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Troubadour style

February 16, 2024

Taking its name from medieval troubadours, the Troubadour Style (French: Style troubadour) is a rather derisive term,[1] in English usually applied to French historical painting of the early 19th century with idealised depictions of the Middle Ages and the Renaissance. In French it also refers to the equivalent architectural styles. It can be seen as an aspect of Romanticism and a reaction against Neoclassicism, which was coming to an end at the end of the Consulate, and became particularly associated with Josephine Bonaparte and Caroline Ferdinande Louise, duchesse de Berry. In architecture the style was an exuberant French equivalent to the Gothic Revival of the Germanic and Anglophone countries. The style related to contemporary developments in French literature, and music, but the term is usually restricted to painting and architecture.[2]

Pierre-Henri Révoil, René d'Anjou and Palamède de Forbin, c. 1827, a typically inconsequential anecdotal scene, in this case commissioned by a descendant of Forbin, whose features conveniently were recorded on a relief.

History edit

 
Richard Parkes Bonington, Henri III of France

The rediscovery of medieval civilization was one of the intellectual curiosities of the beginning of the 19th century, with much input from the Ancien Régime and its institutions, rites (the coronation ceremony dated back to the 16th century) and the medieval churches in which family ceremonies occurred.

Even while exhuming the remains of the kings and putting on the market a multitude of objects, works of art and elements of medieval architecture, the revolutionaries brought them back to life, it could be said. The Musée des Monuments français (Museum of French Monuments), established in the former convent that would become Paris's École nationale supérieure des Beaux-Arts, presented all this glorious debris of the Middle Ages as subjects of admiration for the public and as models of inspiration for students of the departments of engraving, painting and sculpture, but not those of architecture since teaching of this subject had been dissociated from the "beaux-arts" and placed in the École centrale des travaux publics under the direction of J.N.L Durand, a harsh promoter of the neoclassical architecture that characterized the styles of the Convention and Consulate. Later, from the Bourbon Restoration and under the impulse of Quatremère de Quincy and Mérimée, a new tradition of teaching architecture put it back under the fine arts umbrella, in the margins of the declining official school, beginning with private workshops that behaved as diocesan architects working for historic monuments that would give rise to the Société Centrale des Architectes and make Troubador-style architecture possible.

 
Jean-Baptiste Goyet, Héloïse et Abailard, oil on copper, 1829.

The resurgence of Christian feeling and in Christianity in the arts, with the publication in 1800 of Le Génie du Christianisme ('the Genius of Christianity'), played a major role in favour of edifying painting, sculpture and literature, often inspired by religion.

Artists and writers rejected the neo-antique rationalism of the French Revolution and turned towards a perceived glorious Christian past. The progress of the history and archaeology in the course of the 18th century began to bear fruit, at first, in painting. Paradoxically these painters of the past were unaware of the primitives of French painting, finding it too academic and not sufficiently filled with anecdote.

Napoleon himself did not disdain this artistic current: he took as his emblem the golden beehive on the grave of the Merovingian king Childeric I, rediscovered in the 17th century, and saw himself as the heir of the French monarchy. He also gave official recognition to the Middle Ages in the forms of his coronation, and tried to profit from other trappings of the medieval French kings, perhaps even their miraculous curative powers (Bonaparte visiting the plague-victims of Jaffa by Antoine-Jean Gros was read as a modern re-envisgaing of the thaumaturgical kings[by whom?]).

Literature edit

Public interest in the Middle Ages in literature first manifested itself in France and above all England. In France, this came with the adaptation and publication from 1778 of ancient chivalric romances by the Comte de Tressan (1707–1783) in his Bibliothèque des romans,[3] and in England with the first fantastical romances and gothic novels, such as The Castle of Otranto (1764). These English romances inspired late 18th-century French writers to follow suit, such as Donatien de Sade with his Histoire secrete d'Isabelle de Baviere, reine de France. The Le Troubadour, poésies occitaniques (1803) by Fabre d'Olivet popularized the term, and may have led to the naming of the style in art. The Waverley Novels of Walter Scott were hugely popular across Europe, and a major influence on both painting and French novelists such as Alexandre Dumas and Victor Hugo.

