Harper's New Monthly Magazine, Vol. 1. No 1, June 1850

Galeazzo died first. His son, Giovanni-Galeazzo, succeeded, and matched the unscrupulous ambition of his uncle with a subtlety equal to his own. Not satisfied with a divided sway, he maneuvered unceasingly until he made himself master of the persons of Bernabos and his two sons. The former he kept a close prisoner for seven months, and afterward put to death by poison. The cruelty and pride of Bernabos had rendered him so odious to his subjects, that they made no effort on his behalf, but submitted without opposition to the milder government of Giovanni-Galeazzo. He was no less successful in obtaining another object of his ambition. He received from the Emperor Wenceslaus the investiture and dukedom of Milan, for which he paid the sum of 100,000 florins, and now saw himself undisputed master of Lombardy.

The court of Milan, during such a period, seems a strange theatre for the display of graceful and feminine virtues. Yet it was here, and under the immediate eye of her father, this very Giovanni-Galeazzo, that Valentina Visconti, one of the most amiable female characters of history, passed the early days of her eventful life. As the naturalist culls a wild flower from the brink of the volcano, the historian of the dynasty of Milan pauses to contemplate her pure and graceful character, presenting itself among the tyrants, poisoners, murderers, and infidels who founded the power and amassed the wealth of her family. It would be sad to think that the families of the wicked men of history partook of the crimes of their parents. But we must remember that virtue has little charm for the annalist; he records what is most calculated to excite surprise or awake horror, but takes no notice of the unobtrusive ongoings of those who live and die in peace and quietness. We may be sure that among the patrons of Petrarch there was no want of refinement, or of the domestic amenities with which a youthful princess, and only child, ought to be surrounded. In fact, we have been left the most permanent and practical evidences of the capacity of these tyrants for the enjoyment of the beautiful. The majestic cathedral of Milan is a monument of the noble architectural taste of Valentina's father. In the midst of donjons and fortress-palaces it rose, an embodiment of the refining influence of religion; bearing in many respects a likeness to the fair and innocent being whose fortunes we are about to narrate, and who assisted at its foundation. The progress of the building was slow; it was not till a more magnificent usurper than any of the Visconti assumed the iron-crown of Lombardy, in our own generation, that the general design of the Duomo of Milan was completed. Many of the details still remain unfinished; many statues to be placed on their pinnacles; some to be replaced on the marble stands from which they were overthrown by the cannon of Radetski. Of the old castle of the Visconti two circular towers and a curtain wall alone remain: its court-yard is converted into a barrack, its moats filled up, its terraced gardens laid down as an esplanade for the troops of the Austrian garrison. The family of the Visconti have perished. Milan, so long the scene of their glory, and afterward the battle-ground of contending claimants, whose title was derived through them, has ceased to be the capital of a free and powerful Italian state: but the Cathedral, after a growth of nearly four centuries, is still growing; and the name of the gentle Valentina, so early associated with the majestic Gothic edifice, "smells sweet, and blossoms in the dust."

The year after the foundation of the Duomo, Valentina Visconti became the bride of Louis Duke of Orleans, only brother to the reigning monarch of France, Charles VI. Their politic father, the wise King Charles, had repaired the disasters occasioned by the successful English invasion, and the long captivity of John the Second. The marriage of Valentina and Louis was considered highly desirable by all parties. The important town of Asti, with an immense marriage portion in money, was bestowed by Giovanni-Galeazzo on his daughter. A brilliant escort of the Lombard chivalry accompanied the "promessa sposa" to the French frontier.

