, 76, 78 livery, 104, 108 Livre du gouvernement des rois et des princes, 10, 95–97, 102, 125 livres de chapelle, 94–96, 102 lots, 6, 33, 49–50, 57, 68, 74 Louis IX, saint, king of France, 14, 98, 100, 128, 131–32, 135, 137 Louis X, king of France, 16, 80, 99, 113, 128, 131–32 death of, 16 effigy of, 27–28, 59 inventory of, 35, 131 library of, 80, 99 marriage of, 1–2, 16–17 madre wood, 73, 74 magnificence, 12, 108, 117, 125 Mahaut d’Artois, countess of Artois and Bourgogne, 5 manuscripts of, 10, 80, 96–97, 99–100 conflict with, 18, 122 patronage of, 28, 44, 47–49, 135 ritual participation of, 116 Marco Polo, 40, 99 markets, 32, 34, 49, 51, 131, 141 marriages, 23, 47, 98, 134–35, 141 Clémence de Hongrie’s, 16–17, 31, 46, 182 n. 12 negotiation of, 14 politically advantageous, 5, 111, 131 manuscripts, 12, 58, 80–103, 111 mapping, 7, 13, 38–44, 142 Marguerite d’Anjou, 14 Marguerite de Nantueil, 68, 101 Marie de Brabant, queen of France, 92, 135 Marie de Hongrie, queen of Naples and Jerusalem, 14, 16, 22, 40, 63, 137 manuscripts of, 97
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objects of, 40, 111, 129, 131 raising children, 1, 14 testament of, 61, 67 Martini, Simone, painter, 16, 117–18, 137 materials, origins of, 11, 37–41 Matthew Paris, 20 memory, 31, 44, 46, 128, 131 menu vair, 67–68, 101 merchants, 34, 38, 49–50, 108 mercy, 12, 120, 124 metalwork, 8, 33, 57–58, 101, 137, 139 Miroir des dames, 10, 124, 193 n. 47. See Speculum dominarum mirrors, 39, 51, 69–70, 83 missals, 95, 99 modesty, 18, 55 money, 10, 12, 50, 131, 141 monograms, 84 Myanmar, 38, 40 Naples, 14, 16, 24, 36, 55 cathedral of Naples, 16 church of Santa Chiara, 16 church of Santa Marie Donna Regina, 16 nefs, 71–73 Neelle, Pierre, 50 noix d’Inde, 40 object trajectories, 7, 11, 126–27, 129 Opus Anglicanum, 40 The “Orient,” 37, 106 “oriental” pearls, 37, 40, 47 Ovide moralisé, 24, 67, 83–91, 97, 101 ownership, 6, 11, 51, 76, 108, 131 pagan mythology, 86 paintings, 29–30, 77, 110, 117, 130, 184, n. 55 Parade of the Parisians, 119–20 parades, 119–22 Paris, 39, 113, 142 burial, 2–4, 28–29 church of the Jacobins, 23–24, 28, 96 church of Saint-Magloire, 112–13, 116 church of Saint-Sépulcre, 23 goldsmiths in 47–49 Hôpital Saint-Jacques-au-Pèlerins, 109, 191, n. 13 markets in, 34, 51
Index
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patronage in, 24, 98, 109, 139 procession in, 112–25 Sainte-Chapelle, 48 Pascon, Jean, goldsmith, 47, 49 patens, 48, 64, 66, 128, 139 paternosters, 8, 40, 58, 63–64, 111 patronage, 10, 16, 29, 84, 108, 141 pawn, 12, 37, 108, 122 payments, 22, 33 pearls, 37–38, 40–41, 47, 58, 63, 69 pendants, 63 performance of identity, 11–12, 54–55 perrerie, 137 Persia, 40 Peterborough Psalter, 23, 46, 80–85, 102, 126–29 illuminations in, 82, 84–85 Petrarch, Francesco, 16–17, 23 Philippe IV, king of France, 16, 19, 53, 77, 119–20, 125 Philippe V, king of France, 18–20, 48, 55, 66–67 Philippe VI de Valois, king of France, 8, 10, 14, 23, 46–47, 59 purchases of, 33, 81 statue of Saint Louis de Toulouse, 46, 137–39 crown of, 59 piercé, 60 Pierre de Besançon, goldsmith, 47–49 Pierre des Essars, 34, 50, 102, 184, n. 5 plate, 8, 46, 71 portepais, 66 possessions, inalienable, 131 pregnancy, 18, 23 prices, 6, 33–36, 45, 57, 66–67, 95, 101–2 processions, 20, 112–16, 119–25. See also ritual provenance, 44, 46, 105, 108, 131, 139 Psalter-Hours of Yolande de Soissons, 64, 65 Psalters, 64, 95, 98–99, 101–2. See also Peterborough Psalter Pucelle, Jean, illuminator, 47 purification, 113, 120 purses, 17, 44, 46, 51 quality, 33, 40, 47–48, 66, 87–91, 116 quarrez, 60 quartes, 75 queens dowagers, 18, 55, 112, 123, 129 patronage of, 10, 16, 23, 92, 141 power of, 2, 5, 104, 123