Painting edit

 
Pharamond lifted on a shield by the Franks, by Pierre-Henri Révoil and Michel Philibert Genod, 1845

In painting, the troubadour style was represented by history painting portraying edifying historical episodes, often borrowing its smoothness, its minute and illusionistic description of detail, its rendering of fabrics, the intimate character of its familiar scenes and its other technical means from Dutch Golden Age painting. The paintings were typically rather small cabinet paintings, often showing quiet intimate anecdotal moments rather than moments of high drama, though these were both depicted.[4] As well as figures from political history, famous artists and authors of the past were often shown, especially Raphael and Dante. Ingres' Death of Leonardo da Vinci in the arms of King Francois I of France is one of several works bringing rulers and artists together. A number of paintings by Ingres are in the style, and lesser artists such as Pierre-Henri Révoil (1776–1842) and Fleury-François Richard (1777–1852) specialized in the style. The Belgian Henri Leys painted in a more sombre version of the style much influenced by Northern Renaissance painting. Richard Parkes Bonington is better remembered for his landscapes, but also painted in the style, as did Eugène Delacroix. The peak period was brought to an end by the Revolution of 1848, and later the arrival of Realism, although the style arguably merged into late 19th-century academic painting. The transition can be seen in the work of Paul Delaroche.

 
Valentine of Milan weeping for the death of her husband Louis of Orléans by François Fleury-Richard (c. 1802) Hermitage Museum, Saint-Petersburg

Arguably the first troubadour painting was presented at the Salon of 1802, under the French Consulate. It was a work by Fleury-Richard, Valentine of Milan weeping for the death of her husband,[5] a subject which had come to the artist during a visit to the "musée des monuments français", a museum of French medieval monuments. A tomb from this museum was included in the painting as that of the wife. Thanks to its moving subject matter, the painting was an enormous success – seeing it, David cried "This resembles nothing anyone else has done, it's a new effect of colour; the figure is charming and full of expression, and this green curtain thrown across this window renders the illusion complete". Compositions lit from the back of the scene, with the foreground in semi-darkness, became rather a trademark of the early years of the style.

Fragonard's painting of François Premier reçu chevalier par Bayard (Francis I knighted by Bayard, Salon of 1819) has to be read not as a rediscovery of a medieval past, but as a memory of a recent monarchic tradition.[citation needed]

Examples edit

Reaction edit

Reaction to this genre, as to the Pre-Raphaelites in England, has been mixed. It can be seen as overly sentimental or unrealistically nostalgic, treating its subjects in a way "later associated with Hollywood costume dramas."[6] To its proponents, the archaic details were regarded as a rallying cry for a new, localized nationalism, purged of classical (or neo-classical) and Roman influence.[7] The small size of many of the canvases was considered a reference to Northern, primitive painting, devoid of Italian influence.[8] To others, the small canvas sizes represent the artworks' insignificance and lack of vigor. All the brass, gilding, carving and inlaid historical detail of the headboards of the world could not redeem such objects as anything other than interior decoration.[9]

Architecture edit

 
Chateau de Beauregard, Calvados, 1864

A fashion for medieval architecture may be seen throughout 19th century Europe, originating in England, and a blooming of the Neogothic style, but in France this remains limited to certain 'feudal' buildings in the parks surrounding châteaux. After the Troubadour style disappeared in painting, around the time of the 1848 French Revolution,[10] it continued (or re-emerged) in architecture, the decorative arts, literature and theatre.

Troubador buildings edit

Decorative arts edit

Main article: Gothic Revival decorative arts
 
Clock, unknown French maker, c.1835-1840, gilt and patinated bronze, Museum of Decorative Arts, Paris

Besides fine arts and architecture, the style also manifested in furniture, metalworks, ceramics and other decorative arts during the 19th century. In France, it was the first reaction against the hegemony of Neoclassicism. At the end of the Restoration (1814–1830) and during the Louis-Philippe period (1830-1848), Gothic Revival motifs start to appear in France, together with revivals of the Renaissance and of Rococo. During these two periods, the vogue for medieval things led craftsmen to adopt Gothic decorative motifs in their work, such as bell turrets, lancet arches, trefoils, Gothic tracery and rose windows.

