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Title: Illuminated illustrations of Froissart; Selected from the ms. in the British museum.

Author: Jean Froissart

Compiler: Henry Noel Humphreys

Release date: July 24, 2021 [eBook #65908]

Language: English

Credits: Turgut Dincer, Chuck Greif and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)


*** START OF THE PROJECT GUTENBERG EBOOK ILLUMINATED ILLUSTRATIONS OF FROISSART; SELECTED FROM THE MS. IN THE BRITISH MUSEUM. ***




ADVERTISEMENT.

ILLUMINATED ILLUSTRATIONS TO FROISSART.


The present Volume completes the selection of Pictures made from the two
volumes of the MS. in the British Museum. As these volumes, however,
consist only of the Fourth Book of Froissart, none of the Illustrations
have reference to any of the first three Books of the history. It has
been determined, therefore, at the earnest solicitation of very many of
the Subscribers to the present series, to publish a selection from the
first, second and third Books, contained in the celebrated MS. in the
Bibliothèque Royale at Paris, to correspond in extent and price with
that now completed.

By this arrangement, the entire Chronicles will be illustrated; and as
the drawings in the Paris MS. are, in many respects, very superior to
those in the two volumes at the Museum, it is hoped that the publication
of the additional twelve Numbers will give general satisfaction.

The first Number from the Paris MS. will be published on the first of
January, price 3_s._ 6_d._

_December 1st, 1843._




ILLUMINATED
ILLUSTRATIONS OF FROISSART.




[Illustration:

ILLUMINATIONS
FROM THE

MS.

FROISSART

IN THE
BRITISH MUSEUM
]




ILLUMINATED

ILLUSTRATIONS OF FROISSART.

SELECTED FROM

The MS.

IN THE BRITISH MUSEUM.


BY H. N. HUMPHREYS, ESQ.


LONDON:
WILLIAM SMITH, 113, FLEET STREET.

MDCCCXLIV.


LONDON:
BRADBURY AND EVANS, PRINTERS, WHITEFRIARS




ADVERTISEMENT.


The idea of publishing these illuminations was suggested by the great
success which has attended the reprint of the Chronicles of Monstrelet
and Froissart; the extensive sale of which books bears strong testimony
to the searching spirit of inquiry now abroad. We are no longer content
to read our early history through the filtered medium of a compilation,
but seek it in the vivid pages of the chroniclers, who drew from the
life, and sketched off in simple and quaint, but earnest language, the
stirring panorama of their times. But the pleasure of reading such an
historian as Froissart, in an ordinary printed book, is small when
compared with that of reading him in one of the curious manuscripts of
his own time.

To unclose the gilded clasps of one of those ponderous velvet-bound
volumes, to turn over the crisp vellum, and read the story of those
exciting times traced in quaint Gothic characters by careful clerks; but
above all to admire the curious and elaborate borderings of the
illuminated pages, and dwell on the miniature pictures, wrought with the
greatest care and beauty by the most skilful contemporary limners, to
embody more tangibly the narration of the author, is indeed a
pleasure;--yet one which but few can enjoy. To afford that enjoyment to
the many, and place before them some of the most interesting of these
rare illuminations, is the object of the present publication.

The British Museum contains a magnificent MS. of Froissart, profusely
illuminated with such miniature pictures. This MS. came into the Museum
with the Harleian Collection, but how it found its way into that
collection is unknown; we possess, however, only two of the volumes, the
other two being in the Bibliothèque Royale of Paris. The work appears to
be one of Flemish art, probably executed by some Flemish artist resident
in Paris, as the public buildings in Paris are very correctly
delineated, whilst those of other places are frequently altogether
imaginary. It seems likely that the work was executed for Philip De
Commines the historian, as it was evidently produced in his time, and as
the arms of De Commines frequently occur in the ornamental borderings in
the way it was usual to introduce those of the person for whom such a
book was illuminated. The MS. is supposed to have been written between
the years 1460 and 1480, very shortly after the time of Froissart; so
that, though it is true that artists of that time painted all costumes
from those of their own day, yet, as the fashions did not change so
rapidly then as now, we may fairly imagine that we see the heroes and
worthies of Froissart paraded before us in the very dresses which they
wore; their glittering and complicated plate armour, their embroidered
surcoats, emblazoned banners, and all the gorgeous paraphernalia of
chivalry.

In these pictures we see them at their tournaments, exhibiting their
well-trained horsemanship, their strength and skill in arms,--in their
wars we see them in the more earnest exercise of their reckless valour;
we see their vast engines of warfare which preceded cannon; and the
first rude cannon of wood hooped with iron--we see also their frail
ships, in which, without fear, the daring spirits of those times trusted
themselves recklessly to the treacherous ocean. We see the burghers in
their towns, and the lords in their castles; we see them in the intimacy
of their domestic life and habits; we see the very patterns of the
hangings of their rooms, and every minute incident of their household
arrangements, their banquets and their festivals, represented by an
artist of no mean skill; and when we consider that these illuminations
were executed before Raphael was born, we cannot (with all their faults
of perspective) but be astonished at their beauty and life-like
accuracy, and frequently at the fine arrangement of drapery, and
beautiful distribution of colour.

The present illuminations, copied from the precious MS. above alluded
to, will be made as near fac-similes as possible, without any attempt at
correction, or alteration in the drawing, so as to show the true spirit
of the Gothic artist, and exhibit the state of art at the period. They
are also the same size as the originals; yet so arranged, by
occasionally sacrificing a little margin, that our subscribers may bind
them up with the recent edition of Froissart (now the only one in
print), and so possess a book nearly as interesting as the original MS.
itself.

The ornamental letters given on the title-page, as well as the border in
which are the arms of De Commines, are taken from the MS. referred to.




LIST OF PLATES,

WITH

REFERENCES TO SMITH’S EDITION OF “FROISSART,” IN TWO VOLUMES.


PLATE                                                             VOL.PAGE

I. THE CORONATION OF POPE BONIFACE IX.                             II. 426

II. MARRIAGE OF KING LOUIS OF SICILY TO THE DAUGHTER OF
KING PEDRO OF ARRAGON                                              II. 406

III. PROCLAMATION OF THE TRUCE BETWEEN RICHARD II. OF ENGLAND AND
CHARLES VI. OF FRANCE                                              II. 395

IV. EXPEDITION OF THE FRENCH AND ENGLISH TO THE COAST OF AFRICA, AT
THE REQUEST OF THE GENOESE                                         II. 466

V. THE RAISING OF THE SIEGE OF THE STRONG TOWN OF AFRICA           II. 482

VI. TOURNAMENT AT ST. INGLEVERE, NEAR CALAIS                       II. 434

VII. ATTACK ON SIR OLIVER DE CLISSON                               II. 521

VIII. MEETING OF CHARLES VI. AND DUKE OF BRITTANY AT TOURS         II. 507

IX. SURRENDER AND RE-TAKING OF THE CASTLE OF VENTADOUR             II. 314

X. THE GREAT ASSAULT UPON THE TOWN OF AFRICA                       II. 472

XI. JOURNEY OF CHARLES VI. AND THE DUKE OF TOURAINE FROM MONTPELIER
TO PARIS                                                           II. 424

XII. SIR PETER DE CRAON RECEIVED BY THE DUKE OF BRITTANY           II. 527

XIII. THE SUDDEN DEATH OF COUNT GASTON DE FOIX                     II. 493

XIV. THE KING OF HUNGARY IN COUNCIL WITH HIS LORDS AND
THOSE OF FRANCE                                                    II. 602

XV. THE DUKES OF BURGUNDY AND BERRI IN COUNCIL                     II. 536

XVI. THE EMPEROR OF GERMANY AND THE KING OF FRANCE IN COUNCIL      II. 659

XVII. SIR JOHN FROISSART PRESENTING HIS BOOK TO RICHARD            II. 577

XVIII. INTERVIEW OF RICHARD  WITH THE DUKE OF GLOUCESTER AT THE CASTLE
OF PLESHY                                                          II. 644

XIX. THE RANSOM PAID TO BAJAZET FOR THE COUNT DE NEVERS, ETC.      II. 648

XX. THE ARREST OF THE DUKE OF GLOUCESTER                           II. 644

XXI. RICHARD  SETTING OUT ON HIS EXPEDITION TO IRELAND             II. 567

XXII. THE VISION OF ROBERT L’ERMITE                                II. 584

XXIII. THE LIBERATION OF THE LORD DE LA RIVIERE                    II. 588

XXIV. CORONATION OF HENRY IV.                                      II. 698

XXV. MEETING OF THE ARCHBISHOP OF CANTERBURY WITH THE EARL OF DERBY
AT PARIS                                                           II. 684

XXVI. WILLIAM OF HAINAULT SETTING OUT ON HIS
EXPEDITION AGAINST FRIESLAND                                       II. 612

XXVII. LANDING OF THE LADY DE COUCY AT BOULOGNE                    II. 701

XXVIII. DEATH OF POPE CLEMENT OF AVIGNON                           II. 564

XXIX. THE KING OF FRANCE RECEIVING THE INTELLIGENCE OF THE DEFEAT IN
TURKEY                                                             II. 628

XXX. THE DUKE OF GLOUCESTER AND SIR JOHN LACKINGAY                 II. 636

XXXI. DEATH OF ANNE OF BOHEMIA                                     II. 566

XXXII. DEATH OF EVAN DE FOIX                                       II. 551

XXXIII. DUCHESS OF ORLEANS QUITTING PARIS                          II. 633

XXXIV. RECONCILIATION OF SIR OLIVER DE CLISSON AND
THE DUKE OF BRITTANY                                               II. 589

XXXV. JEHAN DE VARENNES PREACHING                                  II. 565

XXXVI. THE FUNERAL OF RICHARD                                      II. 708

[Illustration: The Coronation of Pope Boniface at Rome after the death
of Urban VIᵗʰ.]




PLATE I.

THE CORONATION OF POPE BONIFACE IX.


