The illustrations of the Remede in Machaut MS C
The Remede appears in the earliest of Machaut’s complete-works manuscripts, known as MS C ((Paris, Bibliothèque Nationale de France, MS fonds français 1586), where it is accompanied with a substantial and beautiful series of miniatures. What follows is a catalogue of those miniatures, with some links and images; the complete digitized manuscript can be found at Gallica.
f. 23r, top: opening of Remede: half-page image of manor house, with the Lady and three of her (female) companions on the right, and the narrator with a (male) companion on the left. Note the Lady’s hat—that will distinguish her from other female figures as the story progresses.
f. 24r, bottom left: small miniature, “Comment amours chastit lamant”
f. 26r, middle across both columns (above beginning of lai): “Comment lamant fait du lay de son sentement”
Here we can see the narrator writing his lai—the scroll he holds is a common sign for song (or sometimes speech), and in his right hand he holds a pen.
f. 28v, top left: small miniature, “Comment la dame fait lire a lamant le lay quil a fait”
The Lady and the narrator are speaking privately, while their companions are to the right, on the other side of a pair of trees, playing a game (“Roy qui ne ment”). The narrator holds the scroll, which indicates the act of reading (singing) the song.
f. 30v (on verso of music and first verse of complainte; almost entire page): “Comment lamant fait une complainte de fortune et de sa roe”
On the top half of the image, the narrator sits in the walled garden, alone, and writes on a scroll, indicating the act of making his complainte; on the bottom half, Fortune (blindfolded, as she is often portrayed) spins her wheel. Here, she uses a handle to move a small wheel that moves the bigger wheel, on which three young men are portrayed: one with a crown and scepter on top, one to the left (falling but trying to hold on), and one on the bottom, having already been crushed by the wheel.
Note that this and the next four miniatures appear in the middle of the complainte.
f. 23r, top: opening of Remede: half-page image of manor house, with the Lady and three of her (female) companions on the right, and the narrator with a (male) companion on the left. Note the Lady’s hat—that will distinguish her from other female figures as the story progresses.
f. 24r, bottom left: small miniature, “Comment amours chastit lamant”
f. 26r, middle across both columns (above beginning of lai): “Comment lamant fait du lay de son sentement”
Here we can see the narrator writing his lai—the scroll he holds is a common sign for song (or sometimes speech), and in his right hand he holds a pen.
f. 28v, top left: small miniature, “Comment la dame fait lire a lamant le lay quil a fait”
The Lady and the narrator are speaking privately, while their companions are to the right, on the other side of a pair of trees, playing a game (“Roy qui ne ment”). The narrator holds the scroll, which indicates the act of reading (singing) the song.
f. 30v (on verso of music and first verse of complainte; almost entire page): “Comment lamant fait une complainte de fortune et de sa roe”
On the top half of the image, the narrator sits in the walled garden, alone, and writes on a scroll, indicating the act of making his complainte; on the bottom half, Fortune (blindfolded, as she is often portrayed) spins her wheel. Here, she uses a handle to move a small wheel that moves the bigger wheel, on which three young men are portrayed: one with a crown and scepter on top, one to the left (falling but trying to hold on), and one on the bottom, having already been crushed by the wheel.
Note that this and the next four miniatures appear in the middle of the complainte.
, f. 31v, top left: small minature, “Comment nabugodonosor songa quil veoit une figure qui se claime statua.” (rubric (like the others, in blue ink) is on the bottom of the previous page)
Nebuchadnezzar is portrayed in bed (wearing his crown), while the statue appears before him.
f. 32v, bottom right: small miniature, “Commant lamant se plaint de fortune”
The narrator, seated with his head in one hand (indicating sorrow), points to Fortune (note the blindfold)
f. 33v, top left: small miniature, “Comment lamant entrevit la dame”
The narrator sees the Lady (whom we see only in part, because she is entering a building), with a companion following her; because their backs are to the narrator, they presumably do not see him.
f. 34v, top left (rubric at bottom of previous page): small miniature, “Comment lamant se complaint a lui meismes”
The narrator sits, along, between two trees.
f. 35r, bottom left: small miniature, “Comment esperance vint conforter lamant”
The narrator sits with his head pillowed on one arm (indicating the trance into which he has fallen). Esperance (distinguished by the scarf flowing behind her head) reaches out to take his other hand.
This miniature marks the end of the complainte and the return to narrative poetry.
f. 36v, top left (rubric on bottom of previous page): small miniature, “Comment esperance ensaigne et aprent lamant”
Esperance and the narrator face each other.
f. 37v, middle left: small miniature, “Comment esperance chastie lamant”
Esperance, standing, gestures while speaking to the narrator, who is seated before her.
f. 38r, middle left: small miniature, “Commant esperance moustre les droites armes damours a lamant”
Esperance and the narrator face each other, with a tree bearing a shield with the arms of Love as Hope describes them: azure (blue) field with heart of gules (red), pierced by arrow of sable (black) with tip of argent (white).
f. 38v, middle right: small miniature, “Commant lamant sen dort en ooiant chanter esperance”
The narrator sleeps (indicated by his head pillowed on his arms), while Hope holds a scroll (indicating the song she sings). The song (the chant royal Joye plaisance) appears on the next page.