Charles VI. made the most magnificent preparations for the reception of his destined sister-in-law. The weak but amiable monarch, ever delighting in fêtes and entertainments, could gratify his childish taste, while displaying a delicate consideration and brotherly regard for Louis of Orleans. The marriage was to be celebrated at Mélun. Fountains of milk and choice wine played to the astonishment and delight of the bourgeois. There were jousts and tournaments, masks, and banquets, welcoming the richly-dowered daughter of Milan. All promised a life of secured happiness; she was wedded to the brave and chivalrous Louis of Orleans, the pride and darling of France. He was eminently handsome; and his gay, graceful, and affable manners gained for him the strong personal attachment of all who surrounded him. But, alas! for Valentina and her dream of happiness, Louis was a profligate; she found herself, from the first moment of her marriage, a neglected wife: her modest charms and gentle deportment had no attractions for her volatile husband. The early years of her wedded life were passed in solitude and uncomplaining sorrow. She bore her wrongs in dignified silence. Her quiet endurance, her pensive gentleness, never for a moment yielded; nor was she ever heard to express an angry or bitter sentiment. Still she was not without some consolation; she became the mother of promising children, on whom she could bestow the treasures of love and tenderness, of the value of which the dissolute Louis was insensible. Affliction now began to visit the French palace. Charles VI. had long shown evidences of a weak intellect. The events of his youth had shaken a mind never robust: indeed they were such as one can not read of even now without emotion.

During his long minority the country, which, under the prudent administration of his father, had well nigh recovered the defeats of Cressy and Poietiers, had been torn by intestine commotions. The regency was in the hands of the young king's uncles, the dukes of Anjou and Burgundy. The latter inheriting by his wife, who was heiress of Flanders, the rich provinces bordering France on the northeast, in addition to his province of Burgundy, found himself, in some respects, more powerful than his sovereign. The commercial prosperity of the Low Countries filled his coffers with money, and the hardy Burgundian population gave him, at command, a bold and intrepid soldiery.

From his earliest years, Charles had manifested a passion for the chase. When about twelve years old, in the forest of Senlis, he had encountered a stag, bearing a collar with the inscription, "Cæsar hoc mihi donavit." This wonderful stag appeared to him in a dream a few years afterward, as he lay in his tent before Roosebeke in Flanders, whither he had been led by his uncle of Burgundy to quell an insurrection of the citizens of Ghent, headed by the famous Philip van Artevelde. Great had been the preparations of the turbulent burghers. Protected by their massive armor, they formed themselves into a solid square bristling with pikes. The French cavalry, armed with lances, eagerly waited for the signal of attack. The signal was to be the unfurling of the oriflamme, the sacred banner of France, which had never before been displayed but when battling against infidels. It had been determined, on this occasion, to use it against the Flemings because they rejected the authority of Pope Clement, calling themselves Urbanists, and were consequently looked on by the French as excluded from the pale of the church. As the young king unfurled this formidable banner, the sun, which had for days been obscured by a lurid fog, suddenly shone forth with unwonted brilliancy. A dove, which had long hovered over the king's battalion, at the same time settled on the flag-staff.

"Now, by the lips of those you love, fair gentlemen of France,Charge for the golden lilies – upon them with the lance!"

The French chivalry did indeed execute a memorable charge on these burghers of Ghent. Their lance points reached a yard beyond the heads of the Flemish pikes. The Flemings, unable to return or parry their thrusts, fell back on all sides. The immense central mass of human beings thus forcibly compressed, shrieked and struggled in vain. Gasping for breath, they perished, en masse, suffocated by the compression, and crushed under the weight of their heavy armor. A reward had been offered for the body of Philip van Artevelde: it was found amid a heap of slain, and brought to the king's pavilion. The young monarch gazed on the mortal remains of his foe, but no wound could be discovered on the body of the Flemish leader – he had perished from suffocation. The corpse was afterward hanged on the nearest tree. When the king surveyed this horrible yet bloodless field, the appalling spectacle of this mass of dead, amounting, it is said, to 34,000 corpses, was more than his mind could bear. From this period unmistakable evidences of his malady became apparent. The marvelous stag took possession of his fancy; it seemed to him the emblem of victory, and he caused it to be introduced among the heraldic insignia of the kingdom.

In his sixteenth year, the king selected, as the partner of his throne, the beautiful Isabeau of Bavaria. She also was a Visconti by the mother's side, her father having wedded one of the daughters of Bernabos. In her honor various costly fêtes had been given. On one of these occasions the royal bridegroom displayed his eccentricity in a characteristic manner. The chroniclers of the time have given us very detailed accounts of these entertainments. The costumes were extravagantly fantastic: ladies carried on their head an enormous hennin, a very cumbrous kind of head-dress, surmounted by horns of such dimensions, that their exit or entrance into an apartment was a work of considerable difficulty. The shoes were equally absurd and inconvenient; their pointed extremities, half a yard in length, were turned up and fastened to the knees in various grotesque forms. The robes, the long open sleeves of which swept the ground, were emblazoned with strange devices. Among the personal effects of one of the royal princes we find an inventory of about a thousand pearls used in embroidering on a robe the words and music of a popular song.

