Woman's Art, Inc.

Christine de Pizan's "Treasure of the City of Ladies": A Study of Dress and Social Hierarchy
Author(s): Laura Rinaldi Dufresne
Source: Woman's Art Journal, Vol. 16, No. 2 (Autumn, 1995 - Winter, 1996), pp. 29-34
Published by: Woman's Art, Inc.
Stable URL: http://www.jstor.org/stable/1358572
Accessed: 17/11/2010 12:55

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 I
CHRISTINE DE PIZAN' S
TREASURE
OF THE CITY OF LADIES
A Study of Dress and Social Hierarchy
By Laura Rinaldi Dufresne
After I built the City of Ladies with the help and by the command-
ment of the three ladies of Virtue, Reason, Rectitude and Justice, in
the manner explained in the text of that book, and after I, more than
anyone else, had worked so hard to finish the project and felt so ex-
hausted by the long and continued exertion, I wanted only to rest
and be idle for a while.'
So education
begins Christine de Pizan's fascinatinghandbookon the
of women, The Treasure the Ladies
of City of
(1405).2 Like much of women's work, it was created out of
overwhelming weariness. The rest she so deserved after finishing
The Book of the City of Ladies, her history of women, was imme-
diately interrupted by the impatient virtues who flew to her bed-
side and accused her of indolence. "Hear our lectures, and you
will accomplish good work," they explained.3 The Treasure of the
City of Ladies had been called everything from a courtesy book,
a behavior manual, and a "mirror"for Princess Margaret of Bur-
gundy, to a feminine foreshadowing of Machiavelli. It became a
model for guidebooks written by and for women for the next few
centuries.4 Christine de Pizan's book, however, goes beyond
mere instruction. She also vividly describes and passionately ad-
dresses the lives of each class of medieval woman, from princess
to prostitute.
Like many sumptuous books produced for the aristocracy,
Christine's texts often were beautifully illustrated. One of the first
vernacular authors to supervise the copying and illumination of
her books, she produced a vast number of writings for members of
the French court between 1390 and 1429. The lesser-known Trea-
sure of the City of Ladies is sequel to the more famous Book of the
City of Ladies.5 Eight of the twenty-one extant 15th-century
copies of The Treasure are illustrated.6
Christine chose and supervised the miniaturists for all her
texts.7 The only contemporary woman artist she mentions by name
is Anastaise, whom she praises as "learned and skilled in painting
manuscript borders and miniature backgrounds."8 Unfortunately,
scholars have not been able to identify which miniatures Anastaise
executed.9 Indeed, the identification of individual artists or even
workshops is difficult for many medieval manuscripts.?0
Images of women during this period usually reinforce their
subservient role." In the case of The Treasure, however, it is a
woman who defines that role and image. Christine's text outlines
the prescribed behavior for women, and the images she supervised
provide women with visual images of those women who embody
that behavior. The miniatures are concordant with the message of
Christine's text, which, however ster, is never demeaning.
Unlike "The Three Virtues Return to Christine with New Or-
ders; the College of Ladies Is Established" (1405; Fig.l), the only
miniature supervised by Christine herself, most of the later minia-
FALL1995 / WINTER 1996
tures base their images upon a loose interpretationof her text and
more traditionalvisual models, for example,Jan van Eyck'sbride
in The Arnolfini Wedding (1434). Painted by male artists inter-
preting a female authoritywriting primarilyfor female patrons,
these later miniaturesoffer a unique opportunityto examineways
in which gendered identities are constructedin a specific context:
Christine'suniquevisionof a College of Ladies.
