Sunday, August 26, 2018

II.6. NOBLES, GODS AND HEROES

MENU: 2.6. Nobles. Gods. Heroes 

TOWARD 1500, EXPORERS' DISCOVERIES LEAD TO NEW SOURCES OF INCOME AND SO TO A BOOM THAT UNDERMINES THE SOCIAL SYSTEM 

          Discoveries in 1502 /zoom 
The earliest known map of the Age of Discovery
In agricultural societies power comes from the control of land (in France) or the people who work it (in Russia or Africa) and hereditary landowners or masters dominate. The long-term threat to them comes people engaged in money-oriented professions, whose interests differ because their revenues have another source. That explains why in economically primitive societies people they are of a religion different from the rest of the population, which makes them separate and so vulnerable and easy to control: Jews in early medieval Europe and Muslims in animist Africa are examples.

The expanding economy brings entrepreneurs whose new activities yield much more capital. The old controls are obsolete: for example, Jews are replaced by Christians, who cannot be contained in the same way. The more dynamic entrepreneurs defy the barriers to growth, which leads to such civil wars as the France's 16th-century "Wars of Religion." Those conflicts also bring rulers who are strong enough to impose barriers on the widened search for profit (in that case the exceptionally powerful Bourbons). The cycle begins again.

If that explanation strikes you as strange consider that most historians concentrate on political narratives, not on the role of underlying economies and their changes. This blook's sequel, History from fresh perspectives says more.

In early 16th-century France hereditary landowners —  the "nobles" —  are in control, but do not participate in the suddenly expanding economy. They are a warrior caste, war for its own sake being a way in which potential disruptive profits, particularly harvests, are destroyed rather than reinvested (this too is explained in the sequel just mentioned). Should they engage in commerce they would lose the innumerable privileges which that status brings: The next page mentions the most important. As well, their upbringing and values are irrelevant to commerce or opposed to it (please click and scroll down). Finally, the expanding economy brings an inflation that diminishes the value of feudal dues* that are fixed by custom and cannot be raised. Since those dues comprise nobles' main income, most lack the capital that starting a business needs.

* Payments in cash, produce or labor that peasants paid the lords.

So the upper strata of society is made up, on the one hand, of a caste so associated with fighting that its members proudly wear armor for their portraits (for more examples, please click here, here and here) and who cannot adjust to a business-based economy...

 Portrait of a Knight in Armor, end 16th century / zoom
The baton indicates command and the curtain underscores grandeur.  

And on another level of increasingly dynamic entrepreneurs.

The inevitable clash is the underlying reason for the French Revolution (more here). Of course other factors affect that transformation, but they how it takes place, not that a social is overthrown and replaced by one that is entirely different.  

The metamorphosis takes three centuries to happen. One reason: The extremely powerful monarchy slows the new interests' growth. Another: nobles' power permeates all aspects of society.

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These pages show how it worked 
and traces it left.


Saturday, August 25, 2018

II.6.1. ALL ASPECTS OF THE OLD REGIME REINFORCED THE NOBLES


LOUIS XIV'S MOST FAMOUS FAVORITEMADAME DE MONTESPAN, WOULD INSULT HIM AS AN UPSTART BECAUSE HIS GREAT-GRANDFATHER WAS A MEDICI BANKER, WHEREAS HER ANCESTORS HAD BEEN FEUDAL LORDS SINCE THE 9TH CENTURY 

He would feel humble before her. 

Françoise-Athénaïs de Rochechouart, Marquise de Montespan, workshop of Pierre Mignard, undatedzoom

An insult among commoners: "Your father was a valet!" 

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So ingrained was the belief in nobles' superiority that many rising commoners used their funds to buy land, acquire titles or have their descendants enter the aristocracy by marrying their daughters to impoverished lords seeking important dowries.  

The next pages show how emphasis on Romans, mythology and Old Testament figures set nobles apart. As well, they...

  • Held the main positions in the State, the Church and especially the army.  

  • Were exempt from most taxes.

  • Controlled sales taxes and tolls.  

  • Monopolized most hunting, fought duels only between themselves, might alone buy the most luxurious wares (for how that explains the current location of the garment center, please click).