f. 39v, bottom left: small miniature, “Comment esperance demande a lamant selle a bien chante”
Hope touches the narrator, as if to awaken him.
f. 40v, top left (rubric on bottom of previous page): small miniature, “Comment esperance dit a lamant quel pouer elle a”
The two face each other.
f. 41v, top left: small miniature, “Comment lamant parle a espera[n]ce”
The narrator and a female figure face each other. Given the style of dress and hair, the woman (whose back is to us) appears to be Fortune rather than Hope, but Hope has a similar dress (though she always appears with her trademark backward-flowing scarf, not visible here) on f. 44v.
f. 42r, middle left: small miniature, “Commant lamant mercie esperance”
The narrator kneels before Hope.
f. 42v, top left: small miniature, “Comment esperance parle a lamant de fortune”
The two face each other.
f. 43r, bottom right: small miniature, “Comment lamant parle a esperance”
The two face each other.
f. 44v, middle left: small miniature, “Comment esperance parle a lamant”
The two face each other.
f. 45v, bottom right: small miniature, “Comment esperance baille a lamant une chancon et la chante devant li”
Hope hands the narrator a scroll (indicating the song, the baladelle En amer a douce vie, which begins on the facing page).
f. 46v, bottom left (following the baladelle): small miniature, “Comment esperance se depart de lamant”
The narrator holds the song, while the torso of Hope appears in the trees, indicating her departure.
f. 47v, top right: small miniature, “Comment lamant fait une balade”
The narrator can be seen with pen in hand, writing on a scroll (indicating the act of composing the song); the music of the balade Dame de qui toute ma ioie vient takes up the rest of the page.
f. 48r, middle left: small miniature, “Comment esperance tient lamant par la main et le mainne veoir le manoir sa dame”
Hope leads the narrator by the hand to the Lady’s manor.
f. 49r, bottom left: small miniature: “Commant lamant sagenoille en la sante devant le manoir sa dame”
The narrator kneels before the Lady’s manor; Hope’s head can be seen above the trees (indicating her departure).
f. 51r, middle (both columns): large miniature, “Commant lamant chante empres sa dame”
The Lady and her companions are dancing in a circle; the narrator arrives with two (male) companions. The miniature heads the chanson baladee Dame a vous sans retollir.
f. 52r, middle right: small miniature, “Commant lamant parle a sa dame”
The narrator and the Lady walk together toward the manor; their companions follow, also in pairs.
f. 53v, top left: small miniature, “Comment la dame parle a lamant”
The narrator and the Lady (outside the manor) face each other, while a (female) companion adjusts the Lady’s train.
f. 54r, bottom right (rubric at top of next page): small miniature, “Comment lamant mercie sa dame”
The narrator kneels before the Lady; several (female) companions stand behind her.
f. 55r, bottom half (both columns): large miniature, “Comment lamant fu au disner sa dame”
The Lady sits to the right of the banquet table, flanked by (female) companions; the narrator sits on the left with two (male) companions. Various other figures play trumpets and other instruments, bring dishes of food, or play games or tricks to entertain the banqueters.
Nebuchadnezzar is portrayed in bed (wearing his crown), while the statue appears before him.
f. 32v, bottom right: small miniature, “Commant lamant se plaint de fortune”
The narrator, seated with his head in one hand (indicating sorrow), points to Fortune (note the blindfold)
f. 33v, top left: small miniature, “Comment lamant entrevit la dame”
The narrator sees the Lady (whom we see only in part, because she is entering a building), with a companion following her; because their backs are to the narrator, they presumably do not see him.
f. 34v, top left (rubric at bottom of previous page): small miniature, “Comment lamant se complaint a lui meismes”
The narrator sits, along, between two trees.
f. 35r, bottom left: small miniature, “Comment esperance vint conforter lamant”
The narrator sits with his head pillowed on one arm (indicating the trance into which he has fallen). Esperance (distinguished by the scarf flowing behind her head) reaches out to take his other hand.
This miniature marks the end of the complainte and the return to narrative poetry.
f. 36v, top left (rubric on bottom of previous page): small miniature, “Comment esperance ensaigne et aprent lamant”
Esperance and the narrator face each other.
f. 37v, middle left: small miniature, “Comment esperance chastie lamant”
Esperance, standing, gestures while speaking to the narrator, who is seated before her.
f. 38r, middle left: small miniature, “Commant esperance moustre les droites armes damours a lamant”
Esperance and the narrator face each other, with a tree bearing a shield with the arms of Love as Hope describes them: azure (blue) field with heart of gules (red), pierced by arrow of sable (black) with tip of argent (white).
f. 38v, middle right: small miniature, “Commant lamant sen dort en ooiant chanter esperance”
The narrator sleeps (indicated by his head pillowed on his arms), while Hope holds a scroll (indicating the song she sings). The song (the chant royal Joye plaisance) appears on the next page.
f. 39v, bottom left: small miniature, “Comment esperance demande a lamant selle a bien chante”
Hope touches the narrator, as if to awaken him.