The chronicle of the Religieux de St. Denis describes one of these masked balls, which was held in the court-yard of that venerable abbey, temporarily roofed over with tapestries for the occasion. The sons of the Duke of Anjou, cousins of the king, were prepared to invade Naples, in right of their father, to whom Joanna of Naples had devised that inheritance. Previous to their departure, their royal cousin resolved to confer on them the order of knighthood. An immense concourse of guests were invited to witness the splendid ceremonial, and take part in the jousts and tournaments which were to follow. The king had selected a strange scene for these gay doings. The Abbey of St. Denis was the last resting-place of the kings of France. Here mouldered the mortal remains of his predecessors, and here were to repose his bones when he, too, should be "gathered to his fathers." The celebrated "Captain of the Companies," the famous du Guesclin, the saviour of France in the reign of his father, had paid the debt of nature many years before, and reposed there among the mortal remains of those whose throne he had guarded so well. The astonishment of the guests was extreme, when it appeared that the exhumation and reinterment of du Guesclin formed part of the programme of the revels. The old warrior was taken up, the funeral rites solemnly gone through, three hundred livres appropriated to the pious use of masses for his soul, and the revelers dismissed to meditate on the royal eccentricities.

The murder of the Constable of France, Oliver de Clisson, followed soon after, and quite completed the break down of poor Charles's mind. This powerful officer of the crown had long been feared and hated by the great feudal lords especially by the Duke of Brittany, who entertained an absurd jealousy of the one-eyed hero. Although Clisson, by his decisive victory at Auray, had secured to him the contested dukedom of Brittany, the jealous duke treacherously arrested his benefactor and guest, whom he kept prisoner in the dungeons of his castle of La Motte. In the first transports of his fury the duke had given orders that de Clisson should be put to death; but his servants, fearing the consequences of so audacious an act, left his commands unexecuted. Eventually, the Constable was permitted by his captor to purchase his freedom, a condition which was no sooner complied with, than the duke repented having allowed his foe to escape from his hands. He now suborned Pierre de Craon, a personal enemy of de Clisson, to be the executioner of his vengeance. The Constable was returning to his hotel, having spent a festive evening with his sovereign, when he was set on by his assassins. He fell, covered with wounds, and was left for dead. To increase his torments, the murderer announced to him, as he fell, his name and motives. But, though severely injured, Clisson was yet alive. The noise of the conflict reached the king, who was just retiring to rest. He hastened to the spot. His bleeding minister clung to his robe, and implored him to swear that he should be avenged.

"My fidelity to your majesty has raised up for me powerful enemies: this is my only crime. Whether I recover or perish from my wounds, swear to me that I shall not be unavenged."

"I shall never rest, so help me God," replied the excited monarch, "until the authors of this audacious crime shall be brought to justice."

Charles kept his word. Although suffering from fever, the result of this night's alarm and exposure, he collected a considerable army, and marched for Brittany. His impatient eagerness knew no bounds. Through the sultry, noonday heat, over the arid plains and dense forests of Brittany, he pursued the assassin of his Constable. He rode the foremost of his host; often silently and alone. One day, having undergone great personal fatigue, he had closed his eyes, still riding forward, when he was aroused by the violent curveting of his steed, whose bridle had been seized by a wild-looking man, singularly clad.

"Turn back, turn back, noble king," cried he; "to proceed further is certain death, you are betrayed!" Having uttered these words, the stranger disappeared in the recesses of the forest before any one could advance to arrest him.

The army now traversed a sandy plain, which reflected the intensity of the solar rays. The king wore a black velvet jerkin, and a cap of crimson velvet, ornamented with a chaplet of pearls. This ill-selected costume rendered the heat insufferable. While musing on the strange occurrence in the forest, he was aroused by the clashing of steel around him. The page, who bore his lance, had yielded to the drowsy influences of the oppressive noonday heat, and as he slumbered his lance had fallen with a ringing sound on the casque of the page before him. The succession of these alarms quite damaged Charles's intellect. He turned, in a paroxysm of madness, crying, "Down with the traitors!" and attacked his own body-guard. All made way, as the mad king assailed them. Several fell victims to his wildly-aimed thrusts, before he sunk at length, exhausted by his efforts, a fit of total insensibility followed. His brother of Orleans and kinsman of Burgundy had him conveyed by slow stages to Paris.

