Skip to main content
SpringerLink
Log in

“C’est mon stile qui change”: Clément Marot’s Lyrical Turn in Renée de France’s Pays Italique

  • Chapter
  • First Online:
Representing the Life and Legacy of Renée de France

Part of the book series: Queenship and Power ((QAP))

  • 186 Accesses

Abstract

Twentieth-century scholars of Marot’s work tended to emphasize the religious undertones of Marot’s poetry composed in Ferrara, dwelling on the poet’s self-presentation as a dejected exile. However, in this chapter, Robert Hudson highlights the blithesome side of the tone, language, and style of Marot’s works written during this period. It was from Renée’s court, after all, that the poet launched a contest of blazons of female body parts and penned the first French sonnet dedicated to “Madame de Ferrare.” Hudson considers the physical surroundings of Renée’s court and argues that the gardens of her Belvedere, an island retreat on the Po river, represent a veritable locus amoenus. For Marot, this lush Italian backdrop inspired a lyrical evolution, a self-professed shift in poetic style that was made possible by Renée’s patronage and protection.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution
Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 139.00
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 179.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 179.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Notes

  1. 1.

    Clément Marot, Œuvres poétiques, 2 vols., ed. Gérard Defaux (Paris: Garnier, 1993), II, 123, vv. 192–94, italics added. All translations are my own.

  2. 2.

    Clément Marot, Les Epîtres, ed. Claude A. Mayer (Paris: Nizet, 1977), 250n1.

  3. 3.

    Claude A. Mayer, Clément Marot (Paris: Nizet, 1972), 310–11. In all fairness, given the context of fifteenth-century precious poets mentioned in the same paragraph, Mayer could perhaps be limiting his use of the term “petrarchize” to those models, leaving Petrarch and Bembo as valid sources. Still, twice in this same paragraph he suggests Marot had turned from Petrarchism and had ceased to petrarchize, which certainly seems more definitive. The subsequent paragraphs in Mayer’s biography likewise turn to Marot’s studies and diplomatic hopes and away from lyric poetry. I offer my definition of the verb “petrarchize” at the beginning of the third section of the current essay.

  4. 4.

    Marot, Œuvres poétiques, I, cxix.

  5. 5.

    Jean-Luc Déjean, Clément Marot (Paris: Fayard, 1990), 247–81. Jean-Luc Déjean’s trade paperback biography of Marot, written as narrative history for the general reader, aims to be far less critical than an erudite study and does a rather excellent job revealing and accounting for the traditional idées reçues surrounding the mythology of the poet.

  6. 6.

    Guillaume Berthon, L’Intention du poète, Clément Marot “autheur” (Paris: Garnier, 2014), 160. As a polar opposite to Déjean’s biography, Berthon’s immensely erudite and critical study is intended for specialists and may well be the most pointed study of Marot the academy has seen to date.

  7. 7.

    Marot, Œuvres poétiques, II, 123, v. 196.

  8. 8.

    See Robert J. Hudson, “Marot vs. Sagon: Heresy and the Gallic School, 1537,” in Representing Heresy in Early Modern France, ed. Gabriella Scarlatta and Lidia Radi (Toronto: University of Toronto Press, 2017), 159–87.

  9. 9.

    The numbering of these epistles corresponds to that adopted by Defaux in Œuvres poétiques, 77–101. The editorial grouping, while somewhat chronological, is certainly more generically thematic. For this reason, Mayer’s strictly chronological progression is more contextually reflective of Marot’s mental state at the time of the individual compositions.

  10. 10.

    Indeed, one of the major issues with Déjean is a tendency to accept the epistles at face value. Clément Marot, 251–29. In his determinism to read Marot as a committed réformateur, Mayer does the same in his biography. Clément Marot, 276–301.

  11. 11.

    Marot, Œuvres poétiques, I, cxlv. This same assessment of Ferrara is repeated in Gérard Defaux, Le Poète en son jardin (Paris: Champion, 2006), 144.

  12. 12.

    Pierre Villey, Marot et Rabelais (Paris: Champion, 1923), 80.

  13. 13.

    Henry Guy, Marot et son école (Paris: Champion, 1926), 209.

  14. 14.

