[1] This last-named castle has also been bequeathed to the French nation by its owner.

[2] The grandfather of Henri II de Bourbon, husband of the fair Charlotte de Montmorency.

[3] When the Cardinal de Lorraine, her uncle, suggested to the young Queen this marriage as political salvation for himself, she exclaimed ironically, “Truly I am beholden to my uncle. So that it be well with him, he careth not what becometh of me.”

[4] See Plate VII.

[5] According to BrantÔme, the Duc d’Anjou was inconsolable after her death and for a long time wore deepest mourning for her.

[6] See Plate VI.

[7] See p. 10 et seq.

[8] Journal historique et anecdote de la Cour et de Paris.

[9] Octave Homberg et Fernand Jousselin.

[10] See Plate V.

[11] Called in Germany “Allerheim” to distinguish it from the battle of NÖrdlingen, where the Archduke Ferdinand was victorious over Bernard of Weimar in 1434.

[12] This stone table is still used as a rendezvous de chasse by the Duc and Duchesse de Chartres.

[13] He, however, was generally known not as Prince de CondÉ but as Duc de Bourbon or Monsieur le Duc.

[14] This brought enormous benefits to the Crown, but was the cause of the famine in 1768.

[15] “Histoire de Chantilly pendant la Revolution,” par M. Alexandre Sorel.

[16] The ChÂteau d’Enghien, built in 1770, was chiefly used for the attendants and suites of the illustrious guests who came to Chantilly.

[17] See p. 8.

[18] A sketch for the well-known picture of that Saint in the National Gallery.

[19] There is a certain affinity between this picture and the portrait in the National Gallery which is said to represent Ariosto.

[20] The other is the Madonna del Connestabile now in the Hermitage.

[21] See Plate XIV.

[22] Der Breslauer Froissart von Arthur Lindner. (Berlin, 1912.)

[23] A drawing of which is in the British Museum.

[24] Bernhard Berenson, A Sienese Painter of the Franciscan Legend. (Burlington Magazine, 1903).

[25] See Plate XXIII.

[26] See Plate XII.

[27] Dear and Royal Brother,

I have just read your appreciative words about me. I write to you with emotion. You are a prince by birth and have become a man. For me your Royalty has ceased to be political and is now historical; my Republican conviction is not disturbed by it. You have contributed to the greatness of France. And I love you.

[28] See Plate XXV.

[29] Louis Dimier, Les Portraits peints de FranÇois I.

[30] This interesting picture was painted at Calais in 1396 on the occasion of the marriage between Richard II of England and Isabelle, daughter of the King of France.

[31] The first volume of this MS. is in the British Museum, and the second with the miniatures of the Preux de Marignan in the BibliothÈque Nationale, Paris.

[32] Purgatorio, canto II, v. 80.

[33] Closely allied to the Ingeburge Psalter, and likewise showing English influence, is the Arsenal MS., formerly at the Sainte-Chapelle, and executed for Blanche Castille, mother of St. Louis.

[34] Cf. p. 168.

[35] It was fortunate indeed that Comte Paul Durrieu had made a reproduction in phototype from the original Hours of Turin before they were burnt; for they were by far the most interesting part of the MS. Some of the miniatures have been attributed to Hubert van Eyck—namely that portion which in 1417 belonged to Count Hainau, who is himself represented in one of them arriving with his train on the shores of the North Sea, where his daughter Jaqueline and her attendant ladies are awaiting him.

[36] See Plate XXVII.

[37] “Une SaliÈre d’agathe garnie d’or et de perles, laquelle saliÈre l’artiste donna À monseigneur aux estraignes.”—LÉon de Laborde, Glossaire, p. 367.

[38] See Plate XXVIII.

[39] Cf. p. 163.

[40] See Plate XXIX.

[41] See Plate XXX.

[42] See Plate XXXI.

[43] See Plate XXXII.

[44] See Plate XXXIII.

[45] See Plate XXXIV.

[46] See Plate XXXV.

[47] Masaccio (born in 1401), it is believed, could not have painted the frescoes at San Clemente before 1417; perhaps even, considering his age, rather later.

[48] M. de Mely, Gazette des Beaux Arts, 1912.

[49] Durrieu mentions that one of the Kings seems to have been inspired by this medal, but as a matter of fact he is faithfully copied from it.

[50] See Plate XXXVIII.

[51] See Plate XXXIX.

[52] It was in this castle that the Duc de Berry commissioned AndrÉ Beauneveu, Pol Limbourg’s predecessor, to prepare for him a Book of Hours, subsequently completed with the assistance of Jacquemart de Hesdin. This MS., which contains a very characteristic portrait of the Duke himself, is now to be seen in the Library at Brussels. Beauneveu died in 1413, two years before the Brothers Limbourg appeared upon the horizon of French Art.

[53] See Plate XXVI.

[54] Also called Heures d’Ailly, after its former owners.

[55] Probably the figure to the right drawn full face, for it bears an unmistakable resemblance to Fouquet’s Portrait of Himself in the Louvre, executed in enamel.

[56] Cf. The Romance of a Book, by Yates Thomson (Burlington Magazine, 1906).

[57] See Plate XL.

[58] See Plate LXI.

[59] See Plate XLII.

[60] See Plate XLIII.

[61] See Plate XLIV.

[62] See Plate XLV.

