Writing the Renaissance

Sixteenth Century Quote of the Week

2009-11-06T00:00:00.000-08:00

"[C]ar combien que par la volonté de Dieu, telle maladie soit envoyée aux hommes, si est ce que par sa saincte volonté les moyens et secours nous sont donnés pareillement de luy, pour en user comme d'instrumens à sa gloire."

"For in as much as through God's will such an illness is visited upon men, so it is that through His holy will He equally gives us methods and remedies, to be used as instruments for His glory."

Ambroise Paré, surgeon and scholar

De la peste [About the plague], 1568

A Plague upon Your Town

2009-11-05T20:21:00.000-08:00

Although the incidence of bubonic plague, the infamous "Black Death" of the fourteenth century, slowly decreased over the course of the Renaissance era, plague was still very much part of sixteenth century life. Outbreaks of plague occurred sporadically throughout Europe, following the movement of goods from port to port and of soldiers returning home from war. Edinburgh suffered a bout of plague in 1529, as did London in 1537-39 and 1547-48; Paris, where outbreaks were frequent, suffered a particularly virulent one around 1564. In 1570, 200,000 people lost their lives to plague in the vicinity of Moscow; Lyon lost 50,000 individuals in 1572; in 1576, 70,000 inhabitants of Venice succumbed. Plague during the sixteenth century was largely confined to cities and towns. Outbreaks usually occurred during the summer months, when rat fleas are most active. Death came quickly to victims: 80% of those infected died within five days.

In the course of my research on plague in the sixteenth century, I came across a small book entitled Deux ans de peste à Chalon-sur-Saone, 1578-79 [Two Years of Plague in Chalon-sur Saone, 1578-79], published in 1879 by Marcel Canat de Chizy, the town archivist. The book provides a fascinating account, culled from the town's historical record, of how the municipality dealt with a particular outbreak of the disease. Interesting to me was how the care of the sick became a community effort, motivated both by Christian charity and the more self-interested desire to limit the extent of the contagion.

In July of 1578, the mayor of Chalon announced to the nervous inhabitants gathered outside the town hall that two cases of plague had surfaced. He exhorted the townspeople to contribute to the effort to provide medical aid, lodging and sustenance to the afflicted.

First, medical assistance was organized. The town benefited from the activity of three types of medical professionals: doctors, apothecaries, and barber-surgeons. The barber-surgeons were under the municipality's direct control and governed by a set of statutes. In order to be licensed as a maistre, or master, a barber-surgeon had to pass an exam in the presence of the magistrates and the doctors. The statutes required surgeons to provide aid to the plague-stricken; since this was a risky endeavor, apprentice surgeons who accepted the task were granted the privileges of a master without having to take the exam. Two apprentice surgeons took the oath to serve the afflicted; they were granted the status of master and a salary of 6 écus per month, plus food for themselves and their families and exemption from militia duty during the term of their service.

The town engaged the services of two lower levels of caretaker during the outbreak: maulgognets and saccards. Maulgognets cared for the living: they were what we might call nurse's aids, men and women who provided basic services for the incapacitated. Saccards took care of the dead: they collected and buried the bodies. In addition to their wages, saccards were granted the clothing of the deceased (cruel recompense, indeed!). If they survived until the end of outbreak, they were housed in seclusion outside the town for two weeks in order to "air out."

The town hospital could only accept non-contagious patients; what to do, then, with the rapidly increasing number of infected, who needed to be separated from the healthy? Flimsy wooden shelters covered with straw, called cadolles, were constructed outside of town to house them. The victims were crowded into these shelters as soon as their infection became evident. Often those only suspected of being infected were forced to move into the cadolles with the ill, a guaranteed death-sentence. The sergents-de-ville escorted the pestiférés to the cadolles at specific times of the day along a prescribed path, so that the healthy might avoid them.

The town provisioned the sick for free. The mayor appointed a directeur de vivres who organized the collection and preparation of food, which was delivered daily to the town hall and transported to the cadolles by the sergents. These exposed and overworked sergents received ten extra sols pay per day and a pair of shoes for their services.