Pope Clement of Avignon, on hearing of the death of Urban VI. of Rome,
assembled a conclave of Cardinals of his party, and strong hopes were
entertained that the schism in the Church would be put an end to;
nevertheless the Cardinals at Rome immediately elected Perrin de
Tomacelli, Cardinal of Naples, who was crowned with great solemnity in
October 1389, and took the name and title of Boniface IX., Clement
continuing to act as Pope at Avignon. The composition of this
illumination is arranged with great simplicity; the faces are of
appropriate character and expression, and from their great variety and
carefully varied features, it appears probable that some of them may be
actual portraits of the individuals represented. It is coloured with
exceeding richness; the flow and disposition of some of the drapery is
almost equal to Albert Durer; and the linear perspective is pretty
nearly correct.

[Illustration: The Marriage of King Louis son of the Duke of Anjou to
the Daughter of King Peter of Arragon.]




PLATE II.

THE MARRIAGE OF KING LOUIS OF SICILY, SON OF THE DUKE OF ANJOU, TO THE
DAUGHTER OF KING PEDRO OF ARRAGON.


This is one of the most carefully executed pictures in the volume; and
the arrangement of the figures at the sides, combined with the
impressive and characteristic simplicity of the central group, could
scarcely be surpassed by modern artists; indeed, in symmetrical
arrangement, they appear to be borrowing ideas from these illuminations
of the middle ages, as may be perceived in some recent modern pictures.
The account of this marriage is omitted in some of the MSS. of
Froissart.

[Illustration: Proclamation of the renewal of the truce between the
Kings of France and England, after the King of France’s recovery.]




PLATE III.

THE PROCLAMATION OF THE TRUCE BETWEEN RICHARD II. OF ENGLAND AND CHARLES
VI. OF FRANCE.


This truce (long delayed on account of the temporary insanity and
sickness of the French king) between Richard II. of England and Charles
VI. of France, was agreed should last from Michaelmas to St. John
Baptist’s day, 1392, and one year longer. The drawing evidently
represents a French town, as the provincial towns of France, even
earlier than that period, had lofty houses of stone, many of which
endure perfect to the present day, whilst in England the common houses
of the towns of the same period were mostly built of timber and plaster,
and were of very rude construction. This plate is also interesting on
account of exhibiting so accurately the dress and general appearance of
French citizens of the fourteenth century.

[Illustration: The expedition of the French and English to the coast of
Africa, at the request of the Genoese.]




PLATE IV.

THE EXPEDITION OF THE FRENCH AND ENGLISH TO THE COAST OF AFRICA, AT THE
REQUEST OF THE GENOESE.


The Genoese, whose trade and coasts had been much annoyed by the
piratical excursions of African corsairs, determined to attack them in
their stronghold, a town called Africa, about seventy miles from Tunis,
subsequently destroyed by Andrea Doria. In order to give effect to the
expedition, the Genoese invited knights of reputation from France,
England, and other countries, to take charge of it; furnishing them with
vessels and provisions, and several thousand Genoese crossbowmen and
infantry free of cost. The proposition being readily embraced by many
French and English knights of rank, the command was assumed by the Duke
de Bourbon, the uncle of the King of France, and they sailed from Genoa
on St. John Baptist’s Day, 1390; and Froissart says, “It was a beautiful
sight to view this fleet, with the emblazoned banners of the different
lords fluttering in the wind, and to hear the minstrels and other
musicians sounding their pipes, clarions, and trumpets, whose sounds
were re-echoed back by the sea.” They re-assembled at the island of
Commino, after having been dispersed in a great storm; and the weather
being fine, the sea calm, and the coast of Africa not far distant, many
advanced in rowing-boats. Froissart continues. “It was a pleasure to see
the rowers force their way through the smooth surface of the sea, which
seemed to delight in bearing these Christians to the shores of the
infidels;” and, “it was a fine sight to view their various banners and
pennons fluttering with gentle gales, and glittering in the sun.” This
appears to be the moment depicted by the illuminator. The personage in
the rowing-boat in the foreground appears to be the Duke de Bourbon. In
the large vessel are several French knights, with probably the Count
d’Eu in the centre; and in the vessel partly seen on the left is Henry
de Beaufort (a natural son of the Duke of Lancaster), who was in this
expedition attended by many knights and squires of rank. Although the
perspective in this picture is rather barbarous, and its composition
fearfully inartificial, it has much interest if not merit of detail: it
displays the manner of exposing the emblazoned shields of the knights on
the sides of their vessels, and many other particulars interesting to
the antiquary, and the artist has displayed considerable discrimination
between the regular and more refined features of the knights and
gentlemen so comfortably placed within the vessels, and the ignoble
expression of the poor rowers, so barbarously exposed in an open
framework outside the boat of the Duke de Bourbon.

[Illustration: The raising of the Siege of the strong Town of Africa,
and the return of the European Knights.]




PLATE V.

THE RAISING OF THE SIEGE OF THE STRONG TOWN OF AFRICA, AND THE RETURN OF
THE EUROPEAN KNIGHTS.


The siege of Africa having failed, as it was thought partly in
consequence of the pride and obstinacy of the Duke de Bourbon, and the
army having fruitlessly remained sixty days before the place, suffering
much loss, as well by the heat of the weather as in an attempt to take
the town by storm, it was determined that they should re-imbark, and
return to Europe, which they did.

In the picture, the Duke de Bourbon, in gilt armour, is seen following
his standard-bearer into a boat; in the middle distance is the camp,
about to be broken up; and farther off is seen the town, of course a
mere imagination of the Flemish artist, for it represents all the
characteristics of a Flemish town of the period. It is, however,
beautifully pencilled, and reminds one of backgrounds of Flemish
pictures of the best period.

[Illustration: Tournament held at Sᵗ. Inglevere near Calais where three
French Knights defend the lists for thirty days against all comers from
England, and elsewhere.]




PLATE VI.

TOURNAMENT HELD AT ST. INGLEVERE, NEAR CALAIS, WHEN THREE FRENCH KNIGHTS
DEFENDED THE LISTS FOR THIRTY DAYS, AGAINST ALL COMERS FROM ENGLAND AND
ELSEWHERE.


Sir John Holland, half brother to king Richard the Second, and many
English knights, went over to Calais to accept the challenge of the
French knights at this tournament. Three rich vermilion-coloured tents
were pitched near to the lists, and in front of which were suspended two
targets, for peace or war, emblazoned with the arms of each lord. It was
ordered that such as were desirous of performing any deed of arms,
should send to or have touched one or both of these targets according to
their pleasure, and they would be tilted with according to their
request. The following is Froissart’s account of one of the encounters,
each of which he describes minutely.

“Sir Henry Beaumont” (an Englishman) “then came forward, and sent to
have the target of Sir Boucicaut” (one of the French knights) “touched,
who was instantly ready to reply to the call, having not dismounted from
the tilts with Lord Clifford. The Lord Beaumont did not manage his lance
well, and hit Boucicaut on the side, but Sir Boucicaut struck him so
full in the middle of his shield, that it drove him to the ground, and
continued his course. Lord Beaumont was raised up by his attendant and
remounted. The Lord de Saimpi” (another of the French knights) “then
presented himself, and they tilted two courses very handsomely, without
hurt to either.”

The king of France was present in disguise at this tournament, and
returned each evening after the tilting to an inn at Marquise; the
English returned each evening to Calais; while the three French knights
and their attendants were lodged at the convent of St. Inglevere.

This illumination shows extremely well the disposition of the lists, &c.
&c., and the bearing of the knights in running a course.

[Illustration: The attack on Sir Oliver de Clisson by the followers of
Sir Peter de Craon.]




PLATE VII.

THE ATTACK ON SIR OLIVER DE CLISSON, BY THE FOLLOWERS OF SIR PETER DE
CRAON.


Sir Peter de Craon having been disgraced by King Charles VI. and his
brother the Duke of Touraine, and banished the court of France, imagined
Sir Oliver de Clisson to be the remote cause of his disfavour. To
revenge himself, therefore, he caused many men-at-arms to conceal
themselves in his hôtel at Paris; and having been privately informed of
all the movements of Sir Oliver, who supped with the King on the day of
the feast of the Holy Sacrament, and remained the last of the party, he
attacked him on his way home with his men, and would have cruelly
murdered him, but for a lucky accident that saved his life. Having
received a severe blow on the back of his head that struck him senseless
from his horse, he fell against the door of a baker, who was already up
to attend to his bread, and hearing the noise, had slightly opened the
door, which the weight of Sir Oliver now threw completely back, and he
fell into the shop. The horsemen, thinking they had done their work
effectually, now rode off, and thus Sir Oliver escaped, though
desperately wounded. The King was much affected on hearing of the
attempted murder of Sir Oliver, who was High Constable of France, and
went immediately in his night-dress and slippers to visit him, for it
was very near the hôtel St. Pol, and the King was not yet in bed when
news of the event reached him. Sir Peter, though pursued immediately,
escaped into Spain, and eventually he was again received into favour,
and Sir Oliver fell into disgrace.

The artist has represented the hôtel St. Pol in the distance, adorned
with niches and bronze statues, which, if not a true representation of
the building, is interesting, as showing that such decorations were not
unusual in the exterior architecture of houses of consequence at that
period.

[Illustration: The meeting of Charles VIᵗʰ of France and the Duke of
Brittany at Tours]




PLATE VIII.

THE MEETING OF CHARLES VI. OF FRANCE, AND THE DUKE OF BRITTANY AT TOURS.


Misunderstandings having long existed between the King (Charles VI.) of
France and the Duke of Brittany, and being much increased by the
protection afforded by the Duke to Sir Peter de Craon, many feared that
other powerful Lords might follow his rebellious example, and the
supremacy of the Crown, by degrees, be lost. It was, therefore,
determined to invite the Duke to a conference with the King at Tours,
which, after some difficulty, was effected; and though much bitterness
was shown on both sides during the discussion, all disputes were
eventually adjusted, and a general good understanding secured, by the
proposal of a marriage between the son of the Duke of Brittany and a
daughter of the King of France; and also between a son of the Lord of
Blois and a daughter of the Duke of Brittany.

