When does it end?

I’ve happily and proudly declared (to myself) that I reached the end of my historical novel, “Journals of a Renaissance Court….the story of Anne of Brittany.”  Now I’m polishing. But last night I attended a reading of a play by Lorraine Liscio about Christine de Pizan (1363-1434), who although she died about 60 years before the period of my novel, was an important influence on Anne and the other women in her time and place.

Christine was an intelligent, rather free-thinking and influential woman, and quite possibly the first ‘professional writer.’ I have all that in the book. But in the dramatization of her life I realized  the possibilities of some of the political characters and battles on which I had not really focused  because they took place so much earlier. I see some fascinating links that will really augment the story.

One of the ways to enrich a historical novel is to include references and links to significant people and events that relate to the main characters and situations. And now I have a series of situations and family links that I know will be fascinating. That’s today’s job.

But how and when do I stop?

Learning from Midrash

In my studies of Jewish teachings, questions are often answered with 'Midrash.' The word comes from the Hebrew word “to seek” and its literal meaning is ‘to investigate’ or ‘to study.’ Without going into technical  explanations of the two kinds of Midrash—legal and narrative—it can be said that Midrash is usually described as a form of storytelling by rabbis and thinkers over the centuries to fill in the gaps of biblical stories, words and teachings; to answer the unexplainable; to comment on the unclear.  Midrashim (Hebrew plural for midrash)  may speculate on human weaknesses ..motivations …nuances..on the available information. Midrashic stories are often told  to shift perceptions of stated actions. (i.e. “why did Cain kill Abel?” “why was Noah chosen to save his family?” “why did Joseph’s brothers sell him into slavery?”) The goal seems always to be to find a religious yet meaningful /logical /ethical explanation for questions.

In contemporary terms, the process of explaining answers to difficult questions can be related to the sages’ development of Midrash. “Mommy, why…”

No novel, whatever its subject or goal,  can be compared to the work of rabbis who wrote Midrash, or to learned teachings. But on consideration, I believe that in the process of writing fiction based on real but incomplete or flawed history, it is the author’s task to create secular Midrash…to explain what is unclear or unknown from the available facts; to speculate on the participants' actions and thoughts; sometimes to shift perceptions of accepted dogma by applying a new lens.

My novel about Anne of Brittany, which takes place in France 1488-1515, is based on  a great deal of historical research. But most of the history of that period consists of dates: wars, treaties, reigns, births, deaths, marriages. That leaves a lot of blanks. I’ve learned at least as much from the arts of the period, and from visiting the places in her life. But that is still not sufficient to tell a meaningful story. That’s why I couldn’t write it as a biography or history. I’ve had to extrapolate to fill in the blanks. Why? Where? When? How? What did it feel like? What were the reactions of others? Who are the people without titles who made things happen? It had to be a historical novel. 

I do not intend to be presumptuous or irreverent by using the word Midrash. Instead, again, it has offered me another view of the process of thinking and writing. 

CHARACTERS IN ANNE'S LIFE AND TIMES

ANNE DE BRETAGNE  1476-1514 Duchess of Brittany, Queen of France

Anne  had always been prepared to become Duchess. When she was about 12  her father died and she became ruler of Brittany, a major player in European politics. Marriage to King Charles VIII of France seemed a solution to its battles and financial woes. Left a widow at 21, she married his successor, Louis XII. As Queen, her most critical role was to give birth to a dauphin. Despite nine pregnancies, she failed, yet lived a rich and productive life, helping to lead France into the Renaissance, fostering the arts, knowledge, and religion. Her court was a center for European politics . 

Cardinal Georges d’Amboise  1460-1510.  Friend and advisor to Louis XII,  his role was supportive, political and diplomatic, as well as religious. 

ANNE DE BEAUJEU, 1460-1522 Duchess of Bourbon, also known as Anne of France.  Sister of Charles VIII and Regent until he was old enough to assume the throne, then reluctant to relinquish power.  Frequent rival of Anne.

Jacques de Beaune, 1445-1527 Merchant whose power and importance grew as he  became Treasurer-General to Queen Anne and eventually chief Financial Officer for François I.

Anne Boleyn. 1502-1536 Lady-in-waiting to Mary Tudor and Queen Claude until she returned to England and court of  Henry VIII. 

CHARLES VIII, 1470-1498 King of France, Anne’s husband. Frequently at war, first with Brittany, then in Italy, in attempt to gain crowns of Naples and Milan. Died at 28, childless, after hitting his head on his way to watch a tennis match.

CLAUDE, 1499-1524 Daughter of Anne and Louis XII.  Queen of France and Duchess of Brittany. Often a political pawn. Married to François d’Angoulême who inherited the crown of France when Louis died, so she became Queen and achieved the goal her mother did not: her many pregnancies produced  a successor,  King Henri II, and she was grandmother of  three kings. 

