Yesterday I began searching for my next raptor to paint and I was captured by this lady, named, appropriately, “Imperious.”
I wanted to find out the breed of this bird and to know if it might be one my character in The Next Novel might have had experience with. In other words, what was this bird, and was it common to Elizabethan England?
I’d discovered Imperious on the website of Raphael Historical Falconry, and so I wrote to them. This morning, I had a long email from Emma Raphael, giving me a full and very interesting explanation. (People are so very generous with their knowledge!) Imperious is a Golden Eagle hybrid, and Eagles were rarely seen in Elizabethan England. In fact, there was only one recorded, in the ruins of an old castle near Chester, and was persecuted by farmers who feared for their young cattle.
The beauty of the Red Kite
The wild raptor most associated with Elizabethan England, Emma went on to explain, is the Red Kite.
The red kite might be a scavenger raptor, but it is so beautiful! I believe I may have found my next painting subject. (Note: I did!)
Emma went on to explain about red kites in Elizabethan England:
They were at their highest population levels ever at this time because of the spread of human settlements and all the open rubbish pits found in towns and villages in which they scavenged. They flocked in their hundreds and could be seen wheeling around the skies like crows whistling and calling.
She suggested I look at the painting “The Wedding at Bermondsey” — a painting of a wedding in Elizabethan London. From a detail of the painting, red kites can be seen in the sky.
Emma goes on to explain that …
The royals throughout the period hunted kites with Gyr Falcons because they were so numerous and there are lots of accounts of “kite hawking” in Londonshire, Cambridgeshire and Huntingtonshire.
Cambridgeshire is the initial location of The Next Novel, and so here, with a simple inquiry about Imperious, I have a wealth of scene possibilities.
The charm of men in bloomers
Additionally, ” Wedding at Bermondsey” is a painting I could get absorbed in for some time. The details are delicious. The 16th century is new to me, and I confess that men in bloomers are charmingly captivating.
Belgium artist Joris Hoefnagel painted “Wedding at Bermondsey” some time after his visit to the UK in 1569.
In preparing for a video presentation of The Shadow Queen to book clubs here in San Miguel de Allende, I’ve been revisiting the world of that novel — especially the magical world of 17th century theatre in Paris. Rereading this blog post, written long ago, I was captured once again by the story of Molière and his much younger wife Armande. Theirs was a story I was planning to write before I got spirited away into the world of The Game of Hope.
And so here, to share, is my post from 2009, spruced up with wonderful visuals. (Thank you, Internet!)
I’m doing a great deal of research right now into the theater world of 17th century France. My focus is on Claude de Vin des Oeillets, the daughter of actors, but along the way I’ve been encountering many wonderful characters. So many stories!
Molière’s wife Armande, 23 years his junior
One, in particular, is that of the actress Armande Béjart, Molière‘s wife. He was 40 when they married, she only 17. She had known him all her life, and must have regarded him as something of a father and teacher. Indeed, he had taken charge of her education as a child.
They were a miserable couple. It is said that Armande was heartless and vain. She was considered a frivolous, giddy flirt, and was quite likely unfaithful (possibly to Lauzun, and possibly to the comte de Guiche); certainly Molière was consumed by jealousy. After the birth of a son, and then a daughter, they lived apart, yet they continued to work together closely on the stage. Molière could simply not stop doting on her . . . and neither could the public. She was a brilliant actress, and Molière was inspired to write many roles specifically for her.
A mutual friend eventually persuaded Armande to reconcile with her increasingly consumptive and love-sick husband. She did, putting him on a strict meat diet, yet he continued to decline. On the day of the 4th performance of “The Imaginary Invalid,” in which he starred, Armande begged him not to play. He refused, knowing how many depended on the performance for their livelihood.
At the end of play, Molière (ironically playing the part of a hypochondriac) had a convulsion, which he tried to disguise with a harsh laugh. The curtain was hastily lowered and he was carried to his house. Always a comedian, he said on his deathbed: “I have set a detestable example. From now on, no playwright will be content until he has killed an actor.”
After her husband’s death, Armande proved to be anything but giddy and frivolous, fighting passionately for her husband’s right to be respectfully buried by the church (a fight she sadly lost), and then running Molière’s theatrical company with astonishing confidence and aplomb, making a number of difficult decisions that proved to be very successful. He would have been pleased.
I love her saucy attitude, but most of all I love how talented she was, and how capable she proved to be as a widow. Someday I hope to write about her.
[Note: This post was originally published on Hoydens and Firebrands, a website of women who write about the 17th century.]
A master of the sound bite, Napoleon would have been in his element in this Age of Twitter. Here is a sampling of some pithy Napoleon quotes, some of which his stepdaughter Hortense views ironically in The Game of Hope.
“What a novel my life has been!”
“Great ambition is the passion of a great character. Those endowed with it may perform very good or very bad acts. All depends on the principles which direct them.”
“If you wish to be a success in the world, promise everything, deliver nothing.”
“All celebrated people lose dignity on a close view.”
“Courage is like love; it must have hope for nourishment.”
“Victory belongs to the most persevering.”
“History is the lies we all agree upon.”