[63] We find this composition also in Duccio’s famous altarpiece at Siena.

[64] All Saints’ Day. See Plate XLVIII.

[65] Journal du voyage de Michel Montaigne, i. p. 17.

[66] In the collection of Mr. Ayr in London.

[67] M. Leprieur, Gazette des Beaux Arts, January 1911.

[68] A contemporary monument in the Cathedral at Tours erected by Anne de Bretagne to the memory of these two little boys has assisted greatly in the identification of these portraits.

[69] At the sale of the collection of Mr. Robert Hoe in New York there came to light another example of Bourdichon’s skill in the Hours of Anne de Beaujeu.

[70] MS. 18014, Bibl. Nat. Paris.

[71] There is a portrait of the same monarch in a MS. at The Hague (copied for GaigniÈres) to which is attached a note giving its date and the name of the artist as a certain Jean de Bruges, who according to M. B. Prost seems to be identical with Johannes Bandol pictor regis.

[72] The three others, representing Edward III, Charles IV of Germany, and Charles, Duke of Normandy (afterwards Charles V of France), have unfortunately disappeared.

[73] The Magi with the Portraits of Edward III and Queen Philippa as Donors.

[74] History of Art in England (Burlington Fine Arts Club Exhibition, 1909).

[75] BibliothÈque Nationale, Paris.

[76] A chef d’oeuvre of French miniature-painting during the reign of Charles VIII (BibliothÈque Nationale, Paris).

[77] See Plate LII.

[78] Gazette des Beaux Arts, June 1907.

[79] Louise M. Richter, Monatshefte fÜr Kunstwissenschaft, July 1909.

[80] See Plate L.

[81] See Plate LII.

[82] See Plate XLIX.

[83] Lettres de Louis XII, Nouvelle citÈ de l’Heptameron.

[84] See Plate II.

[85] See Plate LII.

[86] MS. Fr. 20,490, fo. 6. These autographs display elegance in handwriting; and one of them refers to a mission with which PerrÉal was entrusted by Anne de Beaujeu, wife of Pierre de Bourbon, to fetch back the diamonds which she had deposited with Madame du Plessis BourrÉ during the Civil War. The Court of Moulins at that time was known as a centre of art and literature under the auspices of the cultured daughter of Louis XI.

[87] Among the drawings attributed to Fouquet the Papal Legate, formerly in the Heseltine Collection, is the best known.

[88] Called “of Navarre” because he worked for Marguerite de Valois, Queen of Navarre, sister of Francis I. The portrait of Louis de Saint-Gelais in the Louvre (1513-39), of which a drawing is in the British Museum, is attributed to him.

[89] See Plate LIII.

[90] Plusiers portraits et effigies au vif qu’il a faictes, Laborde, La Renaissance, p. 15.

[91] Laborde, Comptes des BÂtiments, III, p. 237.

[92] See Plate LV.

[93] See Plate LVI.

[94] See Plate LXII.

[95] Formerly in the Heseltine Collection.

[96] I am indebted for this information to Sir Sidney Colvin.

[97] See Plate LVII.

[98] See Plate LVIII.

[99] See Plate LIV.

[100] See Plate LXI.

[101] See Plate LXII.

[102] See Plate LXI.

[103] See Plate LVII.

[104] Cf. The Life of Benvenuto Cellini. A new version by Robert H. Hobart Cust (London: George Bell & Sons, 1910).

[105] A town which formed part of her own dowry.

[106] See Plate LIX.

[107] See Plate LX.

[108] See Plate LV.

[109] Admirable portraits of this same Sieur de Canaples, whose wife was one of the Petite Bande of Francis I, are in the British Museum (Salting Collection) and at the Albertina, Vienna.

[110] See Plate LIX.

[111] See Plate LXI.

[112] See Plate LXV.

[113] Collection Deligand, Paris.

[114] G. Moreau NÉlaton, Les Le Mannier.

[115] See Frontispiece.

[116] See Plate X.

[117] See Plate IV.

[118] See Plate LXVIII.

[119] See Plate IX.

[120] See Plate LXXI, British Museum, Salting Collection.

[121] See Plate VIII.

[122] The painting in the Victoria and Albert Museum (Jones Collection) is also an echo of this same drawing.

[123] See Plate LXVII.

[124] The nephew of FranÇois Clouet, whose signature, Fulonis fecit, we find on some of the markedly weaker drawings of the Lecurieux album.

[125] See Plate LXV.

[126] See Frontispiece.

[127] Dimier, Bulletin de la SociÉtÉ Nationale de Antiquaires de France.

[128] See Plate LXIX.

[129] See Plate LXX.

[130] See Plate LXXI.

[131] See Plate LXXII.

[132] The late M. F. A. Gruyer recently presented to the MusÉe CondÉ a fine landscape by Claude Lorraine which hangs in the Salle de Minerve, and there are some excellent drawings by this master in the portfolios in the Salle Caroline.

[133] See Plate XV.

[134] See Plate LXXIII.

[135] See Plate LXXIII.

[136] See Plate XVI.

[137] These may be seen at Versailles.

[138] These are exhibited in one of the rooms of the Petit ChÂteau.

[139] See Plate LXXIV.

[140] See Plate LXXVII.

[141] See Plate LXXVIII.

[142] There are several examples of Chantilly porcelain in the Victoria and Albert Museum.

[143] See Plate LXXIX.