Christian charity, at least in the early stages of the outbreak, proved admirable: donations of food for the sick overwhelmed the town hall and distributions were made without fraud. The mayor and city officials performed their extra duties with zeal. However, as the number of sick rapidly increased and weeks stretched into months, the situation began to deteriorate. The healthy began to desert the town for the countryside, leaving the sick without aid and the city unprotected during a time of war.

[Sources: You can read Canat de Chizy's monograph in French at GoogleBooks. Other sources include Encylopedia Britannica (1911 edition) and Mark Harrison's Disease and the Modern World: 1500 to the Present (2004).]

Next post: Panic sets in.

Sixteenth Century Quote of the Week

2009-10-30T00:00:00.000-07:00

"Car c'est au Roy, & qui l'en gardera?

D'eslever ceulx que bon luy semblera."

"For it's the King's right (and who will keep him from it?)

To raise up those it pleases him to raise."

Claude Chappuys, poet and royal librarian

Le Discours de la Court (1543)

Poll: Sixteenth Century Household Names?

2009-10-25T10:06:00.000-07:00

I often wonder how familiar the people I write about are to historical fiction readers. I've lived and breathed with these people for so long, I can't remember not knowing about them, but I'm sure that's not the case with many of you. To help me out, take the new poll in the sidebar. Check off the names of those individuals you knew nothing about before you began to follow this blog. Were many of them previously unknown to you? What about the people you already recognized--did you know much about their lives or personalities? Does your familiarity with historical characters make you more or less interested in reading about them?

Soccer, Anyone?

2009-10-23T09:29:00.001-07:00

Jackie at Weave a Garland has an interesting post about soccer (football) in the sixteenth and seventeenth centuries. Henry VIII even had a special pair of soccer shoes made for himself!

Sixteenth Century Quote of the Week

2009-10-23T00:00:00.000-07:00

"Mieux est de ris que de larmes ecripre,

Pour ce que rire est le propre de l'homme."

"It's better to write about laughter than tears,

Because laughter is particular to man."

François Rabelais (c. 1494-1553), French humanist

La Vie très horrifique du grand Gargantua (1534), Notice to the Reader

Galleries, Redux

2009-10-21T10:56:00.000-07:00

Interesting, what I just read in a biography of Marguerite de Navarre. Marguerite had joined her daughter Jeanne, who was recovering from a "strong and furious flux" at Blois. However, at Blois "il n'y avoit pas assez de galleries...pour la faire promener à couvert" (there weren't enough galleries to take Jeanne walking under cover), so she moved her daughter to La Bourdaisière, where, presumably, there were more.

Illustrates yet again the important function galleries played in the lives of Renaissance nobles.

[Source: Pierre Jourda, Marguerite d'Angoulême (Geneva, 1978), I:225]

Chenonceau Videos

2009-10-20T21:34:00.000-07:00

For those interested in Renaissance history and architecture, I would like to bring to your attention a series of eighteen videos on the château of Chenonceau. The videos discuss the cultural context of the château and present biographical vignettes of individuals who owned and altered it (François, Henri II, Diane de Poitiers, Catherine de Medici). The later installments follow the history of Chenonceau on up through the twentieth century. Each video runs about 9 minutes in length. Worth watching if you have time to spare!

Winner of SUNFLOWERS Drawing

2009-10-19T00:15:00.000-07:00

The winner of the drawing for a copy of Sheramy Bundrick's SUNFLOWERS is...Teabird! Congratulations, Teabird! I'm sure you'll enjoy the novel. If you email me your mailing address, I'll forward it to Sheramy, who will send the book off to you.

Thanks to everyone who entered, and to Sheramy who provided the book for the contest. You can find SUNFLOWERS at all major book outlets. In the meantime, here are a few more inteviews and guest posts to check out:

Interview by author Catherine Delors at Versailles and More;

"Why I Love Vincent van Gogh" at Historical Tapestry;

"Following van Gogh in Auvers-sur-Oise" at Historicalnovels.info

Hilary Mantel on History in Fiction

2009-10-17T21:26:00.001-07:00

Excellent, excellent article in The Guardian by Hilary Mantel on "dealing with history in fiction." Practically every sentence is worth quoting. Here are some of my favorites:

"A relation of past events brings you up against events and mentalities that, should you choose to describe them, would bring you to the borders of what your readers could bear. The danger you have to negotiate is not the dimpled coyness of the past – it is its obscenity."