  • Were ceremoniously decapitated and buried if condemned of crime. Commoners were ignominiously hanged. Their body remained on the gallows until they decomposed.

         An execution after Louis XIII seizes power, 1616 / zoom  /  Fiftheenth-century illustration / zoom

  • Owned gibbets. The gibbets themselves showed the nobles' rank by the number of beams, from two to eight, the king having nine, from which to hang the condemned. The highest-born (commoner) victim hung from the top.

  • Had identifying liveries for the servants, a coat of arms, often a name whose prefix "de" indicated nobility, a reserved pew at church.  

  • The belief in a God-willed hierarchy exists in modern language: The French word for "bad" — villain — originally meant "peasant," and we still say "noble" and "ignoble."

The valet Figaro's famous question to his noble master,
 "What have you done for all that wealth?
 You took the trouble to be born!"  
shows that at the end of the 18th century 
that belief was changing.

So was the economy.   

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The idea that all elements of a society strengthen the ruling class is not original with me.

Alexis de Toqueville used it to explain commoners' belief in nobles' intrinsic superiority. Anthropologists and sociologists have shown it for primal communities and cults. An American cartoonist notes the tie between gun violence, the healthcare system, billionaire control and media silence:

Daily Kos, a progressive publicationDecember 24, 2024

The omissions and billboards mentioned at the start are part of such interconnection. 

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Now, 
how nobles used antiquity in the arts.

Next,

Friday, August 24, 2018

II.6.2. NOBLES USE ANTIQUITY TO RESIST THE MIDDLE CLASS

 

ASSOCIATION WITH SUPERHUMANS LETS NOBLES PROCLAIM A SUPERIORITY THAT COMMONERS CANNOT MATCH

Their heroes are Romans, mythological figures or people from the Old Testament :

Philip of France, Duke of Anjou in Costume of Antiquity by Jean Nocret, toward 1650 / zoom
The little prince identifies with the Romans.  

            Diane de Poitiers as Diana, Goddess of the Huntanonymous, toward 1550 / zoom

Diane de Poitiers was a member of the top nobility and the favorite of Henri II (1547-59). Nudity, the clothing of the gods, underscores her power: "Take me for a goddess!" this work trumpets.

The Reconciliation of Jacob and Ésaü by Arnould De Vuez toward 1678, Baulme Fine Arts
Biblical figures are clothed, but have the bodies and faces of gods.

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Examples


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Next,




Monday, August 20, 2018

SUPERMEN IN CHATEAUX AND CHURCHES


CHATEAUX DECOR EVOKES THE PRIVATE LIVES OF OWNERS AS IF THEY WERE GODS, AND LINKS THEM WITH THE KINGS

Take mantelpieces, the most prestigious sites of glacial halls:

  • At Écouen* Jacob sins, leaves, returns and is forgiven, like the owner** who offends Diane de Poitiers, leaves the court and eventually reconciles with the king.

*The Renaissance Museum, north of Paris
**The Constable of Montmorency (1493-1567) 

Esau's hunt, museum publication


 
  • At Condé en Brie in Champagne a god carries off a woman. It alludes to the owner* making a married woman his mistress as Louis XIV had done with Madame de Montespan, and imitates a statue at Versailles.

*The Marquis de la Faye, private secretary to Louis XIV

Claude Abron

Château de Condé - Aymeri de Rochefort; Pluto Carries off Prosperine by François Girardon, toward 1690, Versailles / zoom

That mistress, the marquise de Montespan — the one suspected of black masses — chose the story of Helen of Troy as decor for her chateau.

-- Athénaïs, the Real Queen of France by Lisa Hilton, 2002

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The upper clergy, composed of nobles, gave the poor the appearance of gods. Compare:

Eleventh century

Zoom

 Sixteenth century

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The most important use of mythology and allegory
is Rubens's celebration of queen Marie de Medici
for her palace.
The 24 life-size paintings are now at the Louvre.

The first modern biography 
uses allegory and mythology to tell her story.

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Saturday, August 18, 2018

A PLEA FOR PEACE AND A THREAT OF REVOLT


NOBLES' ART GLORIFIES WAR, BUT THESE WORKS INSIST ON PEACE...