This illumination is among the best in the volume; the colours are
vivid, and the gold enrichments managed with good effect; the moment
represented is, doubtless, the first meeting of the Duke and the King,
the former kneeling, (having removed his coronet), in token of homage.
The two personages on the right are the Dukes of Burgundy and Berri, the
King’s uncles. The introduction of the Pages of the Duke of Brittany in
the foreground is managed with good effect; and the design of the
apartment, with its tapestries, &c. is very interesting, as exhibiting a
system of colouring, in which the ceiling is the darkest feature, and
the floor the lightest: a principle just resuscitated with great effect
by some of our leading architects.

[Illustration: The retaking and surrender of the strong Castle of
Ventadour.]




PLATE IX.

THE SURRENDER AND RE-TAKING OF THE STRONG CASTLE OF VENTADOUR[1].


This subject is interesting, as showing pretty accurately the
arrangement of the interior works of a fortified castle of the
fourteenth century, and the manner of taking possession of such a place
by an armed force.

The circumstances connected with the taking of this fortress by the
troops of the Duke de Berri, are briefly as follows.

The wars between the French and English, which devastated a large
portion of France during part of the fourteenth century, were aggravated
in their ruinous effects upon the people by the Free Companies, a sort
of land privateers who, under pretext of belonging to one or other
party, pillaged small towns, captured castles when insufficiently
defended, and, in short, preyed recklessly upon the defenceless; being,
in fact, bands of robbers.

Geoffrey Tête-noire, one of these Free Companions, by the treachery of a
servant, gained possession of the castle of Ventadour, in Auvergne,
belonging to the Count de Montpensier, which, from its strong position
among the mountains, was deemed at that time impregnable by force;
indeed, it appears that it was so, for Geoffrey Tête-noire held it till
his death, defeating every attempt to gain it by force, and refusing
every offer to buy it with money; he considered it as his own
inheritance, levying contributions on all the surrounding country, which
enabled him to live in great state and plenty. He commenced his
passports and treaties of composition with “Geoffrey Tête-noire, duke of
Ventadour, count of Limousin, sovereign lord and commander of all the
captains in Auvergne, Rouergue, and Limousin.”

The nephews of Geoffrey, Alleyne and Peter Roux, succeeded their uncle
in possession of the castle; but the Duke de Berri, who had purchased it
of the Montpensier family, determined to obtain possession, and put an
end to the dominion of these freebooters. After many fruitless attempts,
by force and negociation, Sir William le Boutellier, with Sir John
Bonne-lance, and others, formed a close siege, surrounding the castle
with block-houses, &c. &c. But all attempts might have been vain but for
the over-cunning of the nephews, who, offering to surrender the place
for ten thousand francs, if the two knights would bring the money into
the court-yard of the castle, had concealed a body of armed men in a
tower near the entrance-gate, to seize them when they should be off
their guard.

The knights brought the money, but, having suspicions, had concealed a
body of horse, during the night, within a short distance of the
entrance, and soon perceiving that treachery was intended, they, as
Froissart says, “made a signe to him who bore the horn to sound for
their ambuscade;” these, putting spurs to their horses, galloped into
the castle, the gate being open, and the nephews were instantly arrested
in the king’s name.

The tower above-mentioned was found filled with armed men, who confessed
the purport of their concealment there. The intended treachery of
Alleyne and Peter was thus proved beyond doubt, and they were eventually
tried, and publicly executed. The castle had been in the possession of
Geoffry and his nephews above 15 years, and was regained about 1390.

The moment selected by the Illuminator appears to be that, when, after
the arrest of Alleyne and his brother, the tower near the gate was
opened, and the men-at-arms came from their ambush confessing the
intended treachery of the brothers, and begging for mercy, as is
minutely related by Froissart. A standard-bearer is seen planting the
standard of the Duke de Berri over the gate-tower, and calling by sound
of horn the besieging troops, who are seen entering in an orderly manner
in the foreground. It may, perhaps, represent the calling of Sir
William’s ambuscade of cavalry, but the former view accords best with
the arrangement of the picture, and I have no doubt but that was the
intention of the artist.

[Illustration: The attack on the Town of Africa.]




PLATE X.

THE GREAT ASSAULT UPON THE TOWN OF AFRICA.


During the sixty-one days that the siege lasted, many were the
skirmishes and encounters before the town and at the barriers; but the
principal assault occurred in consequence of a challenge having been
sent by ten Saracens to meet ten Christians in combat, between the town
and the camp. Ten knights, among whom was Sir John Russel, an
Englishman, having accepted the challenge, went forth to the ground of
combat, and the army was drawn up in battle-array to witness the
encounter, but the Saracens never came, and the commander thinking it a
pity that the day should pass without a little fighting, as they were
all prepared, ordered a general assault upon the town. They took the
outer wall by storm, but it was little advantage to them, as the enemy
retired behind the inner line. The loss sustained by the Christian
troops was very great, for numbers fell victims to the heat alone on
that day, whilst many were killed in the combat; the Saracens sustaining
but slight loss.

After the raising of the siege, the Saracens of Africa, Tunis, Morocco,
Granada, and other places, formed an alliance for the purpose of making
themselves masters of the Mediterranean, and revenging this siege of
Africa. They succeeded so well in annoying the trade of the Venetians,
Genoese, &c., that merchandise from the east and south was scarcely to
be had for any money; and Froissart winds up the chapter by telling us,
that “all sorts of spicery became enormously dear.”

In this illumination, the cannon of the period, made of timber, hooped
with iron, are very accurately depicted, as well as the arms and
accoutrements of the cross-bowmen: but the view of the town is evidently
imaginary, the artist having, probably, seen none but Flemish or French
towns, from his impressions of which he seems to have designed his view
of Africa.

[Illustration: The Journey of Charles VIᵗʰ of France and his brother the
Duke of Touraine from Montpellier to Paris.]




PLATE XI.

THE JOURNEY OF CHARLES VI. OF FRANCE, AND HIS BROTHER THE DUKE OF
TOURAINE, FROM MONTPELLIER TO PARIS.


In the year 1389, the King, being then about 21 years of age, visited
Toulouse, and many places in the south of France, accompanied by his
brother the Duke of Touraine, and a great retinue. He remained three
days at Montpellier, for, says Froissart, “the town and the ladies
afforded him much pleasure.” However, he was impatient to return to
Paris, and the following dialogue with his brother is quaintly
narrated:--

“‘Fair brother, I wish we were at Paris, and our attendants where they
now are, for I have a great desire to see the Queen, as I suppose you
must have to see my sister-in-law.’ ‘My Lord,’ replied the Duke, ‘we
shall never get there by wishing it, the distance is too great.’ ‘That
is true,’ answered the King, ‘but I think, if I pleased, I could very
soon be there.’ ‘Then it must be by dint of hard riding,’ said the Duke
of Touraine. ‘I also could do that, but it would be through means of my
horse.’ ‘Come,’ said the King, ‘who will be first, you or I?--let us
wager on this.’ ‘With all my heart,’ answered the Duke, who would at all
times exert himself to get money.”

Our Chronicler goes on to relate, that they quitted Montpellier at the
same hour early the next morning, the King attended only by the Lord de
Garencières, and the Duke by the Lord de Viefville. All four being young
and active, they rode night and day, having themselves occasionally
carried forward in carts when they wanted repose.

The King performed the journey in four days and a half; the Duke
accomplished it in four days and one third; but it appears that the King
would have won but for taking an unreasonable nap of eight hours at
Troyes, in Champagne. It is evident that they must have made
considerable exertions, as the distance is above 570 miles. Froissart
tells us, that “the ladies of the court made great joke of the
adventure;” and also adds, “you must know, that the Duke of Touraine
insisted on the wager being paid in ready money.” The amount was five
hundred francs.

This illumination is very neatly executed, particularly the distant
landscape: the houses, seen over the wall, show that, whatever changes
have taken place in monumental architecture, the houses of the people,
or peasantry, have undergone little change in the simple principles of
their construction since the fourteenth century.

[Illustration]




PLATE XII.

SIR PETER DE CRAON RECEIVED BY THE DUKE OF BRITTANY.


Froissart relates that “he was in Paris at the time of the daring attack
made by Sir Peter de Craon on the Constable de Clisson, and was very
anxious to ascertain the true cause of the original disgrace of de
Craon, which eventually led to that desperate attempt at revenge.” From
Froissart’s information, it appears that de Clisson was in no way
connected with Sir Peter’s disgrace. It seems that Sir Peter being
handsome, accomplished, and rich, and of nearly the same age as the
youthful Duke of Touraine, became a great favourite at Court, the Duke
making him his constant companion, and causing him to dress in clothes
of the same colour and device as his own, carrying him with him wherever
he went, and intrusting him with his most secret thoughts. Froissart
proceeds:--“The Duke, at that time young and amorous, much amused
himself with the company of ladies and damsels, and, as I heard, was
much attached to a young frisky lady of Paris[2].” This intrigue, which
it appears was a very innocent flirtation, became known to his Duchess,
who cautioned the young lady, one of noble family, never again to hold
converse with the Duke as she valued her life. The Duke was soon aware
that he had been betrayed, and eventually persuaded his Duchess to
confess to him that it was from Sir Peter de Craon that she had obtained
her information; and Froissart declares, that “if it was so, Sir Peter
behaved most shamefully.”

The King, at the request of the Duke of Touraine, his brother, dismissed
Sir Peter from the Court, who, finding himself disgraced, took refuge
with his friend and relative the Duke of Brittany, by whom he was well
received.