The Treasurewas dedicatedto Margaretof Burgundy,the old-
est of the six daughters of John the Fearless. At age eleven, in
1404, she was marriedto the French dauphin,Louis of Guyenne
(who died in 1415 before becomingking), and moved to the noto-
rious court of France, ruled at that time by Charles VI and Is-
abelle of Bavaria.Christinemay have writtenthis book of instruc-
tion at the urging of Margaret'sfamily.'2In fact, she encourages
educationalreadingin The Treasure:
Thislady will gladly read instructivebooksaboutgood manners
and behaviorand sometimesdevotion,but those aboutindecency
and lubricityshe will utterlyhate and not wish to haveat her
court. Shewill not permitthemto be broughtinto the presenceof
any girl,female relativeor womanin her court,for thereis no
doubtat all that the examplesof good or evil influencethe mindsof
those men or women who see or hear them.'3
The dedicationto Margaretplaces The Treasurein the literary
traditionof writingson the formationof the perfect prince, or in
this case, princess. Many of the survivingmanuscriptshave some
connectionwith Margaretof Burgundyand her five sisters, all of
whom made politically powerful marriages,thus disseminating
The Treasure to other areas of Europe.14 The significance of
women book ownersand medievalmarriagecustomsin the cross-
fertilization of artistic styles throughout Europe cannot be
overemphasized.Younggirlswere often forced to move to distant
lands to live with their futurehusbands.They traveledwith an en-
tourage of guardians, fine goods, and many dowry books from
their mothers.15
Christinede Pizan is an example of just such an international
exchange, though she followed her father from Italy to France.
Christinewas born in Venice in 1363. Her father was the physi-
cian to King CharlesV of France, and she grew up at the French
court, where, at her father'sinsistence, she received a thorough
educationin the classics. Her troubles, as well as her literaryca-
reer, beganwith the death of all her male protectors:KingCharles
V in 1380, followedby her fatherin 1389, and soon after,her hus-
band, Etienne de Castel, one of the King's royal secretaries.At
twenty-five she was a widow with three children and an aged
mother to support.She began workingas a scribe, claimingFor-
tune changed her into a man to enable her to supporther family
0
tlhrongl intellectual pursuits. edire ((ti historxv al( hirio Calilitxvto
Christiule's first lite,rarv effoirts r' ', ':%~~~~' writt. Tihex' assist her il hbtilding
were co(lx'Ventionallo(]-' ballads _~.,.~.~..-. ... ~.~...~, a ctt lt-' xxv'olltt. a fem'!inine
(dexote(l to tihe smorrowof widow- . ,~~~~~~~~~~~~~~~~~~~~~~' utopia tntaledbv thie \'irin Marv
hood(. With tiilt' slit' expaided iand pospilate l bvt xi rtlitios
to a wider varietv of' sllubljects.all
approved 1bvher coi,rtl pattrons. ttho Isaslret'
s -c owf it' Ciit of(
Hletr most Iunusualstldject. how- ~iiI,.~~1
ladic.s s io tl(laua stci(t1e tao
of
'ver. was her defieist' (wmx'elI. theis rltoepialt xisio . ('lir istilte
SlIe attacks the itlstituitio(n of' tox-es itroi lh'tr role as lhistOriai
chlivalrv ill thle "Letter to the
(;od of: Love" andtt misog\ liVNii
t-7i:L to tlhose of' cotlllS(eh,'r ani educ'a-
tondr.' 'l'turististlat's tlt ie-
lier letters (ol "Tlhe Romlance (of sci s s. lip icdeal lat( otfnrteuge t.o
th]e Rose" and tlIfe'nds the cmn- Ii sltield x(otiwoent'rot aiise bluit
tr'ibltitin of x(womltento historv in edlsiates
(asiooal, thltlle l' to fulc'
TVi Book of ihu Cii! of Ladies.
(Christine liked to haxve lier
v()xolities illustrated. Shel direct- ip'77-
Its purpose
l-ri. is (l to- earth.
('(1 the co(stitiiiti1 of' tIl' figures Fig. 1. The City of Ladies Master, "The1ThreeVirtuesReturn to Christinewith al practic al, Thess .
