Manual Queens and Mistresses of Renaissance France

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  1. Catherine de Medici: Renaissance Queen of France - Leonie Frieda - Google книги
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Her major works are the arched bridge across the river and the magnificent formal garden.

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Catherine hosted many luxurious balls and extravagant celebrations in the castle that were attended by many aristocrats and members of the European royal families. In , her son Francis II and Mary Queen of Scots were married at the castle, and that same year, when he was proclaimed King of France, the first fireworks in France were witnessed at the castle, during the celebration. A fisherman in a boat creates ripples in the reflection of Chenonceaux Castle in the Loire Valley, France.

The King had been murdered and Louise spent her time mourning in the castle.

Catherine de Medici: Renaissance Queen of France - Leonie Frieda - Google книги

She even redecorated her bedroom, replacing the vivid colors with darker shades. Chenonceau, France — June 11, Unidentified tourists by sighseeing of castle of Cenonceau, landmark and preferred tourist attraction. One side was under Nazi domination and the other was under the control of France. Under the Salic Law, this formidable and accomplished queen was powerless against the will of the king.

The courtly ideal offered a compelling if imaginary alternative to the emotional deadlock of marriage, which among the medieval ruling elite was founded on political expediency, and from which the Church, in forbidding adultery and divorce, allowed no escape. When a lovestruck knight like Lancelot or Tristan pledged fealty to his lady, as a vassal would to a feudal lord, he undertook to serve her selflessly, asking for no recompense save the privilege of adoring her.

Precisely because she belonged to another man, he had to sublimate his sexual desire through courageous deeds and romantic gestures medieval versions of paying the bill and holding the door open , all performed in her name. This code of conduct preserved both lovers from sin, enshrined the woman on a pedestal, and consecrated their love as a lofty, spiritual ideal. The constitutive paradox of courtoisie — the idealisation of adultery — was to have tremendous consequences for the royal women of the Renaissance, empowering some and marginalising others.

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Captivated by the Italian Quattrocento, he claimed its cultural glories for France by collecting the art of some of its greatest masters Michelangelo and Raphael , directly patronising others Leonardo, who brought the Mona Lisa to Paris in his luggage , and championing the replacement of classical Latin by the spoken vernacular as the language of government and culture.

He also admired the French-language poetry of the Petrarchans and Neoplatonists, and even dabbled in the genre himself. Though quintessentially modern in their use of the vernacular and their rediscovery of Greco-Roman sources, these poets shared the courtly preoccupation with transcendent ideals.

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In practical terms, the Renaissance revival of courtly love derived its impetus from the royal taste for adultery. These displays of courtoisie had two notable effects on the gender politics of the court.

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By contrast, the king of France was obliged to marry — and to choose his mate with the same pragmatism that had always determined royal unions. Question of state!

For love, there are others nearby. The queen of his realm, Marguerite de Valois, ranked much lower in his estimation. Claude died at the age of 24; her husband, whose courtly delicacy went together with a hearty appetite for prostitutes, had infected her with syphilis during his dutiful visits to the marriage bed. The daughter of Henri II and Catherine, Marguerite de Valois, known to readers of Alexandre Dumas as Queen Margot, passed unnoticed for an even more dramatic reason: she was exiled from the court for 19 years.