The illumination represents the moment of his reception by the Duke of
Brittany. The figures of Sir Peter and his attendant are very well
executed, but some of the others are carelessly finished, appearing as
though sketched out by the master, but finished by inferior hands. Most
of the miniature pictures in the magnificent volumes from which these
are taken, are placed, like the present, at the commencement of the
chapters, and the pages so ornamented are additionally enriched with an
elaborate border, occupying the outside margin. The pages are written in
double columns, and the present Plate is a fac-simile of the outside
column of page 238 of the Vol. containing this portion of the
Chronicles. The volume is about eighteen inches high by twelve broad.
The words at the top of the Plate are the conclusion of a chapter,
relating to a truce between England and France, and are--“ne jamais la
paix tant que je vive ne me accorderay”--words spoken by the Duke of
Gloucester, uncle of Richard II., who declares, he will never, while he
lives, consent to make peace by the surrender of Calais. The head of the
chapter, written like all the others in red ink, is:--“De Messire Pierre
de Craon, et comment il enchey en l’indignation du roy de France et duc
de Thouraine son frere et comme’t il fut recoeilles du duc de
Bretagne[3].”--Chapp’re XXV.

The chapter commencing with a richly-ornamented capital, begins:--“En ce
temporal dont je parolle estoit trop gran[4].”

[Illustration: The sudden death of Count Gaston de Foix.]




PLATE XIII.

THE SUDDEN DEATH OF COUNT GASTON DE FOIX.


The Count having passed the morning in the forest of Sauveterre, on the
road to Pampeluna, in Navarre, in hunting, during greater part of which
he had much exerted himself in hunting a bear, repaired in the afternoon
to dinner at the inn of Riou, on his way to his town of Orthés. Having
called for water to wash, his two squires, Raymonet de Lasne and
Raymonet de Copane, advanced, Emaudon d’Espaign took the silver basin,
and another knight, called Sir Thibaut, the napkin. The Count rose from
his seat and stretched out his hands to wash; “but,” says Froissart, “no
sooner had his fingers, which were handsome and long, touched the cold
water, than he changed colour, from an oppression at his heart,
exclaiming, ‘I am a dead man; Lord God have mercy on me!’” He never
spoke afterwards; and the two squires who had brought the basin, drank
the water, that they might not be suspected of having poisoned it.
Gaston de Foix was born 1331, and died 1391.

This illumination is coarsely executed in many respects, doing but
little justice to the fine person of the great Count, who was considered
one of the handsomest men of his time. It is, however, very interesting,
as detailing accurately many interior domestic arrangements, which will
be found not greatly differing from old country inns still remaining in
remote parts of England, but more frequently in France and Germany.

[Illustration: The King of Hungary in council with his own Lords and
those of France, before crossing the Danube towards Turkey.]




PLATE XIV.

THE KING OF HUNGARY IN COUNCIL WITH HIS LORDS AND THOSE OF FRANCE.


The Sultan Bajazet[5] appears to have indulged an imaginary scheme of
universal empire, purposing to leave to each country its own laws and
governors, and reserving to himself only his authority as their lord
paramount. With this view, in 1396, he threatened the kingdom of Hungary
with invasion, in his way to Rome, which he projected to make the seat
of his liberal and universal empire; how liberal, may be inferred from
his threat, “that his horse should eat his oats on the altar of St.
Peter’s.” Sigismond, king of Hungary, applied to Charles VI. of France
for assistance, and many knights of France and other countries, with a
considerable force, went to Buda under the command of John of Burgundy,
then twenty-two years of age, and son of the duke Philip, to attack
Bajazet, with the ultimate project of regaining the Holy Land. Soon
after the arrival of the French force, there being no sign of the
threatened approach of Bajazet, the king of Hungary held a council, in
which were present the principal lords of France and the most
influential Hungarian nobles[6]; when it was determined to cross the
Danube, and march at once into Turkey. This is the council represented
in the present illumination. The figures in bronze armour appear to be
Hungarians; the other three on the opposite side are doubtless John of
Burgundy, Count of Nevers; the Lord de Couci; and Philip of Artois,
Count d’Eu. The water in the distance is, no doubt, intended for the
Danube, and not the sea, which it better represents. The whole picture
is, however, very carefully executed, and the group outside the tent
extremely spirited and natural. A subsequent illumination upon the same
subject will illustrate the fate of the expedition.

[Illustration: The Dukes of Burgundy & Berri sitting in Council as
Regents during the illness of Charles VIᵗʰ of France.]




PLATE XV.

THE DUKES OF BURGUNDY AND BERRI--IN COUNCIL.


In the year 1393, Charles VI. was seized with a frenzy, or madness,
during his expedition against the Duke of Brittany; and the Dukes of
Burgundy and Berri, the King’s uncles, were, in a council[7] of the
principal barons and prelates of the kingdom, appointed regents of the
realm during the King’s illness. The illuminator has represented them as
sitting in council; the figures in front appear to be members of the
commonalty of Paris, who already began to assume an important position
in the government; the figure on the left, enveloped in a blue mantle,
is evidently intended for a fat and comfortable citizen; a lawyer and a
prelate seem to be discussing some very knotty point with many words and
gestures, but the two Dukes--the stern men of the sword--take the matter
very quietly, and will evidently settle the question according to their
own good caprice and interest. The artist has, on this occasion, been
very correct in his heraldry: above the Duke of Burgundy is suspended a
shield, bearing the ancient and modern arms of Burgundy, quarterly;
ancient Burgundy, one and three, bends of or and azure within a bordure
gules; modern Burgundy, two and four, azure sémé of fleur-de-lis or,
within a bordure compony gules and argent. The arms of Berri were, as
depicted, azure, three fleur-de-lis or, within a bordure engrailed
gules, as borne by the last unfortunate Duke de Berri, assassinated at
the door of the French opera in 1821.

[Illustration: te eglise de romme chaprelxbn que scauces comment le roy
d’allemaigue le roy de france et les seigneurs de lempire et tous leurs
consaule furent en la cite de paris et eurent la entreuz pluiseus
consaulx et secrets]




PLATE XVI.

THE EMPEROR OF GERMANY AND THE KING OF FRANCE SITTING IN COUNCIL UPON
THE STATE OF THE CHURCH OF ROME.


The Emperor of Germany (Wenceslaus of Luxembourg) visited France, at the
solicitation of Charles VI., for the purpose of consulting upon the best
mode of terminating the schism of the Romish church, and of putting an
end to the rivalry of the two popes of Avignon and Rome, by bringing
about the abdication of one of them. It seems needless to add, that the
negociations which followed, with such a view of the case, utterly
failed.

The illumination represents the Emperor and King sitting in council;
probably in the Cathedral of Rheims, where the principal consultations
were held.

As a view of the interior of a cathedral, it is particularly interesting
at the present time--the repairs and restoration of the Temple Church
having called much attention to the polychromic effects produced by the
architects of the middle ages, as it exhibits clearly the general and
profuse adoption of positive colours and gilding to heighten
architectural splendour. The vaulted ceiling of the nave is painted rich
full brown, the groining being gilt; the ceiling of the choir is painted
deep blue, equally enriched with gilding. This simple colouring of the
illuminator exhibits the general effect of polychromic architecture as
well as if he had elaborated the intricate devices by which the effects
were more generally varied and enriched, and is a sufficient proof, if
any sceptics yet remain to require it, that the architects of the middle
ages, as well as their ancient Grecian predecessors, considered _colour_
just as essential as _form_ in a grand architectural whole.

The tapestry hung round the lower part of the walls, to the height of
ten or twelve feet, is a part of the finish of our cathedral decorations
which has, as yet, found no restorer. But it forms an essential feature
in their general effect, as planned by their architects; and, ever since
it was torn down by our puritanical ancestors, those noble churches
have assumed that cold and stony nakedness of aspect which was never
intended by their great creators, and which destroys the air of well
tended grandeur and richness they were intended to produce; giving,
instead, an appearance of desolation and neglect.

It is quite apparent that the author of this miniature picture painted
from what he saw, and that he was greatly impressed by the leading
features of the monumental architecture of his day; for it will be
observed that he has cut short the transept, reckless of proportion or
perspective, for the express purpose of bringing into his picture the
circular windows, with their elaborate tracery, one of the most splendid
features of that phase of Gothic art.

[Illustration: Sir John Froissart presenting his book of Love Poems to
Richard the second]




PLATE XVII.

SIR JOHN FROISSART PRESENTING HIS BOOK TO RICHARD II.


Froissart, who originally came to England in the suite of Philippa of
Hainault, queen of Edward III., returned, after an absence of
twenty-seven years, in 1395, and was well received by Richard II., in
recollection of his services and attachment to the Black Prince, his
father, and to King Edward and Queen Philippa, his grandfather and
grandmother.[8] Froissart relates, with an affecting and very pleasing
_naïveté_, his renewal of old friendships after so long an absence, but
is more particularly minute in his description of the interview with the
King, when he presented his book of love poems, the romance of Meliador.
He says, that “he (the king) opened it, and looked into it with much
pleasure;” and continues, “he ought to have been pleased, for it was
handsomely written and illuminated, and bound in crimson velvet, with
ten silver gilt studs, and roses of the same in the middle, with two
large clasps of silver gilt, richly worked with roses in the centre. The
King asked me what the book treated of? I replied, ‘Of love!’ He was
pleased with the answer, and dipped into several places, reading parts
aloud, for he read and spoke French perfectly well, and then gave it to
one of his knights, called Sir Richard Credon, to carry to his oratory,”
&c. &c.

This illumination forms the frontispiece to Chapter 54.

[Illustration: Interview of king Richard the second with his uncle the
Duke of Gloucester at his Castle of Pleshy]




PLATE XVIII.

INTERVIEW OF RICHARD II. WITH THE DUKE OF GLOUCESTER, AT THE CASTLE OF
PLESHY.


The King had at this time great suspicion that his uncle, the Duke of
Gloucester, was plotting his deposition, which, whether true or false,
enabled persons about the King to exasperate him greatly against his
uncle, who determined to arrest him at once. This he feared to do
openly, on account of the Duke’s popularity, and effected his purpose in
the following manner:--Under pretence of deer-hunting, he went to a
palace he had at Havering-at-the-Bower, in Essex: it is about twenty
miles from London, and as many from Pleshy, where the Duke of Gloucester
generally resided. The King set out from Havering one afternoon without
many attendants, and arrived at Pleshy about five o’clock. He came so
suddenly to the castle[9] that no one knew of it, until the porter cried
out, “Here is the King!” The Duke, who was very temperate, and never sat
long at his meals, had already supped, and immediately went out to greet
the King; who, under pretence of a meeting with the citizens on the next
morning, at which his presence would be advantageous, induced his uncle
to accompany him unattended. The mode of the arrest is exhibited in
another illumination, which will appear in our next number.