(litactic'
ill the linillatllrcs.
c.ol(silin sillm- New Orders; the College of La( dies IsEstablished" (fr405), e i
lniatlores tpic' a(rlIries-
ll slhol
ple. straightforward Italialuate tempera and gold leaf on t.
parchment Courtesy Boston Public Library. tine a mbain cofntact tiw e of sle
stvle rather tiltli the fi'ssv em- xirttes.
i As' tociteite(l in tle il-
bellisled x'ersions pri'ef'erredin French \vorkslhops. Tlis call 1be histrations et'e. thle also show the estalisl (if.
s'eries et of a
seen in thle earliest mtiniature illustiratiiig /Th' I'ra.src. "The lectitres
fc)or xW'tite xx'ithit
thi e co'lfileps of the citv.llox tritas-
Three \'irtues Retlurn to( Christine" [Fig. 1). C:lristillt . the figure f'Ormed into ai
otehrdie collecge.
witli ide.tical harolcrowns oe1r therics ociled xxorld.
po(itificatillg firom tlle canopied bed Ion the I(eft. is co()sttitied ill a The earliest smurx'ix'ittg titittiattite ofi/' t'rt'.as'ti'c wias paiintedl
itmitiieur sititilar to thiat found in portraits of(' ier (dutilt]iglher life- tIInder :Christinl(e'ssiperx'rVisioMtI hwTiei City (if,Litdi('s .XIaster('. As in
time: atro'al blic c)tehardie'" xwithshort. square-etlded hilaiing thte openitig ' The1Cit. tw
ttiiai,ttiretohle paitltitIg
co()i]taillas so'p-
sleeves ovr' a darke'rude'rgowi antiidta wlIite 1oit(e1d I'headdress. sofe
aratllege s. Th activitv (if th' Prologeleftt. is describe attthle
These gar'lieiintsreflect lie'r itlm(destilanilln'r f'dressillugisas xvidoxw (Chtristite rt'ecliiiesont a Led xwitlhin a rathelr c''atlpi(pd inttetior. try\-
o(f a c'omi'tclerk and als(o make lier instaintlv r'couitnizable to the ing to rest aftelr fitislting The Citj. Inmpatitlitvirtltes c'ro)d hx her-
viewer.'- Such ita t mannei' of dress was inl ccm .rUance \'itl ietr own Lb(dside. xvx'ariin( vxar-iatiotus (3f the fashtionahle li hoiipp'la]imd':' Mid
view's (onsensible dress. Fashlionm waxsdalitgei'ros hbecause'it c'iitin- c()tehaarcdie.. with itdet]tical go()l c'ixowns ovxei'tlielir coiled h1l(otkle
uall' chalgwed.requiring bo()thmen and xmxinento acciumillate debt bLmns.One p1lls (Clristin]e fironti liefl1. e(ttjlijoimiig]'t' to get to
in dtlerto la'e t hel, atetst"fihncv."" work hbtfore slie fldllspmr'yto the sxx'eetsitig(itf lazint('ss:
D)resswas zaliiltin(edliatevistualindication of'social positioil dii]r-
ilng thie lat'e-tle(ldiev'\alperiiod. so illuic' l s) tllat tli' ;aristocrat's Then I receired from them this command: Take your pen (nd write. te
s and dart'ing h(co(llett( \were
sitlluptuous displav (f' fitr-. fiabric. tllos. Blessed trill the!y be in our city to swell the number of citizens of
nifiiickedl bv w'ealthy mte(ibers of('the millddleclass ill defiaclle (f 'irtue. May all the feminine college and their devout community be
var'iouis sullll)tlua' law\s.' C(hristine.an advl\(cateof'(dressitllg\witlhin appraised of the sermons and lessons of wisdom.'
