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Published online by Cambridge University Press: 25 January 2012
The portrait of John, King of France, which is now placed in the Musée des Souverains at Paris, being, I believe, the only picture honoured by such a distinction, has an especial claim to our notice. Not only is it one of the earliest examples of portrait-painting which has been preserved to us, but the history of the monarch whom it represents is so closely interwoven with that of our own country, as to render him a subject of interest to English archaeologists.
page 195 note a Memoirs of the Associated Architectural Societies.
page 195 note b These accounts form a portion of “Comptes de l'Argenterie des Eois de France au 14e Siècle, publiés pour la Societé de l'Histoire de France, par L. Douet d'Arcq.” Paris, 1851, p 193. The accounts of King John extend from 30th June, 1359, to the 8th July, 1360, when the King reached Calais on his return to France. The original MS. is preserved in the Bibliothèque at Paris. The Due d'Aumale has since discovered among the Condé MSS. the accounts for a previous portion of the King's captivity, from 25th Dec. 1358, to the 1st of July, 1359; which his Royal Highness has printed in the Miscellanies of the Philobiblon Society, vol. ii., 1855-6. The accounts appear to have been kept by Denys de Collors, the king's chaplain and secretary.
page 197 note a [The facsimile alluded to above is of the size of the original (22 in. by 14 in.), and executed in water colours. The accompanying illustration (Pl. VIII.) has been reduced from it, and is presented to the Society by the liberality of the author of this communication.—Ed.]
page 197 note b M. Gagnieres formed the valuable collection of drawings of royal and other tombs formerly existing in the French cathedrals and abbeys, which is now in the Bodleian Library, Oxford.
page 197 note c Bibliographical and Picturesque Tour in France and Germany, 1821, vol. ii. p. 140.
page 198 note a Orbevoies, pierced work filled up at the back,—blind paneling.
page 198 note b Compte d' Etienne de la Fontaine in Comptes de l'Argenterie des Kois de France au 14e siecle, p. 111. The furnishing of such things seems to have been a privilege of the court painter both in France and Burgundy. See Count Laborde's Notice des Emaux du Louvre. Glossaire, Selle necessaire.
page 198 note c Comptes de l'Argenterie, p. 117.
page 199 note a Comptes de l'Argenterie, p. 300.
page 199 note b Demoiselle à atourner, a wooden figure to support a mirror, and the dresses of the lady in whose room it was placed. See Count de Laborde's Notice des Emaux du Louvre. Glossaire.
page 199 note c Philobiblon Miscellany, pp. 95, 97, 100. Comptes de l'Argenterie, p. 264.
page 199 note d Philobiblon Miscellany, p. 99.
page 199 note e Philobiblon Miscellany, p. 112.
page 199 note f Ibid, p 107.
page 199 note g Ibid. p. 118.
page 200 note a Tome i. Deuxiéme série, p. 540. Paris, 1844.
page 200 note b This document formed part of the collection of MSS. of Baron de Joursanvault; in 1844 it was in the possession of M. Salmon.
page 200 note c Assovffir, to terminate.
page 200 note d Imitation of marble?
page 200 note e Angels.
page 200 note f Nuancer, shade
page 200 note g Worked in relief, as were many of the gilt details of the paintings formerly in St. Stephen's Chapel, Westminster, which are of the same period and now in the British Museum.
page 201 note a Fire-wood.
page 201 note b Mouton, also called florin d'or au mouton. This coin, so named from its having upon it the Agnus Dei, was then worth about 4s, sterling.
page 201 note c Montfaucon, Tresor des Antiquites de la Couronne de France, tome ii. pl. lv.