rain, 18, 112–13 reading, group, 101 reciprocity, 10, 106, 111 Recluse of Molliens, 95–96, 100 recycling, 38, 58 regency, 18 Reign of Louis X, 114 relics and reliquaries, 8, 37, 46, 49, 64, 109–10 Reliquary arm of Saint Louis de Toulouse, 137, 139 Reliquary head of one of the Eleven Thousand Virgins, 136 Reliquary shrine of Elizabeth of Hungary, 24, 48, 126, 132–34 Saint John the Baptist, 132 Saint Magloire, 112 Saint Martin, 47–48 Saint Spire, 30 Saint Ursula and the Eleven Thousand Virgins, 134–37 True Cross, 8, 64, 110 Virgin Mary, 109 repetition, 68, 89, 108, 125 repoussé, 132, 137 Richard de Verdun, 102 rings, 59–61, 60 rituals, 11, 106, 112–23, 125 Robert III d’Artois, 10, 18, 102, 122–23 Robert d’Anjou, king of Naples and Jerusalem, 14, 23, 117–18, 129–30, 137 robes, 66–68. See also clothes rock crystal. See crystal Roman de la Rose, 95–96, 100, 105 roosters, 63, 76–77, 81 roumans, 83, 94–96, 102 rubies, 36–37, 40, 58, 61, 126 Rudolphe de Habsbourg, king of Germany, 61 saddles, 44, 51, 77–78 Saint Denis, 45, 109 abbey, 5, 24, 29, 45, 59, 109 chapel of Saint Louis at the abbey of Saint-Denis, 29 Saint Louis de Toulouse Crowning Robert d’Anjou, 118 Saints Blaise, 137–38 John, 49, 63–64, 66, 132 John the Baptist, 9, 64, 126, 130, 132 Louis de Toulouse, 117–18, 130, 132; sculpture of, 46, 64, 78, 137
Index
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Saints (cont’d) Martin, 47–48 Radegund, 124 Spire, 20, 22, 30–31 Stephen, 64 Ursula and the Eleven Thousand Virgins, 64, 134–37 sales, 6, 23, 32–36, 46, 49–50, 55 saltcellars, 76, 78, 71, 73 Sancia de Majorque, queen of Naples and Jerusalem, 14, 16, 22, 129, 131, 137 sapphires, 8, 40, 46–47, 63–64 science, 80, 92–94 Sculpture of Saint Blaise as a bishop, 138 sculptures, 9–10, 28, 64, 76–77, 129, 137 seals, 23, 24, 35, 67 Sedulius Scottus, 124 service books. See livres de chapelle shopping, 40, 42 malls, 51 shrines, 8, 48, 64, 126, 129, 130–34 silk, 37, 50, 54, 67–70, 105, 116–19 silver, 11, 33, 36, 53–54, 58, 71 silver-gilt, 30, 36, 44, 49, 71, 74 Simon de Lille, goldsmith, 8, 47-48, 59, 132, 194, n. 21 social lives of things, 10, 126 social networks, 11, 126, 132, 140–41 solidarity, 121–22, 125 Somme le roi, 189 n. 36. See also Dix commandements de la loy souvenirs, 44. See also heirlooms Speculum dominarum, 10. See also Miroir des dames spoons, 49, 71, 75 stags, 46, 71, 73, 77–78, 81 statues. See sculptures status, 13, 18, 33, 54, 79, 112, 123, 134. See also Clémence de Hongrie, status of Suger, abbot of Saint-Denis, 45–46, 108 sumptuary legislation, 11, 53–54, 56, 58, 66–67, 77 surcoats, 28, 66–67, 83
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surrogates, 122, 139 Swahili traders, 39 systems of exchange, 11, 32, 39, 41, 44, 50–52 tableaux, 39, 64, 77 tailor, 67 tapestries, 8, 29, 50, 70–71 tartaire cloth, 39, 116–17 the Temple, 19–20, 66, 75 testaments, 9, 23, 32, 35, 46. See also wills; Blanche de Navarre, testament of; Clémence de Hongrie, testament of; Jeanne d’Évreux, testament of textiles, 8, 37, 39–40, 50, 70, 105, 111 Thomas de Maubeuge Master, 24, 92–94 tiraz, 37 tombs, 2–4, 24–29, 59, 128, 137. See also effigies trade, 34, 49, 108. See also merchants Translation of the Head of Saint Martin, 48 Travel altar of Robert d’Anjou, 130 Très riches heures of Jean, duc de Berry, 72 tribute, 50, 104 Trojan War, 97, 99 Unicorn Tapestries, 71 value, 8, 33–36, 47, 55–58 velour, 44, 67 Vie de saints, 95–96, 101 washerwomen, 9, 11, 52, 68 weddings, 17, 47. See also marriages weights, 8, 33, 35, 50, 52 widows and widowhood, 2, 5, 31, 64, 109, 112 wills, 6, 23, 32–33, 36, 101, 111, 129. See also testaments wit, 107 witchcraft, 122 Wurmser, Nicholas, painter, 110
Index
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Typeset by click! Publishing Services Printed and bound by Regent Publishing Services Composed in Minion Pro Printed on Neo Matt Bound in JHT
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