Hostname: page-component-76fb5796d-zzh7m Total loading time: 0 Render date: 2024-04-26T14:13:58.178Z Has data issue: false hasContentIssue false
  • English
  • Français

Marguerite de Navarre and the AndrogynousPortrait of Francois Ier*

Published online by Cambridge University Press:  20 November 2018

Barbara Hochstetler Meyer
Barbara Hochstetler Meyer*
Affiliation:
Warrenton, Virginia
Get access Rights & Permissions [Opens in a new window]

Extract

Celluy qui dit ta grace, eloquence & scavoir

Ne estre plus grands que humains, de pres ne t'a peu veoir

Et à qui ton parler ne sent divinité

De termes et propos n'entend la gravità.

De l'Empire du Monde est ta presence digne,

Et ta voix ne dit chose humaine, mais divine.

Combien doncques diray l'Ame pleine de grace,

Si outre les Mortelz tu as parolle et Face?

Clement Marot, Epigramme

Poem Bestowing upon François IER the essence of divinity was not a flattering aberration but an example of imagery that became emblematic of his long reign. As Anne-Marie Lecoq has shown in her incisive analyses of many laudatory illuminated treatises and poems and extravagant royal entries with theatrical enactments, the king was glorified by an allegorical symbolism often intricately interwoven with Christian typology as deemed appropriate, indeed necessary, for “un roi très chrétien” who was the brave, virtuous, pious elect of God.

Type
Studies
Information
Renaissance Quarterly , Volume 48 , Issue 2 , Summer 1995 , pp. 287 - 325
Copyright
Copyright © Renaissance Society of America 1995