    The religious-minded Screech would also later publish the English-language Clément Marot, a Renaissance Poet Discovers the Gospel: Lutheranism, Fabrism and Calvinism in the Royal Courts of France and of Navarre and in the Ducal Court of Ferrara (Leiden: Brill, 1993).

  15. 15.

    See the obituaries of each: “Obituary: C. A. Mayer,” The Independent, June 1, 1998, and “The Rev. Professor Michael Screech,” The Times, July 19, 2018.

  16. 16.

    Hudson, “Marot vs. Sagon,” 162–68. See also Florian Preisig’s excellent study on Marot’s metamorphoses as an author and his seemingly innate ability to transmutate as sacred and profane poet, socialite and courtesan, at will. Clément Marot et les métamorphoses de l’auteur à l’aube de la Renaissance (Geneva: Droz, 2004), especially 151–152. See also Mario Richter, “Considerazioni et proposte per una storia della poesia lirica francese nel secolo XVI.” Aevum 44, no. 1/2 (Jan–April 1970): 72–112, 79.

  17. 17.

    Henry Guy, Marot et son école, 209–10. Note also how Guy sees the austere, religious bent as the “secondary” tendency.

  18. 18.

    Berthon, L’Intention du poète, 159–168.

  19. 19.

    Berthon, L’Intention du poète, 159.

  20. 20.

    Berthon, L’Intention du poète, 163.

  21. 21.

    Rosanna Gorris, “‘Un franzese nominato Clemente’: Marot à Ferrare,” in Clément Marot “Prince des poëtes françois” 1496–1996, Actes du Colloque international de Cahors en Quercy, 1996, edited by Gérard Defaux and Michel Simonin (Paris: Champion, 1997), 350–353.

  22. 22.

    Gorris , “‘Un franzese nominato Clemente,’” 347. It should be mentioned that Gorris’s article on Marot’s closest friend, Lyon Jamet, and his trip to Ferrara “‘Va, lettre, va […] droict à Clément’: Lyon Jamet, Sieur de Chambrun, du Poitou à la ville des Este, un itinéraire religieux et existentiel,” also focuses fairly directly on reformist elements, seeing the trip as a “religious and existential itinerary,” Études rabelaisiennes 43 (2006): 145–172. See especially, 144.

  23. 23.

    Berthon, L’Intention du poète, 167–168.

  24. 24.

    At this point in her career, Gorris (now in Verona) was teaching at the University of Ferrara.

  25. 25.

    Gorris, “‘Un franzese nominato Clemente,’” 339–346.

  26. 26.

    For an examination of the role of bucolic nature in Marotic poetics, see my article “Bucolic Influence: Marot’s Gallic Pastoral and Maurice Scève’s Arion,” Romanic Review 105, no. 3 (May-Nov 2014): 253–373.

  27. 27.

    Marot, Œuvres poétiques, II, 78, vv. 36–39.

  28. 28.

    Marot, Œuvres poétiques, II, 77–78, vv. 1–3, 9, 39–40. For more on Renée and Marot’s poetic/cultural exchange, see Kelly D. Peebles, “Renée de France and Clément Marot’s Voyages: Political Exile to Spiritual Liberation,” Women in French Studies Special Issue 7 (2018): 42–48.

  29. 29.

    The author wishes to thank the Ministero per i Beni et le Attività Culturali et per il Turismo for permission to reproduce Fig. 6.1, Archivio di Stato di Modena, prot. n° 1625.

  30. 30.

    An Italian website dedicated to commemorating the 500th anniversary of the death of Ferraran architect Biagio Rossetti (1447–1516), has excellent documentation and photographs, including sixteenth-century renderings of the island, related to Il Boschetto. See “Isola e palazzo di Belvedere scomparsi,” Biagio Rossetti 500, https://biagiorossetti500.it/architettura/isola-e-palazzo-di-belvedere-scomparsi/.

  31. 31.

    Biagio Rossetti 500. Translations to English from the website.

  32. 32.

    The affair between Bembo and Lucrezia is well documented by the latter in her letters to her lover held in the Milan Biblioteca Ambrosiana and published as Lettere di Lucrezia Borgia a Messer Pietro Bembo, ed. Bernardo Gatti (Milan: Ambrosiana, 1859).

  33. 33.

    Déjean, Clément Marot, 251.

  34. 34.