Michel Colomb, 1430-1513 Master sculptor of Tours. He designed and supervised the tomb of Anne’s parents and was a major influence on other French artists.

Madame Francoise  de Dinan. 1436-1499 Governess, then Councilor to Anne who later joined a plot against her.

FRANÇOIS II, 1435-1488 Duke of Brittany.  Anne's father and last Duke.

Henry VIII.  1491-1547 King of England. Brother of Mary Tudor

LOUIS XII,  1462-1515 King of France. Ascended to throne and married Anne after Charles VIII died. Known as “father of his people,’ he did a  great deal to help his country but his invasions of Italy to  claim  other thrones were failures.  From his sojourns in Italy he learned to appreciate its arts and letters, and brought  home libraries, craftsmen, and artists, including Leonardo da Vinci.

Louise de Savoie 1477-1531  Mother of François I and Marguerite d’Angoulême. After the death of her husband she often lived in the court of Louis XII  and groomed her son to be king. An educated, smart, and sometimes devious woman, she was jealous of Anne in many ways, but felt superior because she had a son who would and could become king.

Niccolo di Bernardo dei Machiavelli   1469-1527 Italian writer, political scientist, philosopher, statesman, diplomat who met with Louis XII several times in attempts to improve relations between  Italy and France.

MARGUERITE D’ ANGOULÊME (de Navarre) 1492-1549   Daughter of Louise de Savoie, Sister of François I. Married  Charles d’Alençon and  Henry de Navarre. Like her mother, for many years she lived to support her brother’s position. A brilliant woman and writer, as she matured she was involved in politics and religion, and highly respected.

Marguerite of Austria. 1480- 1530 Daughter of Maximilian. Lived in  French court  as a child, since her betrothal  at the age of two to Charles VIII. When he decided to marry Anne of Brittany, she was sent back to Austria.  Maximilian, attempting to ally with Spain, arranged with Ferdinand and Isabella for Marguerite to marry their son John and for his son Philip to marry their daughter Juana.

MARGUERITE DE FOIX, 1453-1486.  Second wife of  François II, mother of Anne and Isabeau.

MARY TUDOR. 1494-1558. Sister of  Henry VIII. Third wife of Louis XII.

Maximillian of Austria. 1459-1519. King of Germany, King of the Romans, Archduke of Austria, Holy Roman Emperor. Married by Proxy to Anne 1490. Father of Marguerite of Austria. 

Jean Meschinot, Household poet and Master of the Court

Maréchal Philippe de Montauban.  1455-1513 Councilor to Duke of Brittany and then his daughter Anne’s closest advisor.

Ofelia Devora Amador-Espinosa. Medical advisor to Anne. Forced to leave Spain after her physician father , a “New Christian,” was killed in the Inquisition.

François de Paule. 1416-1507. Hermit-Priest and Holy Man thought to have great powers.

RENÉE, Daughter of Anne and Louis XII. 1510-1575 

LOUIS XI, King of France. 1423-1483. Father of Charles VIII, Anne de Beaujeu and Jeanne Valois.  Known as “the  Spider King” as much for his webs of intrigue as for his physical appearance.

JEANNE DE VALOIS. 1465-1505  Daughter of Louis XI, sister of Charles VIII and Anne de Beaujeu. First wife of Louis XII.

Etienne de Vesc.  1445-1501  As a member of the court of Louis XI, he was and remained a strong influence on Charles VIII and encouraged him to invade Italy.

Leonardo da Vinci. Artist, 1452-1519 resident at court of François I, where he died.

Pursuit…curiosity….and writing

came together when I was in the beautiful city of Nantes, which has many reminders of  Anne and her family. I spent a fascinating hour pursuing another of my interests—graphic arts—at the Musée de l’imprimerie—the Museum of Printing.

I admired a print being made on an old lithography press, and then found it among the graphics offered for sale. I knew enough French to relate the text to pursuit and writing; and thought the piece was beautiful, so bought it.

 

The text says:  “Tant et tant d’or j’ai dépensé pour l’écriture enfin trouver”

Once home, with my French dictionary at hand, I set to a precise translation, which eluded me. I have now asked for help from people I know who are fluent in French, who are themselves immersed in literature and the arts. I’ve gotten some literal translations, which fall short; and some more complex interpretations, which are probably closer. Michelle, a very cultured Parisian who knows several languages, identified the calligraphy as Arabic and tried to translate it, but could not be precise. Brigitte, a Swiss-born academic, thinks it may be old French. Annette, who is immersed in literature and the arts, but whose French is not great, gave it a metaphorical interpretation, which I really like, that “ all the gold and worldly goods are an empty pursuit next to the art or beauty in the design itself.”