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adhémar, Jean. “The Collection of Paintings of Francis I . “ Gazette des Beaux-Arts 30 (1946): 5–16.Google Scholar
Adhémar, Jean. “Aretino: Artistic Advisor of Francis I. “Journal of the Warburg and Courtauld Institutes 17 (1954): 311 —18.Google Scholar
Adhémar, Jean—, ed. Les Douet et la Cour des Rois de France. Paris, 1970.Google Scholar
Allen, Michael J. B. ThePlatonismofMarsilio Ficino. Berkeley and London, 1984.Google Scholar
Bardon, Franchise. “Sur un portrait de Francois Ier.” L'information d'histoire de I'art 8 (1963): 1–7.Google Scholar
Béguin, Sylvie. “A Propos d'un Dessin de Nicolas da Modena Recemment acquis par le Louvre.” La Revue du Louvre et des Musées de France 20 (1970): 9–14.Google Scholar
Béguin, Sylvie. “Le Directeur des Travaux; Maitre Roux.” In La Galerie Francois Ierau chateau de Fontainebleau, 102-05. Paris, 1972.Google Scholar
Béguin, Sylvie, ed. Fontainebleau: L'art en France, 1528-1610. Vol. 1. Ottawa, 1973.Google Scholar
Béguin, Sylvie. “Remarques sur la chambre du Roi.“ In Acts du Colloque International sur I'Art en France, ed. André Chastel, 199-230. Paris, 1975.Google Scholar
Bille-de Mot, E. and Legrand, F. C., ed. L'Europe Humaniste. Courtrai, 1963. Binenbaum, Oreste and Sylvia Pressouyre. “Dossier technique.” In La Galerie François Ier an château de Fontainebleau, 45–96. Paris, 1972.Google Scholar
Blancheman, Prosper. Oeuvres Complètes de Melin de Saint-Gelays. Vol. 2. Paris, 1970.Google Scholar
Blum, Andre. Costume of the Western World: The Last Valois, 1515-1590. Amsterdam, 1951.Google Scholar
Blunt, Anthony. Art and Architecture in France 1500 to 1700. Baltimore, 1970.Google Scholar
Boccia, Lionello Giorgio. “The Devil's Mask.” In Art, Arms, and Armour: An International Anthology, ed. Robert Held, 1:30-51. Chiasso, 1979.Google Scholar
Bolgar, R. R. The Classical Heritage and its Beneficiaries. Cambridge, 1954.Google Scholar
Bouchet, Jean. Triomphes du treschrestien, trespuissant, et inuictisme, Roy de France, Franñoys premier de ce nom: continant la differences de Noblesse. Poitiers, 1550.Google Scholar
Bourciez, Édouard. Les Moeurs Polies et la Litte'rature de Cour sous Henri II. Geneva, 1967.Google Scholar
Boutell, Charles. Arms and Armour in Antiquity and the Middle Ages. New York, 1871.Google Scholar
Carroll, Eugene A.. Rosso Florentine—Drawings, Prints, and Decorative Arts. Washington, DC, 1987.Google Scholar
Carson, R. A. G. Coins of the Roman Empire. London, 1990.Google Scholar
Cartari, Vincenzo. Imagini delli dei degl'antichi. Venice, 1547.Google Scholar
Castelot, André. François Ier. Paris, 1983.Google Scholar
Chastel, André. “La Salamandre.” In La Galerie Francois Ier au château de Fontainebleau, 151-52. Paris, 1972.Google Scholar
Chilton, P. A., ed. and trans. Marguerite de Navarre, The Heptaméron. London, 1984.Google Scholar
Christie, Richard Copley. Étienne Dolet, Le Martyr de la Renaissance: Sa Vie et Sa Mort. Trans. Casimir Stryienski. Paris, 1886.Google Scholar
Cohen, Gustave. ed. Ronsard, Oeuvres Complétes. Paris, 1950.Google Scholar
Cooper, Richard. “Marguerite de Navarre et ses Malheurs au XVIIIem siècle.” Nouveaux destins des vieux récits de la Renaissance aux lumiires, 33-49. Paris, 1992.Google Scholar
Cotgrave, Randle. A Dictionaire of the French and English Tongues. London, 1611.Google Scholar
Cottrell, Robert D.. The Grammar of Silence: A Reading of Marguerite de Navarre's Poetry. Washington, DC, 1986.Google Scholar
Cox-Rearick, Janet. Dynasty and Destiny in Medici Art. Princeton, 1984.Google Scholar
Crépin-Leblond, Thierry. “Catalogue.” In Livres d'heures royaux: Lapeinture des manuscrits à la cour de France au temps de Henri II, 28-63. Paris, 1993.Google Scholar
Crossley, Fred. English Church Monuments, 1150-1550 A.D. London, 1933.Google Scholar
Dacos, Nicole. La Decouverte de la Domus Aurea et la Formation des Grotesques à la Renaissance. London and Leiden, 1969.Google Scholar
Dan, Pére Pierre. Le Tresor des Merveilles de la Maison Royale de Fontainebleau. Paris, 1642.Google Scholar