Troubador objects edit

Notes edit

  1. ^ Havard, Henri, La Hollande pittoresque, Vol. 2 of Les frontières menacées: Voyage dans les provinces de Frise, Groningue, Drenthe, Overyssel, Gueldre et Limbourg, 1876, Plon, google books
  2. ^ Palmer
  3. ^ Palmer
  4. ^ Palmer
  5. ^ Palmer
  6. ^ The Oxford Dictionary of Art. p. 711. ISBN 978-0-19-860476-1.
  7. ^ Palmer, Allison Lee (2011). Historical Dictionary of Romantic Art and Architecture. Scarecrow Press. p. 219. ISBN 978-0-8108-7473-2.
  8. ^ Turner, Jane (2000). The Grove Dictionary of Art: From renaissance to impressionism : styles and movements in western art 1400–1900. Macmillan. p. 354. ISBN 978-0-312-22975-7.
  9. ^ Hilliard, Elizabeth (1991). Finishing Touches. Crown Publishing Group. p. 110. ISBN 978-0-517-58396-8.
  10. ^ Palmer

References edit

  • Palmer, Allison Lee, Historical Dictionary of Romantic Art and Architecture, pp. 219–220, 2011, Scarecrow Press, ISBN 0810874733, 780810874732, google books

Bibliography edit

 
Wikimedia Commons has media related to Troubadour style.
  • Aux sources de l'ethnologie française, l'Académie celtique, 1995, Nicole Belmont. This work traces the birth of the fashion for premodern architecture and literature, from the middle of the 18th century of the fad for the monuments of the architecture and literature (Middle Ages, High Middle Ages and Early Middle Ages) and the beginnings of new inventorising and research work on the topic among the Benedictines of Saint-Maur.

Painting edit

  • Exhibition catalogue, Le Style Troubadour, Bourg-en-Bresse, musée de Brou 1971.
  • Marie-Claude Chaudonneret, La Peinture Troubadour, deux artistes lyonnais, Pierre Révoil (1776–1842), Fleury Richard (1777–1852), Arthéna, Paris, 1980.
  • Marie-Claude Chaudonneret, "Tableaux Troubadour", Revue du Louvre, n° 5/6, 1983, pages 411–413.
  • François Pupil, Le Style Troubadour ou la nostalgie du bon vieux temps, Nancy, Presses. Universitaires de Nancy, 1985.
  • Guy Stair Sainty (editor), Romance and Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting, Stair Sainty Mathiesen Gallery, New York, 1996.
  • Maïté Bouyssy (editor), "Puissances du gothique", Sociétés & Représentations, n° 20, décembre 2005, edited by Bertrand Tillier.

Literature edit

Architecture edit

  • Guy Massin-Le Goff, Châteaux néo-gothiques en Anjou, Edition Nicolas Chaudun, Paris, 2007.

Fashion edit

  • Mackrell, Alice (January 1998). "Dress in Le Style Troubadour". Costume. 32 (1): 33–44. doi:10.1179/cos.1998.32.1.33.