    Marot, Œuvres poétiques, II, 280–81, vv. 3–8.

  35. 35.

    Poètes et Romanciers du Moyen Âge (Paris: Gallimard, 1952), ed. Albert Pauphilet, 1091–92.

  36. 36.

    Marot, Œuvres poétiques, II, 281, vv. 1–2. Italics added. While changed to “En ce Bosquet” in Marot’s official Œuvres of 1538, Defaux notes that the original publication of this in the earlier 1538 Chantilly manuscript indeed read “En ce beau lieu,” 1080, n2. See also Marot, Recueil inédit, 204–06.

  37. 37.

    Marot, Œuvres poétiques, II, 281–82. Berthon comes to the exact same conclusion in L’intention du poète, 165.

  38. 38.

    Baptista Spagnuoli (1477–1516), known by his demonym Mantuan, was a model for both the title of the Adolescence clementine and the Marotic eclogue. See Hudson, “Bucolic Influence,” 254, and Scott Francis, Advertising the Self in Renaissance France: Lemaire, Marot and Rabelais (Newark: University of Delaware Press, 2019), 94.

  39. 39.

    Marot, Œuvres poétiques, II, 978–80. As Scott Francis has shown in his excellent new volume on self-fashioning in the French Renaissance, Marot’s experience with Calcagnini affected his satirical verse in meaningful ways as well. Advertising the Self, 110.

  40. 40.

    Marot, Œuvres poétiques, II, 93, vv. 40–46.

  41. 41.

    François Rouget, “Marot poète lyrique,” in Clément Marot “Prince des poëtes françois” 1496–1996, Actes du Colloque international de Cahors en Quercy, 1996, ed. Gérard Defaux and Michel Simonin, 582.

  42. 42.

    Villey, Marot et Rabelais, 82. Florian Preisig recently discussed the transalpine intertext present between Marot’s tetin and Olimpo’s capitoli in his presentation at the 2018 SCSC in Albuquerque (1–4 November).

  43. 43.

    See also Guillaume Berthon, “L’invention du blason: Retour sur la genèse d’un genre,” in Anatomie d’une Anatomie: Nouvelle recherches sur les blasons anatomiques du corps féminin, ed. Julien Goeury and Thomas Hunkeler (Geneva: Droz, 2018), 135–154. As the next section will demonstrate, Marot does the exact same thing with the sonnet, a form that embodies for him Renée’s diplomatic mission in Ferrara.

  44. 44.

    Annwyl Williams, “Clément Marot, ‘Le cler soleil’: Intertexte médiéval de l’épigramme amoureuse,” in Clément Marot “Prince des poëtes françois” 1496–1996, Actes du Colloque international de Cahors en Quercy, 1996, ed. Gérard Defaux and Michel Simonin, 201–04.

  45. 45.

    Goeury and Hunkeler, Anatomie d’une Anatomie, 41–109. While neither the central focus nor the allotted space of this chapter allows me to flesh out the interesting points of these contributions, I do highly recommend them to anyone researching the blason and its origins.

  46. 46.

    See also Rouget, “Marot poète lyrique,” 582.

  47. 47.

    Déjean, Clément Marot, 261. See also Berthon, L’Intention, 165–66. Was this the same Anne de Beauregard, a young Frenchwoman from Renée’s entourage who tragically died in Ferrara (hence the full name he gives her: Beauregard in French translates to Belvedere in Italian) and whom Marot includes in his Cymetière (Marot, Œuvres poétiques, I, 385)? Her tragic and untimely demise would certainly equate her with Petrarch’s Laura. That Marot only includes the forename “Anne” in the poems from Ferrara after 1538, and perhaps as a smokescreen, only lends further credence to the idea that she, as muse or object of desire, is a Petrarchan invention.

  48. 48.

    Marot, Œuvres poétiques, II, 978. See also Rouget, “Marot poètique lyrique,” 574, and Marot, Recueil inédit, 175.

  49. 49.

    John McClelland, “Sonnet ou quatorzain? Marot et le choix d’une forme poétique,” Revue d’Histoire littéraire de la France 73, no. 4 (Jul-Aug 1973): 591–607, 607. See also François Rigolot, “The Sonnet,” in A New History of French Literature, ed. Denis Hollier (Cambridge: Harvard University Press, 1989), 171–173, especially 171–172, and Walter Bullock, “The First French Sonnets,” Modern Language Notes 39, no. 8 (1924): 475–478.