"To try to engage with the present without engaging with the past is to live like a dog or cat rather than a human being; it is to bob along on the waters of egotism, solipsism and ignorance."

"History is always changing behind us, and the past changes a little every time we retell it."

"A novel arrives whether you want it or not. After months or years of silent travel by night, it squats like an illegal immigrant at Calais, glowering and plotting, thinking of a thousand ways to gain a foothold. It's useless to try to keep it out. It's smarter than you are. It's upon you before you've seen its face, and has set up in business and bought a house."

I so need to read WOLF HALL. Now.

Sixteenth Century Quote of the Week

2009-10-16T00:00:00.000-07:00

"[M]en should devote themselves to practicing no other kind of music than that of living in harmony with us women. For their current state of disharmony with women produces such an awful sound: all one hears all day is carping, scorn, abuse, and a thousand other ills, as we are forced to curse, insult, and dishonor them, quite against our natural inclination, habits, and will (because, by nature, we would be inclined to put up with anything and suffer our mishaps in silence, but men are so pestilential and importunate that eventually they wear down even our patience)."

Moderata Fonte (Modesta Pozzo) (1555-1592), Italian writer and poet

The Worth of Women: Wherein is Clearly Revealed Their Nobility and Their Superiority to Men (1600)

Edited and translated by Virginia Cox (U Chicago Press 1997)

Review of Sheramy Bundrick's SUNFLOWERS

2009-10-12T20:21:00.000-07:00

In yesterday's interview, author Sheramy Bundrick revealed that her goal in writing SUNFLOWERS, her new novel about Vincent van Gogh, was to dispel the myth of van Gogh as "a mad genius slapping paint on a canvas." Determined to show that "there is much more to van Gogh than the 'ear incident,'" Bundrick draws a sensitive and nuanced portrait of the man who gave us not only one of art history's most gruesome anecdotes, but some of the most stunning paintings of all time.

The reader comes to know this other Vincent through the eyes of Rachel, the Arlesian prostitute who narrates the tale. A schoolteacher's daughter who turns to prostitution in order to survive after the deaths of her parents, Rachel first encounters "the foreigner with the funny name who wander[s] the countryside painting pictures" in a public garden when he draws her as she sleeps. As the relationship between the two blossoms, Vincent slowly reveals his hidden side: his complex relationship with his art-dealer brother Theo, who supports him monetarily and emotionally, yet whose happy and seemingly unattainable family life torments the artist; the guilt Vincent carries over abandoning a woman he lived with for years; his frustration at being ignored and misunderstood by the art establishment of his day. His biggest secret, the one that results in the "ear incident" itself, is the mental crises that plague him, the fits (epilepsy? lead poisoning? syphilis? Bundrick opts for bipolar disorder) that send him to hospital and asylum and ultimately compel him to take his own life. Rachel, with dogged devotion and deep love for this man who sees past her tawdry circumstances to a soul that, like his, has suffered greatly, never deserts him. If he teaches her anything at all, it is to follow the sun--to seek light and beauty despite the darkness that threatens to overwhelm her.

Rachel's tale is an engaging one; I was swept up in the narrative and read the book over the course of only a few days. Although at times I felt the depiction of her life as a prostitute was a bit romanticized (I expected sheltered Rachel to be more traumatized by her parents' deaths and her nightly encounters with strange men), her spunkiness and determination to create a new life for herself and Vincent provide a plausible thematic counterpoint -- instead of wallowing in pity and fear, she seeks to create something beautiful out of her brokenness and shame. As with most well-written historical fiction, it was fascinating to find the facts and commonplaces of a historical person's existence fleshed out in ways I hadn't expected -- Gauguin's jealous vindictiveness, for example, or Vincent's fascination with the sea. Bundrick's descriptions of Provence capture with great accuracy and vividness the sights and sounds and colors of the region, as well as the customs and character of its inhabitants. The book's final chapter is sublime, the crowning moment of an obvious work of love on the author's part. I was sad to finish reading and can only hope to enjoy another fine historical novel from Sheramy Bundrick before too long a wait. Congratulations to the author on a remarkable and most promising debut.