February 16, 2024
troubadour, style, taking, name, from, medieval, troubadours, troubadour, style, french, style, troubadour, rather, derisive, term, english, usually, applied, french, historical, painting, early, 19th, century, with, idealised, depictions, middle, ages, renais. Taking its name from medieval troubadours the Troubadour Style French Style troubadour is a rather derisive term 1 in English usually applied to French historical painting of the early 19th century with idealised depictions of the Middle Ages and the Renaissance In French it also refers to the equivalent architectural styles It can be seen as an aspect of Romanticism and a reaction against Neoclassicism which was coming to an end at the end of the Consulate and became particularly associated with Josephine Bonaparte and Caroline Ferdinande Louise duchesse de Berry In architecture the style was an exuberant French equivalent to the Gothic Revival of the Germanic and Anglophone countries The style related to contemporary developments in French literature and music but the term is usually restricted to painting and architecture 2 Pierre Henri Revoil Rene d Anjou and Palamede de Forbin c 1827 a typically inconsequential anecdotal scene in this case commissioned by a descendant of Forbin whose features conveniently were recorded on a relief Contents 1 History 2 Literature 3 Painting 3 1 Examples 4 Reaction 5 Architecture 5 1 Troubador buildings 6 Decorative arts 6 1 Troubador objects 7 Notes 8 References 9 Bibliography 9 1 Painting 9 2 Literature 9 3 Architecture 9 4 FashionHistory edit nbsp Richard Parkes Bonington Henri III of FranceThe rediscovery of medieval civilization was one of the intellectual curiosities of the beginning of the 19th century with much input from the Ancien Regime and its institutions rites the coronation ceremony dated back to the 16th century and the medieval churches in which family ceremonies occurred Even while exhuming the remains of the kings and putting on the market a multitude of objects works of art and elements of medieval architecture the revolutionaries brought them back to life it could be said The Musee des Monuments francais Museum of French Monuments established in the former convent that would become Paris s Ecole nationale superieure des Beaux Arts presented all this glorious debris of the Middle Ages as subjects of admiration for the public and as models of inspiration for students of the departments of engraving painting and sculpture but not those of architecture since teaching of this subject had been dissociated from the beaux arts and placed in the Ecole centrale des travaux publics under the direction of J N L Durand a harsh promoter of the neoclassical architecture that characterized the styles of the Convention and Consulate Later from the Bourbon Restoration and under the impulse of Quatremere de Quincy and Merimee a new tradition of teaching architecture put it back under the fine arts umbrella in the margins of the declining official school beginning with private workshops that behaved as diocesan architects working for historic monuments that would give rise to the Societe Centrale des Architectes and make Troubador style architecture possible nbsp Jean Baptiste Goyet Heloise et Abailard oil on copper 1829 The resurgence of Christian feeling and in Christianity in the arts with the publication in 1800 of Le Genie du Christianisme the Genius of Christianity played a major role in favour of edifying painting sculpture and literature often inspired by religion Artists and writers rejected the neo antique rationalism of the French Revolution and turned towards a perceived glorious Christian past The progress of the history and archaeology in the course of the 18th century began to bear fruit at first in painting Paradoxically these painters of the past were unaware of the primitives of French painting finding it too academic and not sufficiently filled with anecdote Napoleon himself did not disdain this artistic current he took as his emblem the golden beehive on the grave of the Merovingian king Childeric I rediscovered in the 17th century and saw himself as the heir of the French monarchy He also gave official recognition to the Middle Ages in the forms of his coronation and tried to profit from other trappings of the medieval French kings perhaps even their miraculous curative powers Bonaparte visiting the plague victims of Jaffa by Antoine Jean Gros was read as a modern re envisgaing of the thaumaturgical kings by whom Literature editPublic interest in the Middle Ages in literature first manifested itself in France and above all England In France this came with the adaptation and publication from 1778 of ancient chivalric romances by the Comte de Tressan 1707 1783 in his Bibliotheque des romans 3 and in England with the first fantastical romances and gothic novels such as The Castle of Otranto 1764 These English romances inspired late 18th century French writers to follow suit such as Donatien de Sade with his Histoire secrete d Isabelle de Baviere reine de France The Le Troubadour poesies occitaniques 1803 by Fabre d Olivet popularized the term and may have led to the naming of the style in art The Waverley Novels of Walter Scott were hugely popular across Europe and a major influence on both painting and French novelists such as Alexandre Dumas and Victor Hugo Painting edit nbsp Pharamond lifted on a shield by the Franks by Pierre Henri Revoil