sstioi.a lddlrsses this pro()let'mstlernlly ill /' TreaSl.re: "'Let
o(ie's stati
uis supp(ose. tf'()re(xalple. tliat a w()Iollan is (f' excellent The coiiitiiiiiiitv of this hi'm)ininecollege aiplx'at'sotl the tight side
c'haracter...lbut Io oic will believe it. as slie is of the mtiliiatulrc.i'eceiviitg a serillolt fI'Itll I)aine
seen w'earing abi(eclthing her sta- P'iidetce. a f'igiit' to0t '(mltd ill The
tio]. "2
C'osti] I' ad( demeanor
aiii.e-B a]e i
c''ic'ihilto tituderstalldig thle'vi- (:h'istin' claitits thlat PIruldeltce
emtii({idis ith gr('rat('st virtnie a
this period-w hlat 'schllars
B~Cil! oif ' * Ciamllc
'-Mit ctti tivatia'. aid it is
(osti.sut(eI istiorv havxecalled "- -Shewxholectulres tlh stitdetnts.
mtetaphltical mode ti ettimblem-
i The threevxirttes 'roin T'fc'Citi,
itic sigmnificance" flr social this- act its ittstigratttrs. !]t','dling
Chlristita' to tst' lw'l intttlh'ct to
ilt titfii'st mimniature illts- tltin]kaid xxr'itt'xxvlat she k,oxxws
trating Th' Boo/ of'it Ciii, of'
Ladies C(iistitu' broiids in de- (:Col'g' of' of Ladies. liovexver.
spairi'Ciecause( so n11a\l'';eat in- ilitist f'it'st inistriuct. lax lug the
tellects ihave ptroclaimltiedtihat fo0uti1datiuit fin' xOiC)'ti thro1itgh(
womewl's le]a\vior is ftill ()fB aMd'iceald cou'sel sit that tlhx
vi'c." Stltdd(el\. o(I a al)eiit ()fi hl b/itize'ls
_max xo'fltx ('it of die
light. three liavx'ltlx ttutses. (Citxof'
oLa(ds.
lieasots). Rectititde'. atl(i justice. Fig. 2. Masterof the Amiens200, "Th ie Callegeof Ladies IsEstablished-Dame This tiniiatttre is the fIt'stil-
arrive to hielp lier comtulbattlhat PrudenceLectures to a Class of Prir
ices ses and Future
Queens"(c. 1460), ltstration of' ( :lristitt"s xision of
c'ic'Jlutsittonxwithl iter xnxi\ktlt()\l- temperaand gold leaf on parchment.(Courtesy Beinecke Library,Yale University. ai Collt ege of' Ladi's. Shle i1l-

WOMAN'S ARTJOURNAL
cludes eleven women of different so- by their amiable grouping, animated
cial rank seated to the front and side ; - air, and sumptuous costtumes.
,-?::~.~
of Prudence at the lectern. Prudence ^',:" The eighteen figures divide into
wears a fur-lined cloak and gown as four groups: in the brick tower, on
well as the robes royale.' Gold rays the bridge, and on both river banks.
radiate from her crown. The students In the toNwerare the three virtues and
represent all the classes that the three Christine, easily identified by the dis-
parts of The Treasulre instruct. Four shades
arious tinctive blue and rose costumes they
crowned queens or princesses sit on wear in the miniatures in both Brus-
either side of Prudence. To the left sels manuscripts. This depiction de-
and to the right, visible in profile and parts fromithe narrative setting estab-
placed in a position of honor close to - _ lished by the text and found in the
the lectern, are two aristocratic earlier Boston Librarn edition. Only
women. The one at left wears the the three virtues remain, but they
fashionable and costly bourrelet play a far less important role in The
headdress of padded rolls of fabric. Treasure than they did in The City.3:
The woman to the right wears a tradi- The students are still grouped ac-
tional white vertical headdress, like cording to class, as is true in all but
the one always worn by Christine.28 Figure 4. On the high bank are the
This woman may be either a highborn ladies of royal blood. Not only are
servant of the court, like Christine, or ), "ClassesforMiddle
Fig.3. Masterof theAmiens20C Class they larger and placed higher in the
andLower
an aristocratic matron or widow Women"(c. 1460), tempe
era amnd
gold leaf on parchment. composition than the others, but
dressing conservatively. Seated on a Courtesy BeineckeLibrary,YaleUniversity. their gowns are bright with embroi-
long brown bench, their backs to us, dery or brocade patterns of rose and
are five ladies of various social statuses. Three wear hoods with various shades of blue. Their hennins, collars, cuffs, and hems are
long liripipes2"and simple gowns. Two, with vertical headdresses, trimmed with ermine or miniver. The bourrelet of the Boston Li-