This illumination is a good example of the custom of taking out a
portion of the wall, in order to exhibit an interior and exterior view
at the same time. The grooms and attendants waiting in the castle-yard
are full of character and spirit, and the interior of the apartment,
exhibited to us by the bold excision of the illuminator, portrays very
accurately the furniture and fittings of the time, and affords valuable
hints to artists treating events of this period.

[Illustration: The payment of the ransom for the Count de Nevers and his
fellow prisoners.]




PLATE XIX.

THE RANSOM PAID TO BAJAZET FOR THE COUNT DE NEVERS, &c.


As related in the description of Plate XIV., the Hungarians, with the
body of French, German, and English volunteers, invaded Turkey, and,
after many successes of no serious consequence or advantage, laid siege
to the city of Nicopolis. But Bajazet had in the mean time not been idle
or afraid to attack them, as they supposed, but had been diligently
occupied in raising a great army, and was now secretly advancing upon
them, ordering a small body of eight thousand men to move forward in
advance, as if they were the whole army; but, whenever they met the
enemy, to fall back to the main body, which was then to extend as much
as possible, enclosing the Christians, and crushing them by numbers.

On the Monday preceding Michaelmas-day, in the year 1396, the small body
was perceived by the scouts of the French and Hungarians. The French
lords received the information as they sat at dinner, and, somewhat
heated with wine, hastened at once to the attack. The King of Hungary
sent his marshal, Steulemschalle, to countermand an immediate attack, as
he had received information which caused him to suspect the truth, and
that the Turks wore in much greater numbers than appeared. But the
impetuous Frenchmen were not to be restrained. They rushed upon the
enemy with this small band of volunteers, in all not exceeding 700, it
is said, and, after performing prodigies of valour, were all either cut
to pieces or taken prisoners. The Hungarian army, seeing the French
enclosed on all sides and destroyed, were seized with panic, and fled;
great numbers being slain by the Turks in pursuit: in short, the rout
was most complete, and the King and the Grand Master of Rhodes barely
escaped.

Among the few survivors, now prisoners to Bajazet, were the Count de
Nevers, the Counts d’Eu and de la Marche, the Lord Henri de Bar, the
Lord de Coucy, and Sir Guy de la Tremouille; these had been set aside
by Bajazet, on account of the richness of their dresses, as apparently
men of note, who would pay large ransoms; all the other prisoners were
put to death in their presence, being brought forth in their shirts and
cut to pieces without mercy: “upwards of three hundred gentlemen of
different nations,” says Froissart, “were thus pitilessly murdered.” The
Lord Boucicaut, Marshal of France, was led forth naked like the others,
but spared on the intercession of the Count de Nevers, who threw himself
at the feet of the Sultan, and succeeded in that instance in softening
his anger, which was great in consequence of the severe loss he had
sustained in the battle, full thirty of his own men having fallen for
every Christian. The Count de Nevers and his remaining companions were
eventually ransomed, but the Lord de Couci and the Count d’Eu both sunk
under their misfortunes and died in Turkey, and the Lord Henry de Bar
died on his journey back; so that few indeed returned from this
disastrous campaign.

The illumination represents the payment of the ransom, and is
remarkable, as well as some others relating to the same portion of the
history, for the care with which the illuminator has adhered to the
general features of Turkish costume in the dresses of the persons who
are receiving and registering the money; this is the more singular, as
in the apartment and other accessories there is no attempt at an Eastern
character; but at that time, it may be supposed, that the turban and
flowing robe were as much conventional and traditional appendages of a
Turk, as the meagre legs, sharp features, and lace ruffles were of a
Frenchman in the time of Hogarth.

[Illustration: The arrest of the Duke of Gloucester.]




PLATE XX.

THE ARREST OF THE DUKE OF GLOUCESTER.


Richard II. having, as related in the description of Plate XVIII.,
decoyed his Uncle from his castle of Pleshy, under pretence of wishing
his presence at a conference with the citizens, proceeds, conversing
with him, towards London, when, on arriving at Stratford, at the top of
a lane leading to the Thames, where an ambuscade had been prepared, he
suddenly galloped forward, leaving the Duke behind, who was instantly
surrounded by a body of men, under the command of the Earl Marshal, who
said, “I arrest you in the King’s name!” The Duke, panic-struck on
seeing himself thus betrayed, called loudly after the King, who, without
turning his head, made off towards London, followed by his attendants. A
boat was waiting in the river, and the Duke having been forced on board
was carried over to Calais. Finding that he was closely imprisoned in
the castle of Calais, he questioned the Earl Marshal as to the
intentions of the King and the cause of his arrest. The Earl merely
informed him that he must remain in banishment for a time; but the Duke
suspected the worst, and requested a priest who had said mass before
him, to confess him. His fears were not groundless; for Froissart
relates, that, “on the point of sitting down to dinner, when the tables
were laid and he was about to wash his hands, four men rushed out from
an adjoining chamber, and, throwing a towel round his neck, strangled
him.” This is not exactly the fact; as, by the subsequent confession of
one of the murderers, it was known that he was smothered with pillows.
It was given forth that the Duke of Gloucester had died in his bed at
the castle of Calais, and the treacherous Earl Marshal, his near
relative, put on mourning, as did all the knights and squires in Calais.
Froissart tells us, that some believed and others disbelieved this
story; but it is clear that it was generally disbelieved; for, among
other acts of treachery, it no doubt led to his deposition, and, there
is every reason to suspect, to a similar end.

In the Illumination there is a happy attempt at expression, though not
of the most elevated kind; it is, however, highly characteristic,
particularly the features of the Duke calling anxiously to the King,
whose supercilious nonchalance, as he coolly rides off, is very happily
portrayed. The back ground, however, does not very felicitously
represent the sort of country where an ambuscade or surprise could be
executed with very good effect, and looks exceedingly like the suburbs
of a Dutch or Flemish village of the present day.

[Illustration: Richard IIⁿᵈ setting out upon his invasion of Ireland.]




PLATE XXI.

RICHARD II. SETTING OUT ON HIS EXPEDITION TO IRELAND.


A truce having been finally agreed upon between England and France, it
was determined in the English Council, in the year 1394, that the
opportunity should not be lost of making an attempt to completely subdue
the Irish, which the King’s grandfather, Edward III., with all his
military energy had not been able to effect, partly in consequence of
the numerous wars in other quarters, in which he was engaged at the same
time. Richard II. carried over an army of 4,000 men-at-arms and 30,000
archers, such a force as had never been seen in Ireland; and, with the
assistance of his Uncles, who accompanied him, and the Earl of Ormond,
who held large estates in that part of the country under English
dominion, succeeded in subduing four kings or chiefs, who acknowledged
his supremacy, and came to reside at Dublin. But it appears by
Froissart’s description that they were little more than savages. It
seems, however, that our chronicler shared the common prejudices that
existed then, and, unfortunately, exist still against poor Ireland; for
he says, among other things, in treating of their mode of warfare, that
“they have pointed knives, with broad blades, sharp on both sides, with
which they kill their enemies; but they never consider them as dead
until they have out their throats like sheep, and opened them and taken
out their hearts, which they carry off with them; and some say, who are
well acquainted with their manners, that they devour them as delicious
morsels.”[10]

The Illumination is peculiarly spirited, both in execution and
arrangement, and the costumes are made out with sufficient accuracy to
render them highly valuable as authorities. The picture represents the
King at the head of his army, just issuing, apparently, from one of the
ancient gates of London.

[Illustration: The vision of Robert l’Ermite.]




PLATE XXII.

THE VISION OF ROBERT L’ERMITE.


Robert Mennot, a squire of the country of Caux, in Normandy, a man whom
Froissart describes as “of religious and holy life,” caused, about this
time, much discussion upon the subject of a vision which he declared he
had seen during a storm at sea, on his return from Syria. He described
the vision as like a figure as bright as crystal, which said, “Robert,
thou shalt escape from this peril, as well as thy companions for thy
sake, for God has favourably heard thy prayers: he orders thee by me to
return to France as speedily as thou canst, and instantly on thy arrival
to wait on the king, and relate what has befallen thee. Thou wilt tell
him to listen to peace with his adversary the King of England, for their
wars have lasted too long. Do thou interfere boldly when conferences
shall be holden to treat of peace between King Charles and King Richard,
for thou shalt be heard; and all those who shall in any way oppose or
prevent peace from taking effect, shall dearly pay for their wickedness
_in their lifetime_.”

He had several interviews upon the subject of his vision with the King
of France and his Council, and was present at a conference to treat of
peace, where he spoke eloquently in its favour; but the Duke of
Gloucester and some others were sceptical, and declared the whole a
cheat. Nevertheless, his influence was considerable; and, by order of
the King of France, he passed over to England, where he was well
received by the Court of Richard II. He had many private interviews with
the King, and his uncles the Dukes of York, Lancaster, and Gloucester;
but the latter still continued incredulous. Robert the Hermit returned
to France, laden with presents, after a month’s sojourn at the English
Court.

The vision is exhibited in the illumination after the true conventional
style of Catholic legends. The ship and figures in the foreground, with
the deeply serpentine waves, forcibly call to mind old engravings in
some of our early printed Bibles, which point to the source of such
illustrations in the Catholic missals and illuminated Bibles, from
which, with slight alteration, they were frequently copied.

The border is taken from another part of the volume, the one attached to
the present subject being very similar to one already given. In the
present border the arms of _De Commines_ occur again, and, in this
instance, on “a field of France,” as though under the protection of that
power.

[Illustration: The liberation of the Lord de la Riviere.]




PLATE XXIII.

THE LORD DE LA RIVIERE.