A caduceus (two serpents coiled around a baton) symbolizes the accord of opposites, so wisdom and harmony, and in paintings where every detail is politically charged Rubens associates it with Marie alone.


-- Heroic Deeds and Mystic Figures by R.F. Miflin and R.E. Wolf, 1989,
analyzes the series in depth.

In the first work Mercury points the caduceus toward the line that joins the right hands of Apollo, Minerva and Marie with the abdomens of the Three Graces: Marie unites wisdom, culture and fertility, characteristics that fit her policy of peace and ardent opposition to Richelieu's, of war.

     The Education of the Princess / zoom
 
UNLESS LOUIS CHOOSES WAR

One of the next works evokes the choice of entering or staying away from the Thirty Years' War (of 1618-1648):

The Meeting in Lyons / zoom 

  • Louis carries his scepter like a musket and turns away from his mother, while his charming little brother, Gaston d'Orleanslooks up at her adoringly. Junior princes legitimized revolts when they led them and when this work was painted, in 1626, Gaston had rebelled...


The work implies that should Louis refuse Marie's demand for peace, she might join her favorite son should he revolt again.

(He would, four times).  

  • The intrepid queen had already escaped imprisonment and led two rebellions. So that was not an empty threat. 

The king studied the paintings, had them explained to him and left without a word. They may have contributed to Marie's downfall. 

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But a dramatic mistake
 was the main reason for her eclipse.

Friday, August 17, 2018

A QUEEN'S APOTHEOSIS


THE LOUVRE DEVOTES AN ENTIRE ROOM TO THE MOST EXUBERANT PROPAGANDA EVER IMAGINED

Marie de Medici returns to power* and as a true Medici, hires the time's leading painter to present her life as she wants it told.
(Made in 1624-26)

*In 1621-1630. For the start of her story, please click.

The room is almost empty — most visitors head to the publicized works —  so you will have it almost to yourself.

       The Regent Militant. The Victory at Julich / zoom
 A white horse, symbol of royalty
How Marie might have been remembered had she not lost her temper : Please continue.

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If you come with children, tell them about the conflict between Marie and her son Louis XIII, who at age 15 took power through a plot and an assassination. Depending on the kids you can stress (or not), the mother, the son, the wickedness and intrigues of a royal court...

Then have them look for:

  • Louis XIII, the teen-age prince. In 24 paintings he appears only seven times, and never in a commanding way. Marie wants to keep on ruling: 

    The Consignment of the Regency to the Queen / zoom

Marie dominates. In fact, as he grows older Louis pretends to be retarded and almost everyone ignores him They regret that mistake for the rest of their lives, which might be very short.

  • The 14-year-old French and Spanish princesses, exchanged at the border

          The Exchange of the Princessezoom 
 The girl in white is Anne, Louis's bride

If your little girl dreams of being a princess and marrying a prince, tell her she would never see her family again. Plus, as a foreign princess the court might think she was a spy (as Anne really was). 

A queen's sole path to influence: becoming regent should the king die and leave a son too young to rule. That was how both Marie and Anne came to exert 17th-century Europe's most important regencies. 

  • Dogs, a way to fill empty space 

    The Coronation of Marie de Medici at Saint-Denis on May 13, 1610 / zoom

  • Monsters: Marie's enemies, neutralized or defeated

  Louis XIII Comes of Age / zoom

     The Queen Reconciles with her Son zoom

For teens, mention what's left out: The servant Leonora, the hustler Concini, Marie's banishment and imprisonment... (click if you haven't yet).

   The Expulsion from Paris, Alte Ponakothek, Munich / zoom
The rejected sketch for the work on her disgrace


The series is important for itself, for its influence...

  • David studied The Coronation of Marie de Medici, above, before beginning his most famous work:

The Consecration of the Emperor Napoleon I and the Crowning of the Empress Josephine in Notre-Dame Cathedral on December 2, 1804 by Jacques-Louis David / zoom

  • The series' color and action influenced Eugène Delacroix, leader of the Romantics and creator of the most famous painting produced in France (please read on):

        The Death of Sardanapolus by Eugène Delacroix, 1827 / zoom

And for showing how omissions
are an age-old tool. 

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Next,
A plea for peace and a threat of revolt