wear costly houppelandes. bra,r miniature has merged with the early vertical headdress to
The ladies discussed in the text-princesses, aristocrats, mer- form the preferred mid-century headgear, the tall hennin swathed
chants, artisans, and laborers-are identifiable by their dress and in veils. The smaller size and simpler gowns of the ladies below in-
placement within the miniature. The artist, under Christine's direc- dicate their status as lesser aristocracy. Members of both groups
tion, duplicates the conventional notion of social hierarchy advocat- lean, posture, and glance at one another and back at the city in a
ed by Christine throughout the text. However hierarchic the place- lively rather than formal manner. It looks like the College of
ment, all attend the College of Ladies. The lectures are designed to Ladies has just been dismissed, the students now ready to take
make women from all classes citizens worthy of the City of Ladies: their newfound wisdom out into the world. The four women on
the bridge are of the merchant class, colorfully and fashionably
First of all to the queens, princesses and great ladies, and then on dressed in gowns of crimson, jade, and sapphire. Their stiff white
down the social scale we will chant our doctrine to the other ladies veils, folded and pinned to fall low over the forehead, indicate
and maidens and all classes of women, so that the syllabus of our their middle-class status. The veils replace the hoods with liripipes
school may be valuable to all. Amen."' - worn by the working class in Figure 1.
In spite of this imaginative illustra-
In "Christine and the Three Virtues tion of a scene never described but
Dismiss the Classes of the College of certainly implied in The Treasuire, the
Ladies" (c. 1465; inside back cover), a poor women, servants, and laborers to
miniature from a later Flemish version
of The Treasure, we find one of the
a whom Christine devotes special atten-
tion in the final portion of her writing
most imaginative and complex inter- are absent from the miniature.:' As the
pretations of (Christine's College of author states in this section of the text:
Ladies. It is the last of three miniatures
devoted to The Treasure found accom- We intend everything that we have laid
panying this particular manuscript.3' down for other ladies and young women
The Brussels miniature eliminates the concerning both virtues and the man-
patterned background of the Boston agement of one's life to apply to every
Library manuscript in preference for a woman of whatever class she may be. It
modern landscape dominated by the is said as much for one woman as for
city itself. Cone is the explanatory another, so each one takes whatever
scene with Christine resting: Instead, part she sees pertains to her."
she waves from a high turret in the col-
lege-castle. Absent, too, is the interior The miniatures created by the Mas-
setting of tlhe classroom with its main
lecturer, Prudence. Instead, we have
*-"------t
T- i m
- -
m n
I ter of the Amiens 2(X)(c. 1460; Figs. 2-
3) may have been for the edition of
an edifice filleld with active women. Al- Fig. 4. Utrechtor Guelders Workshop, "Classes for All Women" The Treasure in the librarv of Anne of
though the figulres overpower the ar- (c. 1430), tempera and gold leaf on parchment. France.35 The standard format for illus-
chitecture, tils awkwardness is offset Courtesy KoninklijkeBibliotheek, The Hague, Netherlands. trating this scene lhas altered. The first
FALL1995 / WINTER1996
0
miniature interprets the action of the Prologue. The second, "The
College of Ladies Is Established-Dame Prudence Lectures to a
Class of Princesses and Future Queens" (c. 1460; Fig. 2), illustrates
the College of Ladies-but neither Christine, the lectern, nor the
virtues are present. The composition of the original Boston version
has been reversed, and the nine highborn students now face the
viewer, as does Prudence. Here the artist seems conscious of the
reader's gaze and has transformed the miniature into a stage. Patri-
cia Simons calls the gaze "a metaphor for worldliness and virility."