De Bies, Jacques. Les Vrais Portraits des Rois de France: Tirez de ce qui Nous Reste de Leurs Monumens, Sceaux, Medailles, ou aulres Effigies, conseruées dans les plus rare etplns curicux Cabinets du Royaume. Vol. 2. Paris, 1636.Google Scholar
De Chennieviéres, Ph. and A. de Montaiglon, ed. Abecedario de P.J. Mariette. Vol. 1. Paris, 1851-53.Google Scholar
De Laborde, Leon. La Renaissance des Arts à la Cour de France. Vol. 2. Paris, 1850.Google Scholar
De Tervarent, Guy. Les Enigmes de L'Art IV, L'Art Savant. Bruges, n.d. Dover, Kenneth, ed. Plato, Symposium. Cambridge, 1980.Google Scholar
Duplessis, Georges.and Georges Riat. Catalogue de la Collection des Portraits Francais et Étrangers. Vol. 4. Paris, 1899.Google Scholar
Ehrmann, Jean. Antoine Caron, peintre a la cour des Valois. Paris, 1955.Google Scholar
Félix, Engerand, ed. Inuentaire des Tableaux du Roy rédigé en 1709 et 1790 par Nicolas Bailly. Paris, 1899.Google Scholar
Erlande-Brandenburg, A. “Emblématique.“ Bulletin Monumental 134 (1976): 5.Google Scholar
Erlanger, Philippe. Charles Quint. Paris, 1980.Google Scholar
Ettinger, Leopold D.. “Hercules Florentinus.“ Mitteilungen des Kunsthistorischen Instituts in Florenz 16 (1972): 119-42.Google Scholar
Festugière, Jean. La Philosophic de Vamour de Marsile Ficin et son influence surla Litte'rature Francaise au XVIe Siecle. Paris, 1941.Google Scholar
Fowler, H. W. and Fowler, F. G., trans. The Works of Lucian of Samosata. Vol. 3. Oxford, 1905.Google Scholar
François, Michel. L'Heptameron, des notes et tin index des nornspropes. Paris, 1943.Google Scholar
Frank, Félix, ed. Marguerite de Navarre: Les Marguerites de la Marguerite des Princesses. Geneva, 1970.Google Scholar
Freedberg, S. J. Painting in the High Renaissance in Florence and Rome. 2 vols. Cambridge, MA, 1961.Google Scholar
Gelernt, Jules. World of Many Loves: The Heptaméron of Marguerite de Navarre. Chapel Hill, 1966.Google Scholar
Génin, Franñois. Lettres de Marguerite d'Angouleme, Soeur de Francois Ier, Reine de Navarre. Paris, 1841.Google Scholar
Génin, Franñois. Nouvelles Lettres de la Reine de Navarre addressees au Roi Francois ler son Frere. Paris, 1842.Google Scholar
Godefroy, Frédéric. Dictionnaire de I'ancienne Langue Francaise. Paris, 1883.Google Scholar
Gohin, Ferdinand. Antoine Héroët, Oeuvres Poe'tiques: Edition Critique. Paris, 1943.Google Scholar
Goldscheider, Ludwig. Unknown Renaissance Portraits. New York, 1952.Google Scholar
Gregory, Horace. trans. Ovid, The Metamorphoses. New York, 1958.Google Scholar
Guiffrey, Jules. Les Dessins de L'Histoire des Rois de France par Nicolas Houel. Paris, 1920.Google Scholar
Guthrie, Kenneth S.., trans. Plotinus, Complete Works. Vol. 3. London, 1918.Google Scholar
Guy, Henry. Histoire de la Poe'sie Francaise au XVIe Siecle: Clement Marot et son Ecole. Vol. 2. Paris, 1968.Google Scholar
Hallowell, Robert E.. “Ronsard and the Gallic Hercules Myth.” Studies in the Renaissance 9 (1962): 242-55.Google Scholar
Hay ward, John F. “The Revival of Roman Armour in the Renaissance.” In Art, Arms, and Armour: An International Anthology, ed. Robert Held, 1:144-63. Chiasso, 1979.Google Scholar
Herbet, Félix. Le Chateau de Fontainebleau. Paris, 1937.Google Scholar
Hoffmeyer, Ada Bruhn. “From Medieval Sword to Renaissance Rapier.” In Art, Arms, and Armour: An International Anthology, ed. Robert Held, 1:52-79. Chiasso, 1979.Google Scholar
Holban, Marie. “Quelques Remarques Critiques sur Francois de Moulins.” Bibliothéque d'Humanisme et Renaissance 52 (1990): 23–36.Google Scholar
Huon, Antoinette. “Le Theme du Prince dans les Entrées Parisiennes au XVIe Siécle.” In Les Fëtes de la Renaissance, ed. jacquot, Jean, 1:21-30. Paris, 1956.Google Scholar
Ives, George B.., ed. and trans. Geofroy Tory, Champfleury. New York, 1927.Google Scholar
Jayne, Sears Reynolds. Marsilio Ficino's Commentary on Plato's Symposium. Columbia, MO, 1944.Google Scholar
Johnson, W. McAllister. “Numismatic Portraiture in Renaissance France.” The Art Quarterly 31 (1968): 123-53.Google Scholar
Johnson, W. McAllister. L'École de Fontainebleau, 17 October 1972 to 15 January 1973. Vol. 27. Paris, 1972.Google Scholar