f. 40v, top left (rubric on bottom of previous page): small miniature, “Comment esperance dit a lamant quel pouer elle a”
The two face each other.
f. 41v, top left: small miniature, “Comment lamant parle a espera[n]ce”
The narrator and a female figure face each other. Given the style of dress and hair, the woman (whose back is to us) appears to be Fortune rather than Hope, but Hope has a similar dress (though she always appears with her trademark backward-flowing scarf, not visible here) on f. 44v.
f. 42r, middle left: small miniature, “Commant lamant mercie esperance”
The narrator kneels before Hope.
f. 42v, top left: small miniature, “Comment esperance parle a lamant de fortune”
The two face each other.
f. 43r, bottom right: small miniature, “Comment lamant parle a esperance”
The two face each other.
f. 44v, middle left: small miniature, “Comment esperance parle a lamant”
The two face each other.
f. 45v, bottom right: small miniature, “Comment esperance baille a lamant une chancon et la chante devant li”
Hope hands the narrator a scroll (indicating the song, the baladelle En amer a douce vie, which begins on the facing page).
f. 46v, bottom left (following the baladelle): small miniature, “Comment esperance se depart de lamant”
The narrator holds the song, while the torso of Hope appears in the trees, indicating her departure.
f. 47v, top right: small miniature, “Comment lamant fait une balade”
The narrator can be seen with pen in hand, writing on a scroll (indicating the act of composing the song); the music of the balade Dame de qui toute ma ioie vient takes up the rest of the page.
f. 48r, middle left: small miniature, “Comment esperance tient lamant par la main et le mainne veoir le manoir sa dame”
Hope leads the narrator by the hand to the Lady’s manor.
f. 49r, bottom left: small miniature: “Commant lamant sagenoille en la sante devant le manoir sa dame”
The narrator kneels before the Lady’s manor; Hope’s head can be seen above the trees (indicating her departure).
f. 51r, middle (both columns): large miniature, “Commant lamant chante empres sa dame”
The Lady and her companions are dancing in a circle; the narrator arrives with two (male) companions. The miniature heads the chanson baladee Dame a vous sans retollir.
f. 52r, middle right: small miniature, “Commant lamant parle a sa dame”
The narrator and the Lady walk together toward the manor; their companions follow, also in pairs.
f. 53v, top left: small miniature, “Comment la dame parle a lamant”
The narrator and the Lady (outside the manor) face each other, while a (female) companion adjusts the Lady’s train.
f. 54r, bottom right (rubric at top of next page): small miniature, “Comment lamant mercie sa dame”
The narrator kneels before the Lady; several (female) companions stand behind her.
f. 55r, bottom half (both columns): large miniature, “Comment lamant fu au disner sa dame”
The Lady sits to the right of the banquet table, flanked by (female) companions; the narrator sits on the left with two (male) companions. Various other figures play trumpets and other instruments, bring dishes of food, or play games or tricks to entertain the banqueters.
f. 56r, bottom right: small miniature, “Comment la dame & lamant changent daniaus”
The narrator and the Lady exchange rings, with Hope standing between them. By placing Hope between the two would-be lovers, this image tellingly shows that, as Sylvia Huot has noted, “their bond is less a mutual love directed at one another than a shared relationship with her” (Huot 2002, 178).
f. 56v, bottom half (both columns): large miniature, “Comment lamant sen va chantant”
The narrator and his (male) companion ride away; he holds a scroll to indicate the song he is singing. That song, the rondelet Dame mon cuer en vous remaint, begins on the facing page. On the other side of the image, a group of women (which does not seem to include the Lady, since we don't see her trademark hat) sit in a reviewing stand, while in the foreground a tournament is taking place, with two mounted knights engaging each other while others are being prepared.
f. 58r, middle left: “Comment lamant parle a sa dame”
The narrator and the Lady face each other.
references
Huot, Sylvia. “Guillaume de Machaut and the Consolation of Poetry.” Modern Philology 100/2 (November 2002): 169-95.
related pages:
The narrator and the Lady exchange rings, with Hope standing between them. By placing Hope between the two would-be lovers, this image tellingly shows that, as Sylvia Huot has noted, “their bond is less a mutual love directed at one another than a shared relationship with her” (Huot 2002, 178).
f. 56v, bottom half (both columns): large miniature, “Comment lamant sen va chantant”
The narrator and his (male) companion ride away; he holds a scroll to indicate the song he is singing. That song, the rondelet Dame mon cuer en vous remaint, begins on the facing page. On the other side of the image, a group of women (which does not seem to include the Lady, since we don't see her trademark hat) sit in a reviewing stand, while in the foreground a tournament is taking place, with two mounted knights engaging each other while others are being prepared.
f. 58r, middle left: “Comment lamant parle a sa dame”
The narrator and the Lady face each other.
references
Huot, Sylvia. “Guillaume de Machaut and the Consolation of Poetry.” Modern Philology 100/2 (November 2002): 169-95.
related pages:
- the Remede de Fortune
- the songs of the Remede
- Boethius's Consolation of Philosophy and Machaut's Remede de Fortune
- Machaut's Remede de Fortune and Chaucer's Book of the Duchess