In western European culture men gaze and women are gazed up-
on.3 This convention is now reversed, for women are the likely gaz-
ers at miniatures in The Treasure. Even so, the illustration express-
es the behavior society expects from women. Christine's mediation,
translated through her own life experiences, softens that message.
The princesses sit around Prudence, who wears an unbelted
gown of gold and is seen, for the first time, standing on her at-
tribute, the serpent of wisdom, here painted a vivid green. It is she,
according to Christine, who, through education and wise action, has
come to personify a woman's most valued virtue. The royal ladies
are distinguished by their brocade garments of gold, blue, and crim-
son, and all conform to 15th-century standards of feminine beauty.
With eyes downcast and hands locked inside the cuffs of their
sleeves, they listen demurely to Prudence. Christine advocates the
traditional passive demeanor required of women in society, even
from the highest-born princess: She must "behave respectably and
speak softly, her conduct will be kindly and her expression gentle
and pleasant, greeting everyone with lowered eyes."7 Through word
and image, the female reader learns how to behave.
All manner of complex headdresses-turbans, blunt hennins,
steeple-shaped cones with wire constructs-can be seen on the
nearly hairless plucked foreheads of these mannered beauties.
They mirror the headgear worn by the highborn ladies emerging
from the college in the Brussels manuscript.
"Classes for Middle and Lower Class Women" (c. 1460; Fig. 3),
like Figures 1 and 2, takes place in a classroom, but this one is seg-
regated by social status. The students, six women and two chil-
dren, sit in an open circle facing the reader-a circle of inclusion,
a visual reinforcement of the text. The virtues sit high on a bench,
and the message of their lectures forms the text. The composition
of the miniature supports that message and invites the reader to
participate in the discussion, to join the other students.
The women on the floor before the virtues wear a bright array
of colors; reds, blues, and spring greens. Several wear the coquille,
with its square visor above the forehead, commonly worn by wives
of clerks and counselors attached to a great house. Their robes are
loose fitting, with wide sleeves, all indications that they are from
the wealthy middle class. In Part III of The Treasure Christine ad-
dresses the merchant class pictured in this miniature, the premise
of which the Master of the Amiens 200 adhered to carefully:
The third point that we want to tell you about-you towns-dwellers
and women of rank in fine towns-concerning your garments and
clothing, is that you must not be extravagant, either in the cost or in
the fashions ....This is what makes the pomp and luxurious clothing
multiply and increase every day, because each person is trying to
outdo the other-by which many people are ruined in France and
elsewhere.38
Christine's arguments against extravagance in dress are as much
based on financial concerns as on the sin of vanity. Considering
that duringthe 15th centuryfine Italiantextilescost as much as a
jeweled necklace, her warningsappearquite practical.Following
Christine'sadmonitions,the women in this miniatureare conserv-
e
ativelydressed.No brocadesor ermineor sable, the fursrestricted
by sumptuarylaws to the nobility,are evident. Only the tight-fit-
ting green dresses of the young girl with the dog and the woman
behind her betray the latest fashion. The laborers and serving
women that Christinespecificallyincludes in the final section of
the text are not representedby the artist.
The additionof two childrenand a dog in this miniatureconsti-
tutes a delightfultouch. The toddler, most likely a girl given the
natureof the text (boys and girls dressed similarlyuntil about age
six),wears a blue robe and seems more captivatedby the dog than
the lecture. Christineadvisesworkingwomen:
Tohavetheirchildreninstructedand taughtfirst at schoolby edu-
catedpeopleso that they mayknowGod...itis a greatsin of moth-
ers andfathers,who oughtto be the causeof the virtueandgood
behaviorof theirchildren,but they are sometimesthe reason(be-
causeof bringingthemup to befinicky and indulgingthemtoo
much) for their wickedness and ruin.39
"Classesfor All Women"(c. 1430;Fig. 4), a provincialvariation
of The Treasure,offers an informativecomparisonto the aristo-
cratic miniaturesof the Masterof the Amiens 200. Althoughthe
originalowners are unknown,The Hague manuscriptis now be-
lieved to have been producedin an areaof the Netherlandswhere
a sister of Margaretof Burgundymarried and settled, carrying
with her a copy of The Treasure.4Four miniaturesillustratethis
volume.