Joost-Gaugier, Christiane L. “A Rediscovered Series of Uomini Famosi from Quattrocento Venice.” The Art Bulletin 58 (1956): 184-95.Google Scholar
Jourda, Pierre. “Marguerite de Navarre, 'Dialogue en Forme de Vision Nocturne.' ” Revue du Seiziéme Siècle 13 (1926): 1–49.Google Scholar
Jourda, Pierre. Marguerite d'Angoulême Duchesse d'Alençon, Reine de Navarre (1492-1549) Étude Biographique et Littéraire. 2 vols. Paris, 1930.Google Scholar
Jourda, Pierre. Répertoire analytique et chronologique de la Correspondence de Marguerite d'Angouleme, Duchesse d'Alencon, Reine de Navarre. Paris, 1930.Google Scholar
Jowett, Benjamin. trans. The Dialogues of Plato. Oxford, 1875.Google Scholar
Kerr, H. T. and Kerr, H. T. Jr. “The Song of Songs.” In The Interpreter's Bible, ed. Buttrick, George A., 5:91-148. New York, 1956.Google Scholar
Knecht, Robert J.. Francis I. New York, 1982.Google Scholar
Köhler, Ludwig. Old Testament Theology. Trans. A. S. Todd. Philadelphia, 1957.Google Scholar
Kustenberg, Kurt. Le Rosso. Paris, 1931.Google Scholar
Laking, Sir Guy Francis. A Record of European Armour and Arms through Seven Centuries. Vol. 4. London, 1921.Google Scholar
Laumonier, Paul. Ronsard, Poete Lyrique. 3d ed. Paris, 1932.Google Scholar
Lebeque, Raymond. “Une Theme Ovidien Traitee par le Primatice and par Ronsard.“ Gazette des Beaux-Arts 55 (1960): 301-06.Google Scholar
Lecoq, Anne-Marie. “Le Salamandre Royale dans les Entrées de François Ier.” In Les Fétes de la Renaissance, ed. Jean Jacquot, 3:93-104. Paris, 1956.Google Scholar
Lecoq, Anne-Marie. François Ier imaginaire. Symbolique et politique à I'aube de la Renaissance fran÷aise. Paris, 1987.Google Scholar
Lefranc, Abel. Les Derniéres Poésies de Marguerite de Navarre. Paris, 1896.Google Scholar
Lefranc, Abel. Grands Écrivains Francais de la Renaissance. Paris, 1914.Google Scholar
Lefranc, Abel.and Jacques Boulenger. Comptes de Louise de Savoie (1515-1522) et de Marguerite d'Angoulême (1512, 1511, 1529, 1539). Paris, 1905.Google Scholar
Leguag, P. “Caylus.” In Dictionnaire de Biographic Francaise, ed. M. Prévost and Roman Amat, cols. 1518-21. Paris, 1956.Google Scholar
Le Prince, Nicolas Thomas. Tableau historique de la Bibliothèque du Roy et sur chacun des dépôts qui la composent, avec la description des bâilments et des objet dans ces differens dépô Google Scholar
Linzeller, André. Iiwentati*. Graveurs du Seizieme Siecle. 2. 1932.Google Scholar
Longeon, Claude. ed. Étiennc Dolet, Le Second Enfer. Geneva, 1978.Google Scholar
MacDonald, William C.. “Maximilian I of Habsburg and the Veneration of Hercules: On the Revival of Myth and the German Renaissance.” The Journal of Medieval and Renaissance Studies 6 (1976): 139-54.Google Scholar
Maier, Bruno. ed. Benvenuto Cellini, Òpere. Milan, 1968.Google Scholar
Marichal, Robert. ed. Marguerite de Navarre, La Navire ou Consolation du Roi François Ier à Sa Soeur Marguerite. Paris, 1956.Google Scholar
Mayer, C. A., ed. Clement Marot, Oeuvres Diverses Rondeaux, Ballades, Chants- Royaux, Épitaphes, Étrennes, Sotmets. London, 1968.Google Scholar
Mayer, C. A.. Clement Marot, LesEpigrammes. London, 1970.Google Scholar
Mazerolle, F. Les Medailleurs Français du XVe Siècle au Milieu du XVlle. Vol. 2. Paris, 1902.Google Scholar
Meeks, Wayne A.. “The Image of the Androgyne: Some Uses of a Symbol in Early Christianity.” History of Religions 13 (1974): 165–208.Google Scholar
Mellen, Peter. Jean Clouet, Complete Edition of the Drawings, Miniatures, and Paintings. New York, 1971.Google Scholar
Orth, Myra. “A French Illuminated Treaty of 1527.” Burlington Magazine 123 (1980): 125-26, 139.Google Scholar
Orth, Myra. “François du Moulin and Albert Pigghe, Les Commentaires de la guerre gallique.“ In Renaissance Painting in Manuscripts, Treasures from the British Library, ed. Kern, Thomas, 181-86. New York, 1983.Google Scholar
Orth, Myra. “Introduction.” In Livres d'heures royaux: La peinture de manuscrits a la courde France au temps de Henri II, 3-27. Paris, 1993.Google Scholar
Oulmont, Charles. “La Fresque de la ‘Tour de Ligue’ au Chateau de Tanlay.” La Revue de L'Art Ancien et Moderne 64 (1933): 183-85.Google Scholar