She’s a very perceptive old friend, who knows me, and added that she saw I was pursuing another journey to satisfy my curiosity. She is right, and I will add that my pursuit of curiosity has been noted and appreciated by many of my blog followers and friends.

I received a response from the president of the museum in Nantes, who said that the Arabic calligraphy is by a Tunisian-born artist who lives in Nantes, named Lassaâd Metoui, whom he will ask about the meaning.
Anyone else have any ideas?

FAMILY PORTRAIT

I photographed this reproduction of a small painting by Jean Bourdichon. It shows Anne, Louis and their daughter Claude with Francois, to whom she was already betrothed. As heir to the crown unless or until Anne and Louis should have a son, Francois lived with them in the court.

The original is at the Ecole nationale superiore des beaux-arts, Paris.

Anne's family

As I was walking through the Louvre, I saw a painting of a child that looked very familiar: it was Charles Orland, the son of Anne and Charles VIII, the much-beloved Dauphin, who died in 1495 at the age of three. The artist was Jean Hey. 

Most of the representations were formalized portraits, except for one large oil from the Musee de Beaux Arts de Lyon, painted by Francesco Bassano. Both of Anne's husbands sought to win Italy, and were often at war. This is described as "Charles VIII receiving the crown of Naples in Battle." However, the text says that he did not gain Naples by combat; which reinforces my decision that there is so much lack of clarity that I can only tell this story as a novel. 

Image, Art, and History

HISTORY IS REVEALED THROUGH ART 

It was art that started me on this pursuit, and that has been foundational in developing content.  Because Anne, both of her husbands, and her family were patrons of the arts, it is largely through art that important parts of their lives have been revealed to me. Although I haven’t gone back to the Carnegie Museum of Art, the Metropolitan Museum is my second home, and in the past few years it has had special exhibitions of illuminated manuscripts and tomb sculpture as well as lectures about them that have been valuable and pertinent. The Cloisters is a repository of works of the period and before, and its lectures have provided information about herbal medicine, dyes, and images in art and tapestry, with insight into patronage and religious views. The JP Morgan Library and Museum had a fabulous exhibition of illuminated manuscripts, including some made for Anne and her family; and I was fortunate to hear the curator himself talk about them, with a group of people fascinated by the Renaissance who had come from Boston for the same exhibitions and lectures I was attending. I was surprised and delighted that my esoteric interests were shared by so many enthusiasts.  

REWARD FOR GOING OUT ON A FREEZING DAY

One January Saturday I braved the frigid weather to walk uptown to visit a gallery on Madison Avenue. I’d seen a small item in the paper that they were featuring art of France in 1500. How could I not follow through? Once there, I was immediately warmed by what I found. First of all, there was a beautiful miniature that was framed by the cordelière: the image of twisted ropes that was Anne’s symbol. Everything there was interesting; much of it directly involved characters I already knew. I turned to talk to the man working in the gallery and learned that he was a graduate student studying this artistic period, focusing on Bourdichon, one of the artists whose names I had become familiar with. The gallery director told me that a major show, assembled and curated by the Louvre and the Art Institute of Chicago, would be in Chicago in the Spring, and that there would be a definitive catalog in English about this subject. Fortunately, my brother lives in Chicago, and welcomed me for a wonderful visit with his family.  The nearby Newberry Library supplemented that show with manuscripts and art of the period. I spent a tremendously valuable day at the extraordinary exhibitions, and many hours afterward poring over the catalog, which is the most informative piece I've read, even resolving some of the conflicts of other historians.  It was as though it was all put together for me!

Anne de Bretagne is a legendary figure in Brittany, somewhat less so in the rest of  France. Hotels, streets,  restaurants and  historic sites bear the name of Anne de Bretagne. She is better represented in the arts.  However, the depth of information or explanation is minimal, and some of it is contradictory. Rather than being frustrated by that, I realize that it confirms my original determination that if I want to write about her, I would have to go beyond the accepted facts.

 The most significant recognition of Anne de Bretagne in America and much of the world is for the art and books she commissioned. The Book of Hours of Anne de Bretagne, in the JP Morgan Library Museum in New York, is considered one of the finest of its kind. And the tomb of her parents, which is in the Cathedral of Nantes, is recognized as one of the finest examples of early Renaissance sculpture and funerary art…and was the lure that brought me into her world when I saw a reproduction in the Carnegie Museum of Art in Pittsburgh.

France gave me  some new images of Anne and the people in her world.  At the Chateau de Saint-Malo, there was a very large painting of a procession in which Anne is entering Saint-Malo with the Bishop, showing an impressive retinue. The Château de Saint-Malo was largely built by Anne and her father…but the painting was not mentioned in its flyer or known about by the museum guide. I came upon it after he told me not to bother going there!caption