and Michel Philibert Genod 1845In painting the troubadour style was represented by history painting portraying edifying historical episodes often borrowing its smoothness its minute and illusionistic description of detail its rendering of fabrics the intimate character of its familiar scenes and its other technical means from Dutch Golden Age painting The paintings were typically rather small cabinet paintings often showing quiet intimate anecdotal moments rather than moments of high drama though these were both depicted 4 As well as figures from political history famous artists and authors of the past were often shown especially Raphael and Dante Ingres Death of Leonardo da Vinci in the arms of King Francois I of France is one of several works bringing rulers and artists together A number of paintings by Ingres are in the style and lesser artists such as Pierre Henri Revoil 1776 1842 and Fleury Francois Richard 1777 1852 specialized in the style The Belgian Henri Leys painted in a more sombre version of the style much influenced by Northern Renaissance painting Richard Parkes Bonington is better remembered for his landscapes but also painted in the style as did Eugene Delacroix The peak period was brought to an end by the Revolution of 1848 and later the arrival of Realism although the style arguably merged into late 19th century academic painting The transition can be seen in the work of Paul Delaroche nbsp Valentine of Milan weeping for the death of her husband Louis of Orleans by Francois Fleury Richard c 1802 Hermitage Museum Saint PetersburgArguably the first troubadour painting was presented at the Salon of 1802 under the French Consulate It was a work by Fleury Richard Valentine of Milan weeping for the death of her husband 5 a subject which had come to the artist during a visit to the musee des monuments francais a museum of French medieval monuments A tomb from this museum was included in the painting as that of the wife Thanks to its moving subject matter the painting was an enormous success seeing it David cried This resembles nothing anyone else has done it s a new effect of colour the figure is charming and full of expression and this green curtain thrown across this window renders the illusion complete Compositions lit from the back of the scene with the foreground in semi darkness became rather a trademark of the early years of the style Fragonard s painting of Francois Premier recu chevalier par Bayard Francis I knighted by Bayard Salon of 1819 has to be read not as a rediscovery of a medieval past but as a memory of a recent monarchic tradition citation needed Examples edit Pierre Nolasque Bergeret Aretino in the studio of Tintoretto Salon of 1822 Madame Cheradame nee Bertaud The Education of Saint Louis Michel Martin Drolling The Last Communion of Marie Antoinette Paris Conciergerie Louis Ducis Le Tasse reading a passage from his poem Jerusalem Delivered to Princess Eleonore d Este formerly in the collection of the Empress Josephine Arenenberg Musee Napoleonien Alexandre Evariste Fragonard Don Juan Zerlina and Lady Elvira Clermont Ferrand Musee des Beaux arts Alexandre Evariste Fragonard The time approaches Alexandre Evariste Fragonard Francois Premier arme chevalier par Bayard Francis I knighted by Bayard Meaux Musee Bossuet Baron Francois Gerard The Recognition of the Duke of Anjou as King of Spain Chateau de Chambord Hortense de Beauharnais The Knight s Departure c 1812 Chateau de Compiegne originally at the chateau de Pierrefonds Jean Auguste Dominique Ingres Francesco da Rimini and Paolo Malatesta frame designed by Claude Aime Chenavard 1789 1838 Angers musee des Beaux arts Jean Baptiste Isabey A couple descending the staircase of the tourelle at the chateau d Harcourt Salon de 1827 Alexandre Menjaud Francis I and la Belle Ferronniere 1810 Nicolas Andre Monsiau Saint Vincent de Paul welcoming the exposed children Paris church of Saint Germain l Auxerrois copy at Toulouse musee de la Medecine Pierre Revoil Rene d Anjou passing the night at the chateau of Palamede de Forbin commissioned by the comte de Forbin a descendant of Rene d Anjou The Tourney 1812 Lyon musee des Beaux arts The convalescence of Bayard 1817 Paris musee du Louvre Fleury Richard Jacques Molay Grand Master of the Templars Acquired after the 1806 Salon by the Empress Josephine Inherited from Hortense de Beauharnais Louis Rubio The unlucky Loves of Francesca da Rimini 1832 Marie Philippe Coupin de la Couperie The Tragic Love of Francesca da Rimini 1812 nbsp Ingres Gianciotto Discovers Paolo and Francesca 1819 nbsp Ingres Raphael and La Fornarina his mistress 1814 nbsp Ingres Francois I receives the last breaths of Leonardo da Vinci nbsp Fleury Francois Richard Montaigne and Tasso 1822 nbsp Eugene Delacroix The Execution of Doge Marino Faliero nbsp Pierre Henri Revoil Mary Queen of Scots Separated from Her Followers 1822Reaction editReaction to this genre as to the Pre Raphaelites in England has been mixed It can be seen as overly sentimental or unrealistically nostalgic treating its subjects in a way later associated with Hollywood costume dramas 6 To its proponents the archaic details were regarded as a rallying cry for a new localized nationalism purged of classical or neo classical and Roman influence 7 The small size of many of the canvases was considered a reference to Northern primitive painting devoid of Italian influence 8 To others the small canvas sizes represent the artworks