One of the first acts of the regency of the Dukes of Burgundy and Berri
was the imprisonment of nearly all the King’s late ministers and
advisers, against whom many heavy charges were brought, but few proved.
Sir Oliver de Clisson had the good fortune to receive timely
information, and effect his escape. But the Lord de la Riviere and Sir
John le Mercier were seized and thrown into prison, and all their
estates confiscated. Their subsequent pardon is thus related by
Froissart[11]:--

“The Lord de la Riviere and Sir John le Mercier, after having been
carried from prison to prison, and to different castles, were at last
given up to the provost of the Châtelet, and in daily expectation of
being put to death, through the hatred of the Dukes of Berry and
Burgundy and their advisers. They had been in this melancholy state for
more than two years, without the King being able to assist them. He,
however, would not consent to their execution; and the Dukes of Berry
and Burgundy perceived that the Duke of Orleans strongly befriended
them. The Duchess of Berry was incessant in her entreaties with her lord
in their favour, more particularly for the Lord de la Riviere; but they
could not condemn one without the other, for they were both implicated
in the same accusation. The solicitations of many worthy persons, added
to the justice of their cause, were of much weight; and several of the
great Barons of France thought they had now sufficiently suffered, and
should be set at liberty; for that Sir John le Mercier had wept so
continually when in prison, his sight was weakened so, that he could
scarcely see, and it was currently reported he was quite blind.

“At length there was an end put to their sufferings; for the King,
although he had consented to their imprisonment, for reasons which had
been given him, granted them this pardon, deferring further enquiry
into what had been laid to their charge until a future opportunity, and
when he should be more fully informed. All his lands and castles were
restored to the Lord de la Riviere; and, in the first instance, the
beautiful castle of Auneau, near Chartres, on the borders of Beauce; but
he was ordered thither, and never to recross the river Seine, unless
recalled by the King’s own mouth.

“Sir John le Mercier returned to his fine house of Noviant, of which he
bore the title as Lord, in the Laonnois; and he had similar orders not
to repass the rivers Seine, Marne or Oise, unless specially commanded by
the King.

“They also bound themselves to go to whatever prison they might
hereafter be ordered to by the King or his commissioners.

“The two Lords thankfully accepted this grace, and were rejoiced to be
delivered from the Châtelet. On gaining their liberty, they thought they
should be allowed to see the King, and thank him for his mercy; but it
was not so: they were forced to quit Paris instantly, and set out for
their different estates.

“They, however, gained their liberty, to the great joy of all who were
attached to them.”

Among the figures in this illumination, that of the jailor is extremely
characteristic; it is a happy impersonation of the jailor of all times,
and might serve nearly as well for the representative of Dickens’s
well-known Dennis, the hangman, with his knotted stick, as for the
jailor of the Lord de la Riviere, near five centuries ago.

[Illustration: The Coronation of Henry IV.]




PLATE XXIV.

THE CORONATION OF HENRY IV.


On the last day of September, 1399, Henry Duke of Lancaster held a
parliament at Westminster, at which were assembled the clergy, nobility,
and deputies from different towns, according to their extent or wealth.
In this parliament the Duke challenged the Crown of England, and claimed
it as his own, for three reasons: first, by conquest; secondly, from
being _the right heir to it_; and, thirdly, from the free resignation of
it to him by King Richard. The parliament, being unanimous in his
favour, was then dissolved; and the coronation took place in Westminster
Abbey on the 13th of October.

The procession consisted of between eight and nine hundred horsemen, &c.
&c.; and fountains of red and white wine were constantly playing along
Cheapside and in the neighbourhood of the Abbey. The whole of the
ceremony is described in a minute and interesting manner by
Froissart.[12]

The illumination is one of the most rich and carefully executed in the
volume, and forms a most interesting illustration of the ceremonial
pageantry of the period.

[Illustration: The interview of the Archbishop of Canterbury, with the
Earl of Derby, at Paris.]




PLATE XXV.

THE MEETING OF THE ARCHBISHOP OF CANTERBURY WITH THE EARL OF DERBY AT
PARIS.


The Earl of Derby was still in banishment, on account of his quarrel
with the Earl Marshal, when the citizens of London determined, in
consequence of many grievances, to attempt the removal of King Richard
from the throne; and sent the Archbishop of Canterbury as their
ambassador to the Earl, who was residing at Paris, proposing to him to
return to England, and assume the government of the country. Froissart
states, that, when the Earl of Derby heard the proposition from the
Archbishop, he did not immediately reply, “but, leaning on a window that
looked into the gardens, mused a while, having various thoughts in his
mind.” He at length turned, and replied somewhat evasively, in a speech
which our chronicler gives at full length. The Archbishop then
recommended calling a council of his most intimate friends, which advice
was adopted; and the council being unanimously in favour of accepting
the proposals of the citizens of London, it was determined that he
should immediately leave France by way of Brittany, under pretence of a
visit to the Duke, who was his uncle by marriage. “To shorten the
matter,” says Froissart, “the Earl managed his affairs with much
discretion, and took leave of the King and all the Lords who were then
at court; and, on his departure, made very handsome presents to the
King’s officers, as he was bounden to do, and to the heralds and
minstrels resident in Paris, who attended the farewell supper he gave at
the Hotel de Clisson, to such of the French Knights as chose to partake
of it.”

The miniature, which represents the meeting of the Archbishop and the
Earl, is very richly coloured and carefully executed, particularly in
the gilding; the gold employed about the fire, and in representing
sparks in the smoke, being introduced with remarkably happy effect. The
plan of the fire-place is very accurately made out, and might suggest,
perhaps, something in modern arrangements, as it seems, by means of the
projecting canopy, to combine the advantages of an open grate with those
of a stove, for it is not sunk in the wall like modern grates, by which
much heat is lost in the chimney, but, on the contrary, stands out
nearly as forward as a detached stove, by which a great economy of heat
is effected.

[Illustration: William of Hainault Count d’Ostrevant setting out on his
expedition against Friesland.]




PLATE XXVI.

WILLIAM OF HAINAULT SETTING OUT ON HIS EXPEDITION AGAINST FRIESLAND.


The duke Albert of Bavaria, and his son the count d’Ostrevant, having
determined to invade Friesland and attempt its conquest, proclaiming
that they had a lawful claim on it, raised a large army for that
purpose. The king of France sent five hundred lances to their
assistance; and Richard II. of England, also anxious to show his good
feeling towards his cousin the count d’Ostrevant, sent two hundred
archers and a body of men-at-arms, under the command of three knights of
repute, two of whom were named Colleville and Cornewall; the name of the
third was unknown to Froissart[13].

The Frieslanders in the meantime had determined to die with their
liberty, rather than submit to any lord whatsoever; but the odds against
them were fearful, as they could only raise an army of about thirty
thousand men, the greater part having no other arms than hatchets or
such like rude weapons, whilst Froissart tells us, that, had the fleet
which bore their enemies to their shores been ranged in a line, it would
have reached from Enchysen, where they embarked, to Kuynder, whence they
intended to effect their landing--a distance of twelve leagues. In fact,
the army of invaders amounted to upwards of one hundred thousand men.
After an obstinate battle the Frieslanders were defeated with cruel
slaughter; but in consequence of that want of continuity of plan and
action which characterises nearly all the European wars of the middle
ages, this victory led to no important results; and, after burning a few
villages, the army re-embarked and returned to Lower Friesland to pass
the winter.

The simple and natural arrangement of the line of armed men and their
banners, with which the Gothic artist has formed his miniature picture,
might afford some useful hints to modern designers of cartoons; the
simplicity is perhaps carried too far, but then it is free from the
great vices of the modern schools, such as overstrained attitudes,
exaggerated expression, fantastic, affected, and unnatural grouping, and
artificial or rather theatrical effects of sudden light and shade.
Without imitating the defects of these early practitioners of the art, a
study of their earnest and unaffected simplicity of treatment might add
much of that nobleness and repose of effect which is so deficient in
modern historical pictures, and which ought to be one of their principal
qualities. The contrivance by which the illuminator has in the small
space of his miniature conveyed the idea of the passing of a large army,
by means of the crowded line, or rather stream, of helmets, just seen
over the steep banks of the hollow way through which they are passing,
might certainly be improved to very good effect.

[Illustration: The landing of the Lady de Coucy at Boulogne, on her
return from England, in the Year 1399.]




PLATE XXVII.

THE LANDING OF THE LADY DE COUCY AT BOULOGNE ON HER RETURN FROM ENGLAND
IN THE YEAR 1399.


Almost immediately after the deposition of Richard II., in 1399, the
lady of Coucy, who had been in attendance upon his queen Isabella,
daughter of Charles VI., returned to France, conveying the first tidings
of the events which had just occurred. Rumours had already reached that
country through some merchants of Bruges, but the whole truth was not
known at Paris till the arrival of this lady. The grief of the king,
when he heard of the misfortunes which had overtaken his son-in-law, was
so great that it caused a return of his frenzy, and his uncles again
resumed the government of the kingdom. The citizens of Bourdeaux, where
Richard was born, were much attached to him, and, on hearing of his
deposition and imprisonment were greatly excited, as were the people of
all the surrounding country; for he had always been popular in that
province. These circumstances gave the French great hopes that they
might detach them from their allegiance to the English, and they carried
on many intrigues and secret negotiations with that view; but after the
first effervescence of feeling was over, the people of the Bordelais
took a calm view of the question, and decided, as Froissart quaintly
narrates it, that as France was at that time oppressed with heavy taxes,
it would be better for them to remain true to the English, who left them
frank and free; saying, “If the Londoners have deposed king Richard and
crowned king Henry, what is it to us? &c. &c.--we have more commerce
with the English than the French, in wines, wool, and cloth. Let us
therefore be cautious how we listen to propositions which we may
hereafter repent[14].”

It appears from this passage that actually more of the Bourdeaux wines
were consumed in England than in France; so that an immense commerce of
exchange between that district and England, equally advantageous to
both, must then have flourished, which the interference of modern
tariffs has, comparatively speaking, utterly destroyed.