  50. 50.

    Francis Goyet, ed. Traités de poétique et de rhétorique de la Renaissance (Paris: Poche, 1990), 107.

  51. 51.

    My own article, “Clément Marot and the ‘Invention’ of the French Sonnet: Innovating the Lyrical Imperative in Renaissance France,” Anthropoetics 14, no. 2 (Winter 2009), examines the anthropological potency of the Petrarchan sonnet, as well as Marot’s adaptation of this form to the French vernacular.

  52. 52.

    Here, I reproduce the original text from the Chantilly manuscript, for which I thank Guillaume Berthon for his invaluable paleographical assistance with the secretary hand. For Rigolot’s transcription and notes: Marot, Recueil, 233, and for the Defaux reference with variants: Marot, Œuvres poétiques, II, 297–98 and 1099–1100.

  53. 53.

    Marot, Œuvres poétiques, II, 19–33, especially vv. 395–406.

  54. 54.

    Peebles, “Renée de France’s and Clément Marot’s Voyages,” 46–48.

  55. 55.

    Eric Gans, “Naissance du Moi lyrique,” Poétique 46 (1981), 129, and Nathalie Dauvois, Le sujet lyrique à la Renaissance (Paris: Presses universitaires de France, 2000), 21.

  56. 56.

    Marot, Œuvres poétiques, II, 183–87.

  57. 57.

    André Gendre, Évolution du sonnet français (Paris: Presses universitaires de France, 1996), 32–34. See also my “Clément Marot and the ‘Invention’ of the French Sonnet.”

  58. 58.

    See Dauvois, Le sujet lyrique, 22, and Rouget, “Marot poète lyrique,” 574. In his own book-length evangelical reevaluation of the psalm paraphrases, Dick Wursten reads past the poetics of the form in support of the protestant turn. Clément Marot and Religion: A Reassessment in the Light of his Psalm Paraphrases (Leiden: Brill, 2010), 357–370.

  59. 59.

    Mia Cocco, La Tradizione cortese et il petrarchismo nella poesia di Clément Marot (Florence: Olschki, 1978).

  60. 60.

    See Berthon, “L’Invention,” 142–44, and Gabriella Scarlatta, The Disperata from Medieval Italy to Renaissance France (Kalamazoo, MI: Medieval Institute Publications, 2017), 111.

  61. 61.

    Joann DellaNeva, Unlikely Exemplars: Reading and Imitating beyond the Italian Canon in French Renaissance Poetry (Newark: University of Delaware Press, 2009), 59–62. See also Mayer, Clément Marot, 311.

  62. 62.

    Marot, Œuvres poétiques, II, 84, vv. 135–42, italics added.

  63. 63.

    Henry Guy, Marot et son école, 208.

  64. 64.

    See Dick Wursten and Jetty Janssen, “New Light on the location of Clément Marot’s tomb and epitaph in Turin,” Studi Francesi 161 (2010): 293–303.

Bibliography

Primary Sources

  • Borgia, Lucrezia. 1859. Lettere di Lucrezia Borgia a Messer Pietro Bembo. Edited by Bernardo Gatti. Milan: Ambrosiana.

    Google Scholar 

  • Marot, Clément. 1977. Les Epîtres. Edited by Claude A. Mayer. Paris: Nizet.

    Google Scholar 

  • ———. 1990–1993. Œuvres poétiques. 2 vols. Edited by Gérard Defaux. Paris: Garnier.

    Google Scholar 

  • ———. 2010. Recueil inédit offert au Connétable Anne de Montmorency en mars 1538. Edited by François Rigolot. Geneva: Droz.

    Google Scholar 

Secondary Sources

  • Berthon, Guillaume. 2014. L’Intention du poète, Clément Marot ‘autheur’. Paris: Garnier.

    Google Scholar 

  • ———. 2018. L’invention du blason: Retour sur la genèse d’un genre. In Anatomie d’une Anatomie: Nouvelles recherches sur les blasons anatomiques du corps féminin, ed. Julien Goeury and Thomas Hunkeler, 135–154. Geneva: Droz.

