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This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. 'Distantia Jungit': Scots Patronage of the Visual Arts in France, c.1445 – c.1545 Volume 1 Bryony J Coombs Ph.D. History of Art The University of Edinburgh 2013 'Distantia Jungit'1 1 'Unites things distant,' or 'joins things that were apart'. Bérault Stuart d'Aubigny's motto referring to his role as the 'buckle' between the kingdom of Scotland and the kingdom of France. Giovio, 1559, 92. DECLARATION I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. Signature:....................................................................... Date:......................... iii ABSTRACT This thesis examines interest in the visual arts by patrons of Scottish descent, active in France, c.1445 to c.1545: the Monypenny family, Bérault and Robert Stuart d'Aubigny, and John Stuart, Duke of Albany. During this period the Auld Alliance played a key role in relations between Scotland and France, and large numbers of Scots travelled to France as mercenaries, scholars, and diplomats. Many relocated to France permanently and were granted letters of naturalisation. This thesis argues that an examination of the visual arts commissioned by this group of patrons enhances our understanding of the integration of Scots into French society at this time. It explores how the visual arts reflected, and were used to advance their careers, social standing, and spheres of influence, broaching issues of identity and power relations. The investigation explores how artistic patronage was a vital method by which a patron could express his social identity and aspirations. Examining patronage enables the historian to acquire a greater understanding of the patron's priorities and ambitions, and allows the art historian to situate works of art in a historical framework, thus gaining a clearer understanding of their meanings. This research is important as it covers a large corpus of works that, although linked by the unusual circumstances of their patrons, have not previously been studied together. As the artistic patronage of Scots in France during this period has hitherto not been examined, it cannot be assumed that the same priorities and influences that shaped French patrons during this period also shaped the patronage examined in this study. This thesis demonstrates that in many instances the Scottish heritage of these patrons was instrumental in shaping their demands, and thus the finished work of art. The study of the patronage of the visual arts in France has become a vibrant area of research. Yet the patronage of non-native communities, such as Scots in France, remains largely unstudied. This thesis shows that there is a rich diversity of visual material, both extant and documented, which may be associated with these Scots. Furthermore, it demonstrates how examining a patrons career may provide interesting insights into their works of art; and it shows how discovering biographical details about the patrons permits a more complete reconstruction of the circumstances in which works of art were made, displayed, and understood. Whilst comparatively little visual material survives in Scotland from this period, an examination of the visual arts commissioned by Scots in France tells us a great deal about Scots' relationships to the arts at this time, and their use of works of art as a means of 'self fashioning'. This research has uncovered exciting new information regarding all patrons investigated. iv Furthermore, it has identified Bremond Domat, a previously unrecognised artist working for John Stuart, Duke of Albany, to whom a small, but important, body of work may unambiguously be attributed. v ACKNOWLEDGEMENTS I would here like to express my thanks to the many people who have helped and encouraged me in writing this thesis. First and foremost my thanks go to my supervisor Dr Tom Tolley. I have been very fortunate to have been in a position to benefit so much from his teaching and thinking. I am particularly grateful to Tom for encouraging me to combine my interest in Scottish history with the visual arts of late-medieval France. I am also grateful to Dr Heather Pulliam and to the other members of the History of Art Department for their help and encouragement. From the Scottish History Department I would particularly like to thank Dr Stephen Boardman for his enthusiasm and for providing me with suggestions regarding the Monypenny family. The research for each chapter has relied on the good will and co-operation of many people. In researching the Monypenny Breviary I am grateful for the generosity of Professor James Marrow, the assistance of Dr Christopher de Hamel, and Camilla Previte at Sotheby's. I am also grateful to Louisa Dare at the Courthauld Institute for assisting with my many image requests. For my work on the Stuart d'Aubigny family, I am very grateful to Count Béraud de Vogüé for kindly allowing me access to the chapel at la Verrerie during a visit in 2007. I am also grateful to Dr Elizabeth Bonner for providing me with much of her published material and for alerting me to her work in the la Verrerie private archives. For my work on Albany I would like to thank Maryse Viviand and Nathalie Rollet-Bricklin for allowing me access to Ms. 936 at the Bibliothèque Sainte-Geneviève, Paris. I am, furthermore, extremely grateful to Nabil Boutros for his meticulous photography and for providing me with images at a rate I could afford! I would like to thank Victor Olivier and Margreet Vos at the Koninklijke Bibliotheek, in the Hague for allowing me access to Ms. 74 G 11. For my research in the Auvergne I am grateful to Vincent Guichard, (ARAFA), for his enthusiastic response to my enquiries regarding Maison Domat, and to Monique Bresson, présidente de Miraflou, for so kindly providing me with images of the graffiti uncovered in this building. Throughout the course of my research I visited and contacted many galleries, libraries, and museums, the staff at which were always extremely helpful and generous with their time. I am particularly grateful to the staff at the Archives nationales, Paris and the Centre national du microfilm. Also to staff at the Bibliothèque nationale de France, Paris; Bibliotheque de Geneve, Geneva; and the Österreichische Nationalbibliothek, Vienna for dealing with my various manuscript related enquiries. I would like to thank Adrienne Sharpe at the Beinecke Rare Book and Manuscript vi Library, Yale, for her enthusiastic assistance with Ms 659. In Britain I am indebted to Zoë Stansell at the British Library and also to Tim Pye. I would also like to thank Jennifer Adam and Ben Alsop in the Coins and Medals Department, and Paul Johnson at the National Archives, Kew Surrey. In Scotland I am grateful to Sally Pagan at Edinburgh University Library, and Fiona Neale at Glasgow University Library. Also to Margaret Wilson at the National Museums of Scotland, to Andrew McLean, at Mount Stuart, Bute, and to David Taylor at the Scottish National Portrait Gallery. I am also very grateful to Carly Thomson at the National Archives in Edinburgh for arranging photography of Papal Bull CH7/46 and to Dr Alison Rosie for her extensive enquiries on my behalf as to the possible whereabouts of the so-called Marchmont Libre Pluscardensis. For funding I am grateful to the History of Art Department at Edinburgh University for providing me with a College Scholarship, and for granting me PRE funding for work in London in 2010. I am also grateful to the James H. Fenton Trust for the Extra Study Awards in 2009 and 2010 that made several of my research trips possible. Lastly I would like to thank my friends, my sister, Tamsin, and my parents, Penny and Carey, for their unwavering support and encouragement. I would also like to thank my parents-in- law, Dana and Michael, for their interest in my work, for providing me with a base in France, and with a car with which to explore France. Most of all I would like to thank my husband, Jackson, for his support, encouragement, and enthusiasm, without whom this work would not have been possible. Finally, this study is dedicated, with love, to my mother, who was almost as excited about Domat as I was, and who accompanied me on an unforgettable adventure in the Auvergne, but who unfortunately never saw this work completed. vii TABLE OF CONTENTS VOLUME I Declaration iii Abstract iv Acknowledgements vi Table of Contents viii List of Illustrations x List of Maps xxi List of Appendices xxii INTRODUCTION 1 CHAPTER 1: THE MONYPENNY FAMILY 11 Diplomacy and Espionage: The Monypenny Family in France 11 The Château de Concressault: Jean, duc de Berry and the Monypennys 23 The Patronage of the Monypenny