Remember, to enter the drawing for a signed copy of SUNFLOWERS, leave a comment here or after the previous post, revealing your favorite van Gogh painting. [Readers from the US and Canada only, please.] Otherwise, you can find SUNFLOWERS at Amazon, Borders, Barnes & Noble, or your local bookstore.

Interview with author Sheramy Bundrick

2009-10-11T20:33:00.001-07:00

Most of us who know anything at all about Vincent van Gogh have heard the story of how he cut off his ear and presented it as a gift to a prostitute. But how many of us have delved beneath the surface of the anecdote to imagine the relationship that existed between Vincent and the girl, identified only as "Rachel" in the article about the incident in the local paper? Sheramy Bundrick, and art historian at the University of South Florida St. Petersburg, has turned her musings about the couple into a novel that Publishers Weekly calls "a knockout debut...an impressive volume of suspense, delight and heartbreak." SUNFLOWERS, published by Avon A as a paperback original, goes on sale tomorrow, October 13.

Sheramy first contacted me through this blog as she searched for an agent. It has been great fun to follow her through each successive step on her path to publication. Passionate about her story and the people who inhabit it, she offered to share some of the research that went into the writing of the novel. In this short interview, her love for Vincent van Gogh, the man and the work, comes through with the verve and vigor of one of Vincent's own paintings.

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1. How did you become interested in van Gogh? What prompted you to write a novel about him, rather than an academic work?

Like many people, I’ve been a fan of van Gogh’s paintings for a long time. But I’ve been especially interested in him the past eight or nine years, beginning with a research fellowship I had at The Metropolitan Museum of Art. I was there to write a scholarly book about ancient Greek art (and I did), but I kept returning to the gallery with the van Gogh paintings as a place to sit and think. When I became a fulltime professor, I started teaching van Gogh as part of the art history survey, and that became a great excuse to read more about him. As for why a novel — I didn’t exactly plan for it to happen. At first I was writing a little short story as something fun to do during the summer, after an inspirational trip to Paris and Auvers-sur-Oise. Then it kept growing and growing...!

2. Which scene in the book is your favorite? Which scene was the most difficult to write, and why?

Rachel’s first trip to the yellow house makes me smile, but there are other scenes I like for their bittersweet nature. I love the last chapter. The hardest chapter to write was Chapter 34, “Seventy Days in Auvers.” A specific event had to take place that first of all I didn’t want to happen, and secondly, I had to decide how to convey that event to the reader. I ended up crafting the chapter as a series of letters between characters, but it didn’t start out that way.

3. Could you tell us a little about the history of van Gogh's sunflower paintings? What happened to them after his death and where are they now? Do the paintings function symbolically in your novel?

Great question and a long story! There are actually eleven van Gogh canvases of sunflowers, done between August 1887 and January 1889: four painted while living in Paris, seven in Arles. Let’s focus on the five most famous Arles pictures. In the novel, Rachel sees in Vincent’s studio Still Life: Vase with Fourteen Sunflowers, which has a yellow background and was painted in August 1888. Around the same time, Vincent painted Still Life: Vase with Twelve Sunflowers, which has a turquoise background. Both of these were later sent to Theo and remained in the van Gogh family for some time after Vincent and Theo’s deaths: Theo’s wife Johanna sold the yellow-background version to the National Gallery in London in 1924, and the turquoise-background version made its way to a museum in Munich around 1905 or so. Vincent made two copies of the yellow-background picture: one in probably December 1888 during Gauguin’s visit (this one I don’t mention in the novel because it was getting complicated!), which again the family had for a time — after a series of owners, it was bought at auction by the Yasuda Fire and Marine Insurance Company (based in Tokyo) in 1987. The second copy, which I do mention in the novel, was done in late January 1889. This one never left the van Gogh family and today is in the Van Gogh Museum. Also in January 1889, Vincent made a copy of the turquoise-background version, which after changing hands a few times, today is in Philadelphia.