    Google Scholar 

  • Braun, Gabriel. 1988. Le marriage de Renée de France avec Hercule d’Esté: une inutile mésalliance, 28 juin 1528. Histoire, économie & société 7 (2): 147–168.

    Article  Google Scholar 

  • Bullock, Walter. 1924. The First French Sonnets. Modern Language Notes 39 (8): 475–478.

    Article  Google Scholar 

  • Cocco, Mia. 1978. La Tradizione cortese et il petrarchismo nella poesia di Clément Marot. Florence: Olschki.

    Google Scholar 

  • Dauvois, Nathalie. 2000. Le sujet lyrique à la Renaissance. Paris: Presses universitaires de France.

    Book  Google Scholar 

  • Defaux, Gérard. 2006. Le Poète en son jardin. Paris: Champion.

    Google Scholar 

  • Déjean, Jean-Luc. 1990. Clément Marot. Paris: Fayard.

    Google Scholar 

  • DellaNeva, Joann. 2009. Unlikely Exemplars: Reading and Imitating Beyond the Italian Canon in French Renaissance Poetry. Newark: University of Delaware Press.

    Google Scholar 

  • Francis, Scott. 2019. Advertising the Self in Renaissance France: Lemaire, Marot and Rabelais. Newark: University of Delaware Press.

    Book  Google Scholar 

  • Gans, Eric. 1981. Naissance du Moi lyrique. Poétique 46: 129–139.

    Google Scholar 

  • Gendre, André. 1996. Évolution du sonnet français. Paris: Presses universitaires de France.

    Book  Google Scholar 

  • Goeury, Julien, and Thomas Hunkeler, eds. 2018. Anatomie d’une Anatomie: Nouvelles recherches sur les blasons anatomiques du corps féminin. Geneva: Droz.

    Google Scholar 

  • Gorris, Rosanna. 1997. ‘Un franzese nominato Clemente’: Marot à Ferrare. In Clément Marot ‘Prince des poëtes françois’ 1496–1996, Actes du Colloque international de Cahors en Quercy, 1996, ed. Gérard Defaux and Michel Simonin, 339–364. Paris: Champion.

    Google Scholar 

  • ———. 2006. Va, lettre, va […] droict à Clément’: Lyon Jamet, Sieur de Chambrun, du Poitou à la ville des Este, un itinéraire religieux et existentiel. Etudes rabelaisiennes 43: 145–172.

    Google Scholar 

  • Goyet, Francis, ed. 1990. Traités de poétique et de rhétorique de la Renaissance. Paris: Poche.

    Google Scholar 

  • Guy, Henry. 1926. Marot et son école. Paris: Champion.

    Google Scholar 

  • Hudson, Robert J. 2009. Clément Marot and the ‘Invention’ of the French Sonnet: Innovating the Lyrical Imperative in Renaissance France. Anthropoetics 14 (2) (Winter). http://anthropoetics.ucla.edu.

  • ———. 2014. Bucolic Influence: Marot’s Gallic Pastoral and Maurice Scève’s Arion. Romanic Review 105 (3–4): 253–272.

    Article  Google Scholar 

  • ———. 2017. Marot vs. Sagon: Heresy and the Gallic School, 1537. In Representing Heresy in Early Modern France, ed. Gabriella Scarlatta and Lidia Radi, 159–187. Toronto: University of Toronto Press.

    Google Scholar 

  • “Isola e palazzo di Belvedere (scomparsi).” n.d. Biagio Rossetti 500. Accessed January 10, 2019. https://biagiorossetti500.it/architettura/isola-e-palazzo-di-belvedere-scomparsi/.

  • Mayer, Claude A. 1960. La Religion de Marot. Geneva: Droz.

    Google Scholar 

  • ———. 1972. Clément Marot. Paris: Nizet.

    Google Scholar 

  • McClelland, John. 1973. Sonnet ou quatorzain? Marot et le choix d’une forme poétique. Revue d’Histoire littéraire de la France 73 (4): 591–607.

    Google Scholar 

  • Pauphilet, Albert, ed. 1952. Poètes et Romanciers du Moyen Âge. Paris: Gallimard.

    Google Scholar 

  • Peebles, Kelly Digby. 2018. Renée de France’s and Clément Marot’s Voyages: Political Exile to Spiritual Liberation. Women in French Special Issue 7: 33–60.