insignificance and lack of vigor All the brass gilding carving and inlaid historical detail of the headboards of the world could not redeem such objects as anything other than interior decoration 9 Architecture edit nbsp Chateau de Beauregard Calvados 1864A fashion for medieval architecture may be seen throughout 19th century Europe originating in England and a blooming of the Neogothic style but in France this remains limited to certain feudal buildings in the parks surrounding chateaux After the Troubadour style disappeared in painting around the time of the 1848 French Revolution 10 it continued or re emerged in architecture the decorative arts literature and theatre Troubador buildings edit Chateau de Maulmont at Saint Priest de Bramefant architect Pierre Francois Leonard Fontaine formerly a hunting lodge on the royal domain of Randan which was one of Louis Philippe of France s residences Gallerie Saint Louis Palais de justice de Paris built in 1835 by Gisors 1796 1866 in place of a gothic gallery he had demolished Chateau de Pierrefonds Eugene Viollet le Duc architect Chateau d Aulteribe at Semantizon rebuilt by Henriette Onslow daughter of the musician George Onslow Chateau du Barry at Levignac a Neo Gothic wing by the brothers Auguste Virebent and Pascal Virebent 1745 1831 architects in Toulouse Chateau de la Rochepot reconstruction by Marie Pauline Cecile Dupond White 1841 1898 widow Sadi Carnot Chateau de Clavieres Ayrens at Ayrens built by Ernest de La Salle de RochemaureDecorative arts editMain article Gothic Revival decorative arts nbsp Clock unknown French maker c 1835 1840 gilt and patinated bronze Museum of Decorative Arts ParisBesides fine arts and architecture the style also manifested in furniture metalworks ceramics and other decorative arts during the 19th century In France it was the first reaction against the hegemony of Neoclassicism At the end of the Restoration 1814 1830 and during the Louis Philippe period 1830 1848 Gothic Revival motifs start to appear in France together with revivals of the Renaissance and of Rococo During these two periods the vogue for medieval things led craftsmen to adopt Gothic decorative motifs in their work such as bell turrets lancet arches trefoils Gothic tracery and rose windows Troubador objects edit Horloge au troubadour in the Empire troubadour style 1810 by Masure a Etampes Service a chocolat Du Gesclin Manufacture de Sevres cartoon by Alexandre Evariste Fragonard 1780 1850 Notes edit Havard Henri La Hollande pittoresque Vol 2 of Les frontieres menacees Voyage dans les provinces de Frise Groningue Drenthe Overyssel Gueldre et Limbourg 1876 Plon google books Palmer Palmer Palmer Palmer The Oxford Dictionary of Art p 711 ISBN 978 0 19 860476 1 Palmer Allison Lee 2011 Historical Dictionary of Romantic Art and Architecture Scarecrow Press p 219 ISBN 978 0 8108 7473 2 Turner Jane 2000 The Grove Dictionary of Art From renaissance to impressionism styles and movements in western art 1400 1900 Macmillan p 354 ISBN 978 0 312 22975 7 Hilliard Elizabeth 1991 Finishing Touches Crown Publishing Group p 110 ISBN 978 0 517 58396 8 PalmerReferences editPalmer Allison Lee Historical Dictionary of Romantic Art and Architecture pp 219 220 2011 Scarecrow Press ISBN 0810874733 780810874732 google booksBibliography edit nbsp Wikimedia Commons has media related to Troubadour style Aux sources de l ethnologie francaise l Academie celtique 1995 Nicole Belmont This work traces the birth of the fashion for premodern architecture and literature from the middle of the 18th century of the fad for the monuments of the architecture and literature Middle Ages High Middle Ages and Early Middle Ages and the beginnings of new inventorising and research work on the topic among the Benedictines of Saint Maur Painting edit Exhibition catalogue Le Style Troubadour Bourg en Bresse musee de Brou 1971 Marie Claude Chaudonneret La Peinture Troubadour deux artistes lyonnais Pierre Revoil 1776 1842 Fleury Richard 1777 1852 Arthena Paris 1980 Marie Claude Chaudonneret Tableaux Troubadour Revue du Louvre n 5 6 1983 pages 411 413 Francois Pupil Le Style Troubadour ou la nostalgie du bon vieux temps Nancy Presses Universitaires de Nancy 1985 Guy Stair Sainty editor Romance and Chivalry History and Literature Reflected in Early Nineteenth Century French Painting Stair Sainty Mathiesen Gallery New York 1996 Maite Bouyssy editor Puissances du gothique Societes amp Representations n 20 decembre 2005 edited by Bertrand Tillier Literature edit Comte de Tressan Oeuvres choisies de Tressan corps d extraits de romans de chevalerie 1782 1791 12 volumes chez Garnier a Paris hotel Serpente comprising Amadis de Gaule Rolland Furieux Flore et Blanchefleur Histoire du petit Jehan de Saintre Cleomade et Claremonde Le Roman de la Rose Arthus de Bretagne Fleurs de batailles Dom Ursino de Navarin et Dona Ines d Ovideo Gerard de Nevers etc Its accompanying illustrative engravings showing decorated and figured troubador scenes were a great success Horace Walpole The Castle of OtrantoArchitecture edit Guy Massin Le Goff Chateaux neo gothiques en Anjou Edition Nicolas Chaudun Paris 2007 Fashion edit Mackrell Alice January 1998 Dress in Le Style Troubadour Costume 32 1 33 44 doi 10 1179 cos 1998 32 1 33 Retrieved from https en wikipedia org w index php title Troubadour style amp oldid 1205166773, wikipedia, wiki, book, books, library,

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