“What then is, generally speaking, the truth of history? A fable agreed upon.”
“A throne is only a bench covered in velvet.”
“Our hour is marked, and no one can claim a moment of life beyond what fate has predestined.”
“A leader is a dealer in hope.”
“Never interrupt your enemy when he is making a mistake.”
What are some of your favorites? SaveSave
While researching The Game of Hope, intrepid traveller and fellow Francophil Ann Coombs sent me photos she took at a special exhibition at Malmaison. This was the one that took my breath away:
It’s a mock-up of the house Josephine rented before she met Napoleon, then on Rue Chantereine. After his victories in Italy, the street was renamed Rue de la Victoire, and Josephine had the house decorated in a military theme, a style she used again years later at Malmaison.
The tented entry is very like the one she added to Malmaison:
I thought Josephine made the tented addition to the house after marrying Napoleon, but according to “The House on the Rue de la Victorie” by Ira Grossman, she did this before she’d even met Napoleon. “She turned the terrace of the house into a veranda under a wooden tent which was hung with cotton draperies and decorated with painted or carved flags and pennants.”
It was especially exciting to see a mock-up of Chantereine because there was so very little known about this house. In writing about Hortense, I had a more accurate sense of the place.
Click here to read more of what I’ve discovered about enchanting Chantereine.
See also: The House on the Rue de la Victoire.SaveSave
Hortense was an exceptionally creative person. At Madame Campan’s Institute she was fortunate to have Isabey for an art instructor and Jadin for music. Hortense painted and composed songs throughout her life, but she is most known for the song “Partant pour la Syrie,” which remains popular today. You can hear a lovely performance of this song here, by a singer wearing a gown very much like one Hortense might have worn.
Hortense’s creative process
How did this song come to be written? What was Hortense’s creative process? There are hints in something she wrote:
At Constance, I had few books and no collection of poems in which I could find words. I once made some verses for my brother; I tried to compose, but the obligation to find a rhyme, to confine myself to a measure, soon tired me and after a few bad verses, I was left to the music. (See the French original below.)
This gives us an idea about Hortense’s creative process: she would write melody, and search in books for the verse.
Partent pour la Syrie
She wrote that she wrote “Partent pour la Syrie” at Malmaison, while Josephine was playing tric-trac, an old form of backgammon. The date she composed it isn’t known. One theory is that Hortense wrote the melody, and that the words were created by Alexandre de Laborde in or about 1807.
Under the Restoration (when Napoleon was overthrown and monarchy restored), “Partent pour la Syrie” became the rallying song for those in support of Napoleon. Hortense’s son Napoleon III made it a national hymn.
Hortense as composer
As an adult, Hortense composed many songs, then called “Romances.”
You can “leaf” through this lovely book online: here.
A Constance, je n’avais que peu de livres et aucun recueil de poésies où je pusse trouver des paroles. J’avais fait autrefois quelques couplets pour mon frère; j’essayai d’en composer, mais l’obligation de trouver une rime, de me renfermer dans une mesure me fatigua bientôt et, après quelques mauvais vers, j’en restai à la musique.
—from “La reine Hortense et la musique” by Marie-Claude Chaudonneret in La Reine Hortense, Une femme artiste, a publication made for the 1993 exposition at Malmaison, France.
I have been doing quite a bit of research into Phantasmagorie for the Young Adult novel I’m writing about Josephine’s daughter Hortense.
Phantasmagoria was an extremely popular “show” put on for both children and adults in France after the French Revolution, featuring the appearance of ghouls, ghosts, spectres and apparitions.
It was shown in other countries of Europe, but it was by far most popular in France, where so many had lost loved ones during the Terror, and where, apparently, a hunger for contact with the afterlife was strong.
Etienne-Gaspard Robertson (1763 – 1837) was the mastermind behind these productions. His first French exhibition of “Fantasmagorie” was at the Pavillon de l’Echiquier in Paris. He later staged it in the abandoned chapel of a Capuchin monastery near the Palace Vendome.
Robertson devised a double-lens lantern on wheels to create his ghostly effect, an invention which is considered the predecessor of the motion-picture camera. (In 1799 he got a patent for this camera, calling it a Fantoscope.)
To create the shadow play, Robertson used smoke, huge sheets of glass, mirrors, and several mobile lanterns. He would project from below the stage, and the hidden movement of a lantern created the illusion of motion. He would change the position of the lens to show a figure growing larger (and apparently closer), yet remaining in sharp focus. He also used rear projection, and projection onto gauze coated with wax, ironed to give a translucent appearance.
The purpose of the show was to terrify the audience—and it succeeded. It could well be considered the forefather of today’s horror movie.
Much of this information is from The History of the Discovery of Cinematography by Paul Burns, which unfortunately is not available on-line at this time.
For excellent documents, see The Richard Balzer Collection.
For a bibliography of books related to the history of cinematography, click this link.
For a full programme: Fantasmagorie de Robertson, Cour des Capucines, près la place Vendôme.
Robertson describes some of his phantasmagoria in his Mémoires.
(Phantasmagoria is not to be confused, by the way, with the 1995 interactive video game: Phantasmagoria!)