In Figure 4 the three virtuesand six studentscrowdawkwardly
into a vaultedinterior.The virtues stand at the left, holdingtheir
attributesand gesturingenthusiastically.Indeed, all the figuresap-
pear animated.Even their gazes have lifted-all look directly at
their lecturers.
The six students,ladies of differentrank,sit cozily together on
the floor in a relaxingof the hierarchicaltradition.Althoughthe
princess,distinguishedby her full red robe, gold crown,belt, and
collar hung with bells, sits prominentlyat the front of the group,
this miniaturecreates the most comfortablemixingof the classes
seen in any of The Treasure miniatures. The harmonious tone
agreeswith Christine'sinstructionson the requiredcourtesiesbe-
tween a queen or a princessand her ladies:
In the privacy of her chamber she will wish each of them to choose
freely whatever she likes from all respectable merriment, and she
herself will laugh with them and divert herself in private gatherings
so unconstrainedly that they will praise her great liberty and indul-
gence and they will love her with all their hearts.41
Behind the princess,seated casuallyon her stool, are three ladies
wearinga varietyof reticulatedheaddressesand turbans,leaning
forwardeagerlyto hear the lecture.At the lower right,a womanof
the lower-middleclass in a black cape and unbuttonedhood sits
cross-legged on the floor. Like the working women in Figure 1,
she too has a long liripipe hanging from her hood. Two other
women in similar costume listen near the door.
The Hague miniature illustrates Part II of The Treasure, which
is devoted to instructing ladies of the court and manor. Rectitude
gestures and points to engage her students. This relaxed grouping
of the upper and middle classes on the floor is unique. The artist
illustrated all the women addressed in The Treasure rather than
just those specified in Part II. Although the princess is seated in
front, the atmosphere of the class is relaxed and familiar, hardly a
frozenfrieze of figuresarrangedaccordingto rank.
Christine de Pizan was no revolutionaryattemptingto attack
WOMAN'S ARTJOURNAL
the class system with The Treasure of the City of Ladies. Instead,
she concentrated on the inherent value of women's work and their
contributions to their families and communities as suited their
rank and responsibilities. Although outraged at women's precari-
ous status within society, she elected to combat this state with
sound, if often austere, advice. The Treasure reveals Christine de
Pizan for the realist she was. It reflects her understanding of the
evils and temptations besetting women. She gave women advice
on how to avoid slander, appease husbands, run a household or
business, rule a kingdom, handle a court case or a love affair, raise
children, and most importantly, to protect a woman's most pre-
cious possession: her honor. Christine's credo is evident in the op-
timism she expressed regarding the substantial role women could
play in society when given the education and opportunity.
Charity Cannon Willard believes Christine wrote The Treasure
to teach women how to attain a sense of self worth.42Indeed, Fig-
ures 1 and 4 and the inside cover illustration in particular, in their
straightforward renditions of her text, underscore this credo.
These miniatures offer the reader a visual counterpart of the mod-
el behavior promoted in the lectures. Christine's original artist,
The City of Ladies Master (Fig. 1), preserves a sense of hierarchy
in the classroom while establishing a visual circle of community
when giving form to the college and its lecture hall. Later artists
were more concerned with fashionable attire and social hierarchy
(Figs. 2, 3) or with the women cavorting outdoors after class (in-
side cover). Yet all remind the reader that women should gather,
listen, read, and think. Christine's prose inspires an imaginative in-
terpretation of feminine culture, even when the artists were most
likely men. Although they and their patrons held restrictive no-
tions concerning the role, value, and worth of women, when inter-
preting Christine's visions they are forced to create a harmonious
vision of a community of women gathering to learn. Christine was
pleased with her efforts:
I remained almost exhaustedfrom writingfor so long, but very hap-
py, looking at the beautiful work of their worthy lessons, which I
have recapitulated. The more I look at them, the better they seem;
very profitable for the good, the improvementof virtuous habits, and
the increase of the honor of ladies and the whole world of women,
present andfuture, wherever this book can reach and be seen.43
The popularity of The Treasure over several centuries among
many classes of women is a testament to its power. This would
have pleased Christine, no believer in false humility, for she had
high hopes for the lessons transcribed in her College of Ladies. ?