The Sunflowers paintings absolutely function symbolically in the novel. Vincent himself used the paintings to express ideas about the life cycle, and long before his time, the sunflower’s legendary quality of following the sun — even when it’s cloudy — granted it a spiritual meaning for many artists and writers. I’ll let readers interpret from there!

4. How important do you feel it is for historical novelists to travel to the places they write about? What locations did you visit in order to write SUNFLOWERS? How did your visits contribute to your descriptions?

I think when it’s financially possible, authors should visit their locales. When I traveled to Arles and Saint-Rémy in summer 2007, I already had a draft of the manuscript, I had a mental map of both places, photographs I had found, but making the trip added many dimensions that I could not have gotten otherwise. The church of Saint-Trophime in Arles is one example: in the earlier draft, Rachel does not walk inside the church, but the trip inspired me to add that scene and description. I returned to Paris and Auvers-sur-Oise, both of which I had visited before, and I traveled to Amsterdam and Otterlo in the Netherlands to see the two largest museum collections of van Gogh’s work. I made two trips to New York during the writing process to see van Gogh paintings and exhibitions. I would have traveled more if I could!

5. At what point did you insert the quotations from Vincent's correspondence at the head each chapter? Did the quotations direct your writing of the chapters or sum up what you'd accomplished therein?

Fairly late in the process. I mainly intended the quotes for readers, so they could see snippets from original archival material. Each quote does “comment” on what’s happening in the story in some way.

6. What do you want readers to take away from their reading of SUNFLOWERS?

Hopefully, a new perception of van Gogh and a desire to learn more. “Famous” as Vincent is, he’s incredibly misunderstood. The cliché of the mad genius slapping paint on canvas is very much alive, even though the primary sources and the scholarship reveal it as a myth. He knew exactly what he was doing in his art; he was methodical, disciplined, and highly knowledgable about art history and the contemporary market. Popular culture focuses on his mental illness — often in ways that are very disrespectful — but there is much more to Vincent van Gogh than “the ear incident.” In the novel, I tried to contextualize his illness and show that it was only part of his story.

7. Do you think your future novels will deal with artists or the world of art? What are you working on now?

I’ve got some scholarly projects in the hopper at the moment — about ancient Greek art, not van Gogh. A second novel is percolating that yes, deals with artists and is set in nineteenth-century Paris. Finding time to work on it, though, is hard since I teach fulltime at the university and want to keep up my scholarship. I’m not in a hurry; I believe things happen in their own good time!

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Sheramy has an autographed copy of SUNFLOWERS to send to one lucky winner. Please leave a comment with an answer to the question: "My favorite van Gogh painting is ...." by eleven pm PST Sunday evening, October 18. The winning entry will be drawn at random and posted Monday morning, October 19. Contest open only to readers in the United States and Canada. Good luck!

You can learn more about Sheramy and her work at sheramybundrick.com or visit her blog, Van Gogh's Chair.

Many thanks to Sheramy for the interview and giveaway, and heartfelt congratulations on publication day!

Tomorrow: my review of SUNFLOWERS.

Next Week: SUNFLOWERS by Sheramy Bundrick

2009-10-10T15:15:00.000-07:00

On Tuesday, October 13, my writing friend Sheramy Bundrick's new novel about Vincent Van Gogh, SUNFLOWERS (Avon A), hits the shelves. I'll have an interview with Sheramy posted on Monday and a review of the novel on Tuesday. Sheramy is providing a signed copy for one lucky winner, so be sure to check in on Monday to enter the drawing. SUNFLOWERS received a starred review from Publishers Weekly. It's one book you won't want to miss!

Sixteenth Century Quote of the Week

2009-10-09T06:57:00.000-07:00

"Vivez, si m'en croyez,

n'attendez à demain:

Cueillez dés aujourdhuy

les roses de la vie."

"Live now, believe me,

don't wait until tomorrow:

Gather the roses of life today."