The picture represents the disembarkation of the lady of Coucy at
Boulogne-sur-Mer; and might, with slight alteration in the dresses of
the principal personages, represent a party landing at Boulogne at the
present time; for on the Continent, where liberal institutions and
machinery have been more recent introductions than with us, habits and
customs are far less changed. The form of the wheelbarrow is precisely
that of the French wheelbarrows of the present day, and the blue frock
of the man is still frequently worn by the barrow-men; the other porter
too is carrying a trunk by means of a twisted rope, just in the manner
which has descended to his successors of the present day on the quais of
Calais and Boulogne, whilst the very form of the trunks is still
orthodox with the manufacturers of such articles in the provincial towns
of the Continent.

The respective characters of the party landing are most admirably
delineated; the courtly step of the two male attendants, as they advance
in earnest conversation, is cleverly contrasted with the boorish
postures of the sailors and porters; and the serious propriety of the
manner and expression of the lady, bearer of such evil tidings, is
equally well discriminated from the pert nonchalance of the waiting-maid
with her toilet-box and bundle. It is, on these accounts, one of the
most interesting miniatures in the volume, though neither so richly
coloured or highly finished as many others.

[Illustration: The death of Pope Clement of Avignon.]




PLATE XXVIII.

THE DEATH OF POPE CLEMENT OF AVIGNON.


This picture represents the death of Robert of Geneva, who died in the
year 1394, at the papal palace of Avignon, with the title of Pope
Clement VI., though, whether rightfully enjoyed or not, Froissart says
he shall not discuss, as a matter not within his province. The heading
of the chapter, “De la mort du pape Clement d’Avignon et de l’election
du pape Benedic I., Chappitre 59,” is in red ink in the MS. The
commencement of the chapter is, “En ce temps au mois de Septembre
trespassa de ce siècle en son pallais d’Avignon Robert de Geneve, cy
dessu nommé en nostre histoire[15].”

[Illustration]




PLATE XXIX.

THE KING OF FRANCE RECEIVING THE INTELLIGENCE OF THE DEFEAT IN TURKEY.


The unfortunate result of the King of Hungary’s campaign in Turkey, as
well as the ransom of the prisoners, has been mentioned in the
description of Plates XIV. and XIX. The present miniature represents the
reception of the news at the French court. Sir James de Helly, who was
one of the prisoners, had formerly served in Turkey under the sultan
Amurat, so that he knew a little of the Turkish language, and was on
that account selected by Bajazet to proceed to France on parole, in
order to arrange the ransom of the other prisoners. Sir James arrived in
Paris on the evening of Christmas-day, in the year 1396, and immediately
waited on the king at the Hotel St. Pol, as represented in the
miniature, in the same dress he had rode in, booted and spurred.
Froissart tells us, that “when the intelligence brought by Sir James de
Helly was made public, all who had lost husband, brother, father, or
child, were in the utmost consternation, as may easily be imagined. The
high nobility of France, such as the Duchess of Burgundy and the lady
Margaret of Hainault, were greatly afflicted on account of their son and
husband, the Count de Nevers, for he was greatly beloved by them. The
Countess of Eu lamented her lord, the constable, as did the Countess de
la Marche. The ladies of Coucy, Bar, and Sully, in like manner bewailed
the melancholy situation of their lords. They were fortunate in having
only their lords’ captivity to lament, and were somewhat comforted
thereat. But the relatives and friends of those who had been massacred
were inconsolable, and the grief of France lasted a long time.” For many
highly interesting particulars, see Smith’s edition of Froissart, vol.
ii., pp. 629, 630, and 631.

[Illustration: The Duke of Gloucester and Sir John Lackingay.]




PLATE XXX.

THE DUKE OF GLOUCESTER AND SIR JOHN LACKINGAY.


Froissart tells us that the Duke of Gloucester plotted the destruction
of the king, his nephew; and, in his evidently implicit faith in the
divine right of kings, appears much shocked at the enormity of the
duke’s delinquency; nevertheless, in the so-called treasonable
conversations which he makes him hold with his confidant, Sir John
Lackingay, the duke states nothing but the reasonable causes of
complaint which so glaringly existed. He says, “If the King of England
had a good head, &c., &c., he would take some pains to recover the
inheritance the French have so shamefully stolen from him, &c., &c.; but
things are not so: we have an unwarlike king, who is indifferent to
arms,” &c., &c. And again: “The king raises heavy taxes on our
merchants, who are greatly discontented, squanders the money no one
knows how, and thus the country is impoverished[16];” with much more,
all of which was too true. But our chronicler relates also, with less
authority, that the duke actually proposed to his nephew, the Earl of
March, to depose the king, and, with the help of the discontented
Londoners, seize upon the government.

In justice, however, to Froissart, we must remark that he expresses the
greatest indignation and horror at the treacherous arrest and cruel
murder of the duke, consequent upon these reports.

The illumination is carefully drawn, especially the mantle of the duke,
which has a picturesque and graceful effect.

[Illustration: The death of Anne of Bohemia, Queen of Richard II.]




PLATE XXXI.

THE DEATH OF ANNE OF BOHEMIA, &c. &c.


Richard II., soon after his accession, married Anne of Bohemia, sister
of Wenceslaus, King of Bohemia and Emperor of Germany, with whom he
lived happily till the year 1394, when about to start on his Irish
expedition; at which period, Froissart tells us, “the Lady Anne, Queen
of England, fell sick, to the great distress of the King and her
household. Her disorder increased so rapidly, that she departed this
life on the feast of Whitsuntide, in the year of grace 1394.”[17] It
appears that the King felt her loss very severely, even venting his
anguish upon the palace at Sheen, where she died, which he caused to be
razed to the ground.

The funeral service was not performed at the time, as the King ordered
extraordinary preparations to be made for the occasion, insomuch that,
as our author says, “nothing was over seen like to it before, not even
at the burial of the good Queen Philippa, nor of any other. The King
would have it so, because she was the daughter of the King of
Bohemia,[18] Emperor of Rome and of Germany. He was inconsolable for her
loss, as they mutually loved each other, having been married young.” He
farther states, that “there was no talk of the King’s marrying again,
for he would not hear of it,” &c. &c. Nevertheless, not very long
afterwards, he married Isabella, daughter of Charles VI., of France.

This Illumination has been selected principally for the accurate manner
in which the ordinary fittings of a bed-room of the period are
delineated, particularly the carpet of stamped leather, then in general
use in the rooms of the sick.

[Illustration: Evan de Foix, burnt to death at a masked dance at the
Hotel de Sᵗ. Pol.]




PLATE XXXII.

THE DEATH OF EVAN DE FOIX.


The well-known catastrophe exhibited in this picture occurred in the
year 1393,[19] at the Hotel St. Pol, in Paris. There was a grand
entertainment on the occasion of the marriage of one of the ladies of
the Queen. A certain Hugonin de Guisay proposed to the King and four
others, himself making the sixth, to disguise themselves as wild men, in
dresses covered all over with flax to imitate hair.[20] They entered the
apartment, five chained together, dancing, the King leading them, to the
great astonishment and amusement of the company, who could not guess who
they were, so complete was the disguise. The Duchess of Berri, who,
although the King’s aunt, was yet the youngest lady present, beckoned
the King to her, and put many joking questions to him, with the view of
ascertaining his name, refusing to let him leave her till he had avowed
it. At this moment, the Duke of Orleans, wishing to discover one of the
others, placed a torch so near that the flax caught fire, and in a
moment all five were enveloped in flames, breaking their chains and
uttering fearful cries of agony. The Duchess de Berri, seeing the
disaster, threw her dress (“goune,” as Froissart calls it) over the
King, who, crouching beneath it, was saved. The son of the Lord of
Nantouillet, when his dress took fire, recollected a tub of water close
at hand, in the buttery (bouteillerie), where bottles and glasses were
washed, and, plunging into it, saved his life, but was much burnt. The
other four, Evan de Foix (bastard son of the Count Gaston), Hugonin de
Guisay, the Compte de Joigny, and Charles de Poictiers, were burnt to
death. This sad event caused much to be said respecting the excesses of
the Court; the King, it was rumoured, being then of an age to give up
boyish sports and pastimes, and assume the severity and gravity of a
great sovereign.[21]

The Gothic artist has succeeded in rendering the story with great
graphic truth and completeness. The King beneath the robe of the
Duchess--Nantouillet plunging into the tub of water--the agony of the
four sufferers--the astonishment and grief of the Duke of
Orleans--nothing, in short, is omitted; and, with all the accessories of
musicians, furniture, &c. &c., the picture forms a most interesting and
precious record of the manners of the time.

[Illustration: The Duchess of Orleans quitting Paris.]




PLATE XXXIII.

THE DUCHESS OF ORLEANS QUITTING PARIS.


The malady to which the King of France was subject generally attacked
him every year, when he was for a time subject to delirium and madness.
The disease defied all the attempts of the physicians. The royal family,
as a last resource, threw themselves into the hands of the sorcerers of
the time, who, to explain away their failures, declared that the devil
had communicated to them the fact that the Duchess of Orleans, a
daughter of the Duke of Milan, had, by magic arts, laid the King under a
charm, with the view of causing his death, and so becoming Queen of
France. These accusations soon became known and spoken of throughout all
Paris, insomuch that the Duchess, to avoid the scandal of such reports,
retired to Asnieres, where the Duke had a handsome château, and remained
a long time absent from the Court.

The picture was selected on account of showing the mode of riding
adopted by ladies of rank of the period; which, unlike that of the lower
orders, appears very similar to the present manner, except that the
saddle or pad appears to be without the peculiar pommel, or rather horn,
used.

[Illustration: The reconciliation of Sir Oliver de Clisson and the Duke
of Brittany.]




PLATE XXXIV.

RECONCILIATION OF SIR OLIVER DE CLISSON AND THE DUKE OF BRITTANY.