Charles's recovery was very tedious. Many remedies were tried – charms and incantations, as well as medicines; but to the great joy of the people, who had always loved him, his reason was at length pronounced to be restored, and his physicians recommended him to seek amusement and diversion in festive entertainments.

Another shock, and Charles VI. became confirmed lunatic. This tragical termination of an absurd frolic occurred as follows:

On a gala occasion the monarch and five knights of his household conceived the design of disguising themselves as satyrs. Close-fitting linen dresses, covered with some bituminous substance, to which was attached fine flax resembling hair, were stitched on their persons. Their grotesque figures excited much merriment. The dukes of Orleans and Bar, who had been supping elsewhere, entered the hall somewhat affected by their night's dissipation. With inconceivable folly, one of these tipsy noblemen applied a torch to the covering of one of the satyrs. The miserable wretch, burning frightfully and hopelessly, rushed through the hall in horrible torments, shrieking in the agonies of despair. The fire was rapidly communicated. To those of the satyrs, whose hairy garments were thus ignited, escape was hopeless. To detach the flaming pitch was impossible; they writhed and rolled about, but in vain: their tortures only ended with their lives. One alone beside the king escaped. Recollecting that the buttery was near, he ran and plunged himself in the large tub of water provided for washing the plates and dishes. Even so, he did not escape without serious injuries. The king had been conversing in his disguise with the young bride of the duke of Berri. She had recognized him, and with admirable presence of mind and devotion, she held him fast, covering him with her robe lest a spark should descend on him. To her care and energy he owed his preservation from so horrible a fate; but, alas! only to linger for years a miserable maniac. The terrible spectacle of his companions in harmless frolic perishing in this dreadful manner before his eyes, completed the wreck of his already broken intellect. His reason returned but partially. Even these slight amendments were at rare intervals. He became a squalid and pitiable object; his person utterly neglected, for his garments could only be changed by force. His heartless and faithless wife deserted him – indeed, in his insane fits his detestation of her was excessive – and neglected their children. One human being only could soothe and soften him, his sister-in-law, Valentina Visconti.

Charles had always manifested the truest friendship for the neglected wife of his brother. They were alike unhappy in their domestic relations; for the gallantries of the beautiful queen were scarcely less notorious than those of Louis of Orleans; and if scandal spoke truly, Louis himself was one of the queen's lovers. The brilliant and beautiful Isabeau was distinguished by the dazzlingly clear and fair complexion of her German fatherland, and the large lustrous eyes of the Italian. But Charles detested her, and delighted in the society of Valentina. He was never happy but when near her. In the violent paroxysms of his malady, she only could venture to approach him – she alone had influence over the poor maniac. He yielded to her wishes without opposition; and in his occasional glimpses of reason, touchingly thanked his "dear sister" for her watchful care and forbearance.

It must have been a dismal change, even from the barbaric court of Milan; but Valentina was not a stranger to the consolations which are ever the reward of those who prove themselves self-sacrificing in the performance of duty. She was eminently happy in her children. Charles, her eldest son, early evinced a delicate enthusiasm of mind – the sensitive organization of genius. He was afterward to become, par excellence, the poet of France. In his childhood he was distinguished for his amiable disposition and handsome person. Possibly at the time of which we now write, was laid the foundation of that sincere affection for his cousin Isabella, eldest daughter of the king, which many years afterward resulted in their happy union. One of the most touching poems of Charles of Orleans has been charmingly rendered into English by Mr. Carey. It is addressed to his deceased wife, who died in child-bed at the early age of twenty-two.