Pierre de Ronsard (1524-1585), French poet

Le Second livre des Sonets pour Hélène, XXIV

Sixteenth Century Quote of the Week

2009-10-02T06:46:00.000-07:00

"Our bodily eye findeth never an end, but is vanquished by

the immensity of space."

Giordano Bruno (1548-1600), Italian philosopher,

mathematician and astronomer

On the Infinite Universe and Worlds (1584), Fifth Dialogue

The Royal Habitrail®

2009-09-29T22:58:00.000-07:00

Where did a Renaissance king go to escape from it all? He'd take a hike--or rather a stroll. But not through the wilds of nature--the woods, after all, were for hunting. He'd walk in his own private gallery, one of the few places in the palace where he could dodge the crowds and think.

Galleries, in Renaissance châteaux, were long, hall-like structures attached to the monarch's private suite. While later in the century and beyond galleries were used as public waiting rooms or the setting for lavish receptions (think Hall of Mirrors--Galerie des Glaces--at Versailles), in the first half of the century they were intended for the king's private use and accessible only from his most secluded chamber.

Fontainebleau provides a prime example of this arrangement. The grande galerie, as it came to be known, jutted out at a perpendicular angle to the château proper. Before the renovations that began in 1528, the gallery served as a passage between the royal apartments and the neighboring abbey. When François I decided to build a bathing suite on the ground floor beneath the gallery, he moved the doorway to the upper passageway so that it communicated directly with his chamber. Since the staircase stood at the far end of the passageway, he had to traverse the gallery whenever he wished to access the baths or the garden below. He kept the gallery locked and the key on his person. Only those he expressly invited to accompany him ever saw the gallery's lavish frescoes and stucco work, executed by the Italian artist Rosso Fiorentino. An exterior terrace ran alongside the second-story gallery to facilitate the courtiers' passage from one area of the château to the other (the abbey was eventually replaced by new wings).

Other châteaux which featured private galleries included Bury, Écouen, Villers-Cotterêts, and the Louvre.

The purpose of these galleries was primarily exercise, as numerous contemporary references demonstrate. An architectural treatise dating from 1620 defined the gallery as the place where the lord could walk and converse with the visitors who came to discuss business with him. Henri IV was said to have constructed the grande galerie at the Louvre so that he could "stroll and watch what was going on on the Seine." La Grande Mademoiselle, his granddaughter, wrote that she walked by torchlight in her gallery at Saint-Fargeau for a half hour in the evening, and then again after supper with friends. Montaigne, the essayist, claimed that if it weren't for the cost, he would build galleries off each side of his library, each one hundred paces long by twelve wide, so that he could walk and think, for it was only while moving his legs that his thoughts took flight.

For a social class accustomed to the hard physical exertions of hunting and warfare, indoor galleries permitted uninterrupted exercise during times of darkness and inclement weather. Attached as they were to the private apartments, galleries provided members of the royal family a place where they could, quite literally, walk off the stress of being constantly in the public eye.

[Source: Jean Guillaume, "La galerie dans le chateau français: place et fonction," Revue de l'Art 1993, 102(1): 32-42. Photograph of Francis I Gallery, Fontainebleau, courtesy of Wikimedia.]

Fall Book Sale Bonanza

2009-09-26T11:39:00.000-07:00

Just got back from the Fall Book Sale at our local library and have to share my haul:

The Yiddish Policeman's Union by Michael Chabon

Mary, Mrs. A. Lincoln by Janis Cooke Newman

The Alienist by Caleb Carr

The Treasure of Montségur by Sophy Burnham

Forever by Pete Hamill (I've already read this one, but it's one of my favorites and I didn't have my own copy)

Mozart's Sister by Rita Charbonnier

Lady MacBeth by Susan Fraser King

The Pale Blue Eye by Louis Bayard

North River by Pete Hamill

Plus a 125th anniversary edition of Barlett's Quotations and a Digimon VHS tape, all for a whopping grand total of $11 (and seven of the nine novels are hardbacks). I do feel guilty cheating authors out of their royalties, but I can't pass up such bargains. All but Chabon and Hamill are new authors to me, so buying these used editions might inspire me to splurge full price on some their newer works.

Now, if only I could find time to read. I still have huge piles of unread purchases from the last few sales! Any recommendations on what should be at the top of the list?