Panofsky, Erwin.and Dora Panofsky. “The Iconography of the Galerie François Ier at Fontaineb leau.” Gazette des Beaux-Arts 52 (1958): 113-90.Google Scholar
Portalis, Roger.and Henri Béraldi. Les Graveurs du Dix-Huitième Siécle. Vol. 1. Paris, 1880.Google Scholar
Poujol, Jacques. “Etymologies legendaires des mot France et Gaule.” PMLA 72 (1957): 900-14.Google Scholar
Praz, Mario. Studies in Seventeenth Century Imagery. 2 vols. London, 1939.Google Scholar
Pressouyre, Sylvia. “Le cadre architectural.“ In Le Galerie François Ier au château de Fontainebleau, 13–24. Paris, 1972.Google Scholar
Rackham, H. ed. Cicero, De natura deorum academica. New York, 1933.Google Scholar
Reed, ue Welch and Richard Wallace. Italian Etchers of the Renaissance. Boston, 1989.Google Scholar
Reverseau, Jean-Pierre. “The Classification of French Armour by Workshop Styles, 1500-1600. “In Art, Arms, and Armour: An International Anthology, ed. Robert Held. 1:202-09. Chiasso, 1979.Google Scholar
Reverseau, Jean-Pierre. Musée de L'Annie Paris: Les Armes et la Vie. Paris, 1982.Google Scholar
Rosen, Stanley. Plato's Symposium. New Haven and London, 1968.Google Scholar
Roy, Maurice. Le Grand Artiste de la Renaissance: Le Sculpteur Pierre Bontemps. Paris, 1911.Google Scholar
Roy, Maurice. “Philibert de Lorme, Son Oeuvre à Saint-Denis, Vincennes, Fontainebleau, Anet, Paris: Le Tombeau de Francois Ier.“ In Artistes et Monuments de la Renaissance en France, 157-68. Paris, 1929.Google Scholar
Saulnier, Verdun L.. “Sebillet, du Bellay, Ronsard, L'Entrée de Henri II à Paris et la Revolution Po£tique de 15 50.” In Les Fe∼tes de la Renaissance, ed. Jean Jacquot. 1:31-59. Paris, 1956.Google Scholar
Scalini, Mario. “The Weapons of Lorenzo de'Medici.” In Art, Arms, and Armour: An International Anthology, ed. Robert Held, 12-22. Chiasso, 1979.Google Scholar
Schmidt, Albert-Marie. “Traducteurs Francois de Platon (1536-1550).” In Études sur le XVe Siècle, 17–44. Paris, 1967.Google Scholar
Schneegans, Frederick Edward. “A Propos d'une Note sur une Fresque Mythologique du XVIe Siècle.” Humanism et Renaissance 2 (1935): 441-44.Google Scholar
Seznac, Jean. The Survival of the Pagan Gods. Trans. Barbara F. Sessions. Rev. ed., New York, 1953.Google Scholar
Smith, P. M. Clement Marot, Poet of the Renaissance. London, 1970.Google Scholar
Terrasse, Charles. Francois Ier le Roi et le Regne. 3 vols. Paris, 1948.Google Scholar
Thomas, Bruno. “Le armures de parade des Rois de France.” In Acts du Colloque International sur L'Art en France, ed. Andre Chastel, 57-64. 69. Paris, 1975.Google Scholar
Thomas, Ruth. ed. Marguerite de Navarre, Marguerite de la Marguerite des Princesses, Tresillustre Royne de Navarre. Paris, 1970.Google Scholar
Toynbee, Jocelyn. Roman Medallions. New York, 1944.Google Scholar
Van, Driel-Murray, C , ed. Roman Military Equipment: The Sources of Evidence. Oxford, 1989.Google Scholar
Van Marie, Raimond. The Development of the Italian School of Painting. Vols. 2 an. 3. The Hague, 1924.Google Scholar
Vernant, J. P. Les origines de la penste grecque. Paris, 1962.Google Scholar
Vivanti, Corrando. “Henry IV, The Gallic Hercules. “ Journal of the Warburg and Courtauld Institutes 30 (1967): 176-97.Google Scholar
Von Rad, Gerhard. Genesis: A Commentary. Trans. Marks, John H.. Rev. ed., Philadelphia, 1972.Google Scholar
Wade, Claire Lynch. Marguerite de Navarre, Les Prisons: A French and English Edition. New York, 1989.Google Scholar
Waddington, Raymond B.. “The Bisexual Portrait of Francis I: Fontainebleau, Castiglione, and the Tone of Courtly Mythology.“ In Playing with Gender: A Renaissance Pursuit, ed. JeanR. Brink, et al., 99. 132. Urbana and Chicago, 1990.Google Scholar
Walker, Daniel P.. The Ancient Theology: Studies in Christian Platonism from the Fifteenth to the Eighteenth Century. Ithaca, 1972.Google Scholar
Wind, Edgar. Pagan Mysteries of the Renaissance. New York, 1958.Google Scholar
Zerner, Henri. “L'eau forte à Fontainebleau, le rôle de Fantuzzi.” Artde France 4 (1964): 70–85.Google Scholar
Zerner, Henri. “Les estampes et le style de l'ornement.“ In La Galerie Francois Ier au château de Fontainebleau, 112-23. Paris, 1972.Google Scholar