"To make my lady's obsequies,My love a minster wrought,And in the chantry, service thereWas sung by doleful thought.The tapers were of burning sighs,That light and odor gave,And grief, illumined by tears,Irradiated her grave;And round about in quaintest guiseWas carved, 'Within this tomb there liesThe fairest thing to mortal eyes.'"Above her lieth spread a tomb,Of gold and sapphires blue;The gold doth mark her blessedness,The sapphires mark her true;For blessedness and truth in herWere livelily portray'd,When gracious God with both his handsHer wondrous beauty made;She was, to speak without disguise,The fairest thing to mortal eyes."No more, no more; my heart doth faint,When I the life recallOf her who lived so free from taint,So virtuous deemed by all;Who in herself was so complete,I think that she was ta'enBy God to deck his Paradise,And with his saints to reign;For well she doth become the skies,Whom, while on earth, each one did prize,The fairest thing to mortal eyes!"

The same delicate taste and sweet sensibility which are here apparent, break forth in another charming poem by Charles, composed while a prisoner in England, and descriptive of the same delightful season that surrounds us with light and harmony, while we write, "le premier printemps:"

"The Time hath laid his mantle byOf wind, and rain, and icy chill,And dons a rich embroideryOf sunlight pour'd on lake and hill."No beast or bird in earth or sky,Whose voice doth not with gladness thrill;For Time hath laid his mantle byOf wind, and rain, and icy dull."River and fountain, brook and rill,Bespangled o'er with livery gayOf silver droplets, wind their way.All in their new apparel vie,For Time hath laid his mantle by."

We have said little of Louis of Orleans, the unfaithful husband of Valentina. This young prince had many redeeming traits of character. He was generous, liberal, and gracious; adored by the French people; fondly loved, even by his neglected wife. His tragical death, assassinated in cold blood by his cousin, Jean-sans-peur of Burgundy, excited in his behalf universal pity. Let us review the causes which aroused the vindictive hostility of the Duke of Burgundy, only to be appeased by the death of his gay and unsuspicious kinsman.

Among the vain follies of Louis of Orleans, his picture-gallery may be reckoned the most offensive. Here were suspended the portraits of his various mistresses; among others he had the audacity to place there the likeness of the Bavarian princess, wife of Jean-sans-peur. The resentment of the injured husband may readily be conceived. In addition to this very natural cause of dislike, these dukes had been rivals for that political power which the imbecility of Charles the Sixth placed within their grasp.

The unamiable elements in the character of the Duke of Burgundy had been called into active exercise in very early life. While Duke de Nevers, he was defeated at Nicopolis, and made prisoner by Bajazet, surnamed "Ilderim," or the Thunderer. What rendered this defeat the more mortifying was, the boastful expectation of success proclaimed by the Christian army. "If the sky should fall, we could uphold it on our lances," they exclaimed, but a few hours before their host was scattered, and its leaders prisoners to the Moslem. Jean-sans-peur was detained in captivity until an enormous ransom was paid for his deliverance. Giovanni-Galeazzo was suspected of connivance with Bajazet, both in bringing the Christians to fight at a disadvantage, and in putting the Turks on the way of obtaining the heaviest ransoms. The splenetic irritation of this disaster seems to have clung long after to the Duke of Burgundy. His character was quite the reverse of that of his confiding kinsman of Orleans. He was subtle, ambitious, designing, crafty – dishonorably resorting to guile, where he dared not venture on overt acts of hostility. For the various reasons we have mentioned, he bore a secret but intense hatred to his cousin Louis.

In the early winter of 1407, the Duke of Orleans, finding his health impaired, bade a temporary adieu to the capital, and secluded himself in his favorite chateau of Beauté. He seems to have been previously awakened to serious reflections. He had passed much of his time at the convent of the Celestines, who, among their most precious relics, still reckon the illuminated manuscript of the Holy Scriptures presented to them by Louis of Orleans, and bearing his autograph. To this order of monks he peculiarly attached himself, spending most of the time his approaching death accorded to him. A spectre, in the solitude of the cloisters, appeared to him, and bade him prepare to stand in the presence of his Maker. His friends in the convent, to whom he narrated the occurrence, contributed by their exhortations to deepen the serious convictions pressing on his mind. There now seemed a reasonable expectation that Louis of Orleans would return from his voluntary solitude at his chateau on the Marne, a wiser and a better man, cured, by timely reflection, of the only blemish which tarnished the lustre of his many virtues.