(On a side note, I was flabbergasted, as always, by the number of John Grisham hardbacks on the sale tables. It's amazing how many people buy his novels new in hardback.)

Sixteenth Century Quote of the Week

2009-09-25T06:27:00.000-07:00

"Encores ay-je une opinion, dist Parlamente, que jamais homme n'aymera parfaictement Dieu, qu'il n'ait parfaictement aymé quelque creature en ce monde."

"Moreover, I am of the opinion," said Parlamente, "that never will a man love God perfectly unless he has perfectly loved some

creature in this world."

--Marguerite de Navarre, L'Heptaméron (1558), 19th Tale

Sixteenth Century Quote of the Week

2009-09-18T00:04:00.000-07:00

"Qui ne se donne loisir d'avoir soif, ne saurait prendre plaisir à boire."

"He who does not permit himself to become thirsty will never be able to take pleasure in drinking."

--Michel de Montaigne (1533-92), Essais.

Vol. I, Ch. XLII: "De l'inégalité qui est entre nous."

"Best Blogs for Book Reviews" Honor

2009-09-16T09:19:00.000-07:00

On-Line College, "dedicated to bringing you the best online educational tools and resources," has included Writing the Renaissance in their 100 Best Blogs for Book Reviews in the Historical Fiction category! I'm grateful for the recognition and happy to find WTR listed among so many worthy blogs.

The Princes in the Tower, French Version

2009-09-15T10:51:00.000-07:00

Those familiar with English history know the story of the Princes in the Tower--Edward V and Richard, Duke of York, the young sons of King Edward IV, who, after the death of their father in 1483, were imprisoned in the Tower of London and never seen again. The same history buffs might not, however, realize that France had its own version of imprisoned princes--François and Henri, the two young sons of François I, who were handed over to Charles V as ransom for their father and spent four years in miserable captivity in Spain.

The Treaty of Madrid, which François signed in 1526 to secure his release after the disastrous Battle of Pavie, contained many concessions to Charles V--the most notable being the transfer of Burgundy to the emperor and the renunciation of French claims to Flanders, Naples, and Milan. When François tried to convince Charles that he needed to return home to effect the transfer, Charles demanded that he hand over two of his three sons as hostages until the terms of the treaty had been fulfilled. François, who had spent the past year as Charles's prisoner, seems not to have balked at resigning his young sons, aged only seven and eight, to a similar fate. Perhaps he expected their absence to be a short one; perhaps he placed the well-being of his kingdom, struggling under the regency of his mother, over that of his own flesh and blood. Perhaps he was simply eager to make any deal necessary to gain his freedom. In any case, he agreed to the exchange, which was arranged to take place on March 17, 1526, at the border town of Bayonne.

The trade occurred in the middle of the Bidassoa River, which separates France from Castile. Two boats, one carrying the French king, the other his sons, met in the middle of the river at a raft that had been moored into place. The king hugged his sons and blessed them, telling them he would send for them soon. The two parties switched boats; the princes were rowed back to the Spanish bank while the king proceded to the French. As soon as he landed, François leapt onto his horse, shouted, "Now I am king; I am king once again!" and galloped off to meet his court at Bayonne. There is no record in the extensive descriptions of the exchange that he even looked back at the young sons he had just abandoned.

At first, the princes and their entourage of seventy persons were treated cordially; Eléonore, Charles's sister and François's new wife by proxy, treated the boys as sons. But as the weeks passed and it became obvious that François had no intention of surrendering Burgundy, the treatment of the princes grew harsher. They were taken away from Eleanor and moved to a castle farther south. After a foiled rescue attempt in February 1527, Charles took them further into Spain and dismissed nearly all their attendants. François, hoping to pressure Charles into releasing the boys, entered into league with England and the papacy. When that failed, he declared war on Charles in late 1527.