The feud that commenced, or rather recommenced, between Sir Oliver de
Clisson and the Duke of Brittany, on account of the shelter afforded by
the latter to Sir Peter de Craon, continued for a considerable time to
harass the province; deadly engagements continually occurring, in which
neither side showed any mercy. In this warfare, however, Sir Oliver had
the advantage, as two-thirds of the country were in his favour. The
Duke, aware that he should gain nothing by continuing the struggle,
proposed an interview, which was declined by Sir Oliver, unless the
eldest son of the Duke was left at his castle as an hostage. Sir Oliver
had good reason to dread treachery from previous experience, and knew
well that his death in any way would be pleasing to the Duke, who, in a
time when treachery and cold-blooded murder were things of every-day
occurrence, would probably not have scrupled to rid himself of an enemy
in such a way. In the present instance, however, the feud was not
destined to end by the assassination of either party. The Duke, at last,
being determined to put an end to the war, sent the Viscount de Rohan,
the Lord de Monboucher, and Sir Ives de Tegre, with his eldest son, to
Castle Josselin, the residence of Sir Oliver, who was so much moved by
this trait of confidence and sincerity, that he refused to detain the
boy, and returned with him to his father at Vannes, the appointed place
of meeting. Such occasional traits of generosity are the redeeming
features in the dark picture of these times, and seldom failed in
producing striking results. In this instance the termination of a long
enmity was the immediate consequence; a treaty was agreed to in which
each restored the lands and places taken in the war; and the Lord de
Blois, who had married a daughter of De Clisson, and had some
pretensions to the Dukedom of Brittany, received several castles and
townships.[22]

[Illustration: Jehan de Varennes, Preaching.]




PLATE XXXV.

JEHAN DE VARENNES PREACHING.


Froissart gives a short but interesting notice of the preaching of Jehan
de Varennes, one of those restless but disinterested spirits who
prepared the way for the Reformation. He says:--

“At this time, there was a clerk, well skilled in science, Doctor of
Laws, and Auditor of the Palace: he was a native of the Archbishopric of
Rheims, and called Sir John de Varennes.

“He was much advanced in the church for the services he had rendered
Pope Clement and others, and was on the point of being a Bishop or
Cardinal. He had also been chaplain to a Cardinal, called, at Avignon,
Saint Peter of Luxembourg. This John de Varennes, beneficed and advanced
as he was, resigned all, retaining only for his subsistence the canonry
of our Lady at Rheims, which is worth by residence one hundred francs,
otherwise not more than thirty.

“He quitted Avignon, returned to his native country, and fixed his abode
at the village of Saint Lye, near Rheims, where he led a devout life,
preaching the faith and works of our Lord, and praising the Pope of
Avignon.

“He declared he was the true Pope, condemning by his speeches that of
Rome. He was much attended to and followed by the people, who came to
see him from all countries, for the sober and holy life he led, fasting
daily, and for the fine sermons he preached. Some, however, said, that
the Cardinals at Avignon had sent him thither to support their cause,
and to exhibit the holiness of his life, which was devout enough to
entitle him to be raised to the Papacy.

“Master John de Varennes would not allow himself to be called the holy
man of Saint Lye, but simply the Auditor. He lived with his mother, and
every day said mass very devoutly.

“All that was given him--for he asked for nothing--he distributed in
alms to the glory of God.”[23]

This miniature is very carefully executed, and exhibits in an
interesting manner the arrangements of a conventicle of the fourteenth
or fifteenth century.[24] The artist has not failed to make evident that
in his day, as in ours, the greater number and most devout proselytes of
the popular preacher were females.

[Illustration: The funeral of Richard II.]




PLATE XXXVI.

THE FUNERAL OF RICHARD THE SECOND.


This is the last miniature in the MS. of the British Museum, and
completes the present selection from that beautiful but unfortunately
incomplete work. Froissart gives the following account of the funeral of
Richard:--

“It was not long after this that a true report was current in London of
the death of Richard of Bordeaux. I could not learn the particulars of
it, nor how it happened, the day I wrote these chronicles. Richard of
Bordeaux, when dead, was placed on a litter covered with black, and a
canopy of the same. Four black horses were harnessed to it, and two
varlets in mourning conducted the litter, followed by four knights,
dressed also in mourning. Thus they left the Tower of London, where he
died, and paraded the streets at a foot’s pace, until they came to
Cheapside, which is the greatest thoroughfare in the city, and there
they halted upwards of two hours. More than twenty thousand persons of
both sexes came to see the King, who lay in the litter, his head on a
black cushion, and his face uncovered.

“Some pitied him when they saw him in this state, but others did not,
saying he had for a long time deserved death. Now consider, ye lords,
dukes, prelates, and earls, how very changeable the fortunes of this
world are. This King reigned twenty-two years in great prosperity, and
with much splendour; for there never was a king of England who expended
such sums, by more than one hundred thousand florins, as King Richard
did in keeping up his state and his household establishments. I, John
Froissart, canon and treasurer of Chimay, know it well; for I witnessed
and examined it during my residence with him for a quarter of a year. He
made me good cheer, because in my youth I had been secretary to King
Edward, his grandfather, and the Lady Philippa of Hainault, Queen of
England. When I took my leave of him at Windsor, he presented me, by one
of his knights, called Sir John Golofre, a silver-gilt goblet, weighing
full two marcs, filled with one hundred nobles, which were then of
service to me, and will be so, as long as I live.

“I am bound to pray to God for him, and sorry am I to hear of his
death; but, as I have dictated and augmented this history to the utmost
of my power, it became necessary to mention it, that what became of him
might be known.

“I saw two strange things in my time, though widely different. I was
sitting at dinner, in the city of Bordeaux, when King Richard was born;
it was on a Wednesday, on the point of ten o’clock.

“At that hour Sir Richard de Pontchardon, then Marshal of Aquitaine,
came to me and said--‘Froissart, write, that it may be remembered, my
lady the princess is brought to bed of a fine son. He is born on
Twelfth-day, the son of a king’s son, and shall be king himself.’ The
gallant knight foretold the truth, for he was King of England twenty-two
years; but he did not see what was to be the conclusion of his life.

“When King Richard was born, his father was in Galicia, which Don Pedro
had given him to conquer. A curious thing happened upon my first going
to England, which I have much thought of since. I was in the service of
Queen Philippa, and when she accompanied King Edward and the royal
family to take leave of the Prince of Wales at Berkhampstead, on their
departure for Aquitaine, I heard an ancient knight, in conversation with
some ladies, say, ‘We have a book called Brut, that declares neither the
Prince of Wales, Dukes of Clarence, York, nor Gloucester, will be kings
of England, but the descendants of the Duke of Lancaster.’ Now I, the
author of this history, say that, considering all things, these two
knights, Sir Richard de Pontchardon and Sir Bartholomew Burghersh, in
what they said, were both in the right; for all the world saw Richard
reign for twenty-two years in England, and the crown then fell to the
house of Lancaster.

“King Henry would never have been king, on the conditions you have
heard, if his cousin Richard had treated him in the friendly manner he
ought to have done. The Londoners took his part for the wrongs the King
had done him and his children, whom they much compassioned.”

“When the funeral car of King Richard had remained in Cheapside two
hours, it was conducted forward, in the same order as before, out of
town. The four knights then mounted their horses, which were waiting for
them, and continued their journey with the body until they reached a
village, where there is a royal mansion, called Langley, thirty-six
miles from London. There King Richard was interred: God pardon his sins,
and have mercy on his soul.”[25]

The book called Brut, alluded to by Froissart, is the romance of Brut,
by Robert Wall.


FOOTNOTES:

[1] In a few impressions of the plate this is erroneously spelt
Montadour.

[2] Johnes’ translation.

[3] “Of Sir Peter de Craon, and how he incurred the indignation of the
King of France and the Duke of Touraine, his brother, and how he was
received by the Duke of Brittany.” Chap. XXV.

[4] “At the time I am now speaking of was too great,” &c.

[5] Smith’s edition of Froissart, vol. ii. p. 593.

[6] Ibid. vol. ii. p. 602.

[7] Smith’s edition of Froissart, vol. ii. page 536.

[8] Smith’s edition of Froissart, Memoir, page xxiv., end vol. II.,
pages 568 and 577.

[9] Smith’s edition of Froissart, vol. II., p. 644.

[10] Smith’s edition of Froissart, Vol. II., p. 78.

[11] See Smith’s edition of Froissart, vol. ii. p. 588.

[12] See Smith’s edition of Froissart, vol. ii. page 698.

[13] See Smith’s edition of Froissart, vol. ii. p. 612.

[14] See Smith’s edition of Froissart, vol. ii. p. 702.

[15] “In this year, in the month of September, died at his palace at
Avignon Robert of Geneva, previously mentioned in our history,” &c. &c.
See Smith’s edition of Froissart, vol. ii. p. 563.

[16] See Smith’s edition of Froissart, vol. ii. p. 35.

[17] See Smith’s edition of Froissart, vol. i. p. 681, and vol. ii. p.
566.

[18] Froissart has previously described her as the sister of
Wenceslaus, King of Bohemia, who became Emperor of Germany, and took
the title of Emperor of Rome also.

[19] 29th January, 1392, Old Style.--_Note of Buchon._

[20] The Monk of St. Denis says, “C’était une coutume pratiquée en
divers lieux de la France, de faire impunément mille folies au mariage
des femmes veuves, et d’emprunter avec des habits extravagants la
liberté de dire des vilenies au mari et à l’épousée. Voilà pourquoi le
Roi et ses cinques compagnons se déguisèrent en satyres et dansèrent
des danses lascives en présence de toute la cour.”--_Note of Buchon._

[21] For a full and most interacting account of this event, see Smith’s
edition of Froissart, vol. ii. p. 550.

[22] For other particulars, and the History of the long contest between
the Houses of Montfort and Blois for the Duchy of Brittany, see Smith’s
edition of Froissart, Index at end of Vol. II., Articles Montfort, and
Blois.

[23] See Smith’s edition of Froissart, Vol. II. page 565.

[24] De Varennes preached about 1390.

[25] See Smith’s edition of Froissart, Vol. II. page 708.


Typographical errors corrected by the etext transcriber:

Geoffry=> Geoffrey {pgs. 21 & 22}




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