NOTES
1. Christinede Pizan, TheTreasureof the Cityof Ladies,Sarah Law-
son, trans.(New York:Penguin,1985), 32. Allquotesare fromthistrans-
lation.
2. OriginallytitledLelivredes troisvertus(TheBookof the Three
Virtues)by Christinein 1405, it became knownas TheTreasureor The
Treasuryof the Cityof Ladieswhen it was printedunderthe patronageof
Queen Anneof Brittanyin the early- 6th century.CharityCannonWillard
titledhertranslationA MedievalWoman'sMirrorof Honor:TheTreasury
of the Cityof Ladies(New York:Persea, 1989).
3. de Pizan, TheTreasure,31.
4. Anneof France,TheTeachingsof Anne of Franceto HerDaughter
Suzanneof Bourbon(1505), forexample.Anneowned five volumesof
Christine'sworks,includingTheTreasure.
5. TheBookof the Cityof Ladies(1405) documentsthe livesof
women, mythologicaland historic,pagan as well as Christian,who con-
tributedto the developmentof Westerncivilization.
FALL1995 / WINTER1996
6. Theeight illustrated
copies of TheTreasurecan be foundin Boston,
PublicLibrary MS. fr., med. 101, 1405-10; Paris,Biblioth6queNationale
fr. 25294, 1412-25; Brussels,BibliothequeRoyaleAlbertler. 9551-2,
1420-30; TheHague, TheKoninklijke Bibliotheek,KBMS. 131 C 26, c.
1430; London,BritishLibrary MS. 31841, 1440; Yale University,Bei-
necke Library MS. 427, c. 1460; Brussels,Biblioth6queRoyaleAlbert1er,
9235-7, c. 1465; and Paris,BibliothequeNationalefr. 1177, 1470-80.
Allare listedby AngusKennedy,Christinede Pizan:A Bibliographic
Guide (London;Grant& Cutler,1984), 107. Inadditionto the 21 hand il-
luminatedmanuscripts, thereare 4 early printededitions:by Antoine
Verard(1497), MichelLeNois (1503), and Jehanand DenisJanot
(1536). In 1518 it was translatedintoPortugueseat the requestof Isabelle
of Portugal.See CharityCannonWillard,"APortugueseTranslation of
Christinede Pizan'sLivredes TroisVertus,"Publicationof the ModernLan-
guage Associationof America(December1963), 459-64.
7. GilbertOuy and ChristineReno,"Identification des autographesde
Christinede Pizan,"Scriptorium (1980), 221-38; MillardMeiss, French
Paintingin the Timeof Jean de Berry:TheLimbourgs and TheirContempo-
raries(London:Thames& Hudson,1974), 8.
8. Christinede Pizan,TheBookof the Cityof Ladies,EarlJeffrey
Richards,trans.(New York:Persea, 1982), 85.
9. Fordiscussionof Anastaiseand othermedievalwomenartistssee
DorothyMiner,Anastaiseand HerSisters:WomenArtistsof the Middle
Ages (Baltimore: WaltersArtGallery, 1974) and AnnemarieWeyl Carr,
"WomenArtistsin the MiddleAges," FeministArtJournal(1976), 5-9.
10. Of the eight illustratedmanuscripts of TheTreasure,only fourhave
been attributedto specificworkshops:Boston,MS. fr. med. 101, to The
Cityof LadiesMaster;Brussels,BR9551-2, the Workshopof Guilebertde
Mets;Yale University,BeineckeMS. 427, the Masterof Amiens200; and
Brussels,BR9235-7, Schoolof JacquemartPilvaine.
11. Forimages of