Of course, this declaration worsened the boys' situation. They were moved to the fortress of Pedraza in the high mountains north of Madrid, where they lived a spartan existence amidst Spanish soldiers. A French spy saw them twice in July 1529; townspeople told him the younger boy, Henry, hurled constant verbal abuse at the Spanish when the princes were permitted to attend Mass. Tired of Charles and François's posturing, Louise de Savoye, the king's mother, and Marguerite d'Autriche, the emperor's aunt and regent of the Netherlands, began negotiations to end the war. In August of 1529, the Treaty of Cambrai, or la paix des dames as it came to be known, was hammered out. Instead of ceding Burgundy, François agreed to pay 2 million écus for the ransom of his sons.

The princes remained in Spain while the king worked to raise the huge sum. Louise sent a man to Pedraza to check on the condition of the princes and to let them know they would soon return home. The man, Baudin, found the boys living in "a dark, disordered chamber with no adornments except straw mattresses." The window, high up the wall, was covered with bars. The boys had received no lessons since their tutor had been released months earlier; their French was rusty, since they only could speak it between themselves. They did have two small dogs to play with, but spent only minutes a day outside playing under the watch of fifty soldiers. Now aged eleven and twelve, they had been in captivity for four years.

François finally managed to collect the ransom by June of 1530, an incredibly difficult feat that nearly bankrupted the kingdom. A train of thirty-two gold-laden mules left Bayonne for the same spot on the Bidassoa River where the first exchange had taken place. The boys were reunited with their father and the court at Bayonne on July 3. On July 7, François married Eléonore, who had accompanied the princes from Spain. He thus fulfilled one of the stipulations of the original Treaty of Madrid.

How did four years of captivity affect these young boys and their relationship with their father? That is a subject for a future post. One can only imagine the sense of abandonment these young children felt, as well as anger towards a father who so blithely surrendered them so he could once again "be king."

(Source: Henry II, King of France 1547-1559 by Frederic J. Baumgartner. Duke UP, 1988. Photo of Pedraza Castle courtesy of Wikimedia Commons.)

David Liss on "Historical Subjectivity"

2009-09-14T20:57:00.000-07:00

I'd like to direct your attention to an interview with one of my favorite historical novelists, David Liss (THE COFFEE TRADER, THE WHISKEY REBELS) at the literary blog Three Guys One Book. I especially appreciate Liss's comments about historical fiction being an attempt to recreate a "historical subjectivity," to "get inside the heads of people from very different times." He also answers at length a question about contemporary writers engaging with writers of the past. Poke around the rest of Three Guys One Book while you're there--lots of interesting articles to read!

Winners of Michelle Moran Giveaway

2009-09-14T06:03:00.000-07:00

Congratulations to Jessica and Lynn Irwin Stewart, winners in our Michelle Moran giveaway! Jessica has won an autographed copy of Michelle's new novel, CLEOPATRA'S DAUGHTER, which will be released tomorrow. Lynn will receive an autographed copy of the new paperback edition of THE HERETIC QUEEN. Once the winners contact me at juliannedouglas05 [at] sbcglobal [dot] net with their snail-mail addresses, the books will be on their way.

Thanks to all who entered for their intriguing questions! It was fun to read Michelle's timely answers and gain an insider's view into the writing of the books.

Many thanks to Michelle for offering the books and for keeping up with the questions. Let's all celebrate the publication of CLEOPATRA'S DAUGHTER by visiting our local bookstores tomorrow and picking up a copy. Enjoy your special day, Michelle!

Sixteenth Century Quote of the Week

2009-09-11T14:19:00.000-07:00

I've decided on a new feature for Fridays--the Sixteenth Century Quote of the Day. Each Friday, I will post a quotation from a sixteenth century writer--poet, essayist, teller of tales--or celebrity--king, queen, politician, ambassador, artist, bishop, or commentator. My hope is that these snippets will shed some light on what people thought and talked about during the Renaissance.

Today's quotation is from the Lyonnaise poet Louise Labé (c 1520-1566), the first middle-class woman to publish under her own name in French (and, coincidentally, the model for the main character of my first novel). I've used this quotation as the opening epitaph for The Measure of Silence:

“Le plus grand plaisir qui soit après amour,

c’est d’en parler.”

“The greatest pleasure there is after love

is talking about it.”

—Louise Labé

Débat de Folie et d’Amour (1555)