    Google Scholar 

  • Preisig, Florian. 2004. Clément Marot et les metamorphoses de l’auteur à l’aube de la Renaissance. Geneva: Droz.

    Google Scholar 

  • Richter, Mario. 1970. Considerazioni et proposte per una storia della poesia lirica francese nel secolo XVI. Aevum 44 (1/2): 72–112.

    Google Scholar 

  • Rigolot, François. 1989. The Sonnet. In A New History of French Literature, ed. Denis Hollier, 171–173. Cambridge: Harvard University Press.

    Google Scholar 

  • Rouget, François. 1997. Marot poète lyrique. In Clément Marot ‘Prince des poëtes françois’ 1496–1996, Actes du Colloque international de Cahors en Quercy, 1996, ed. Gérard Defaux and Michel Simonin, 573–591. Paris: Champion.

    Google Scholar 

  • Scarlatta, Gabriella. 2017. The Disperata from Medieval Italy to Renaissance France. Kalamazoo, MI: Medieval Institute Publications.

    Book  Google Scholar 

  • Screech, Michael A. 1959. L’Evangélisme de Rabelais. Geneva: Droz.

    Google Scholar 

  • ———. 1964. Il a mangé le lard (What Marot Said and What Marot Meant). BHR 26 (2): 363–364.

    Google Scholar 

  • ———. 1967. Marot évangélique. Geneva: Droz.

    Google Scholar 

  • ———. 1993. Clément Marot, A Renaissance Poet Discovers the Gospel: Lutheranism, Fabrism and Calvinism in the Royal Courts of France and of Navarre and in the Ducal Court of Ferrara. Leiden: Brill.

    Google Scholar 

  • The Independent. 1998. Obituary: C. A. Mayer. June 1, 1998.

    Google Scholar 

  • The Times. 2018. The Rev Professor Michael Screech. July 19, 2018.

    Google Scholar 

  • Villey, Pierre. 1923. Marot et Rabelais. Paris: Champion.

    Google Scholar 

  • Williams, Annwyl. 1997. Clément Marot, ‘Le cler soleil’: Intertexte medieval de l’épigramme amoureuse. In Clément Marot “Prince des poëtes françois” 1496–1996, Actes du Colloque international de Cahors en Quercy, 1996, ed. Gérard Defaux and Michel Simonin, 201–212. Paris: Champion.

    Google Scholar 

  • Wursten, Dick. 2010. Clément Marot and Religion: A Reassessment in the Light of His Psalm Paraphrases. Leiden: Brill.

    Book  Google Scholar 

  • Wursten, Dick, and Jetty Janssen. 2010. New Light on the Location of Clément Marot’s Tomb and Epitath in Turin. Studi Francesi 161 (LIV–II): 293–303.

    Article  Google Scholar 

Download references

Author information

Authors and Affiliations

  1. Brigham Young University, Provo, UT, USA

    Robert J. Hudson

Authors
  1. Robert J. Hudson
    View author publications

    You can also search for this author in PubMed Google Scholar

Corresponding author

Correspondence to Robert J. Hudson .

Editor information

Editors and Affiliations

  1. Clemson University, Clemson, SC, USA

    Kelly Digby Peebles

  2. University of Michigan–Dearborn, Dearborn, MI, USA

    Gabriella Scarlatta

Rights and permissions

Reprints and permissions

Copyright information

© 2021 The Author(s), under exclusive license to Springer Nature Switzerland AG

About this chapter

Check for updates. Verify currency and authenticity via CrossMark

Cite this chapter

Hudson, R.J. (2021). “C’est mon stile qui change”: Clément Marot’s Lyrical Turn in Renée de France’s Pays Italique. In: Peebles, K.D., Scarlatta, G. (eds) Representing the Life and Legacy of Renée de France. Queenship and Power. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-69121-9_6

Download citation

  • DOI: https://doi.org/10.1007/978-3-030-69121-9_6

  • Published:

  • Publisher Name: Palgrave Macmillan, Cham

  • Print ISBN: 978-3-030-69120-2

  • Online ISBN: 978-3-030-69121-9

  • eBook Packages: HistoryHistory (R0)

Publish with us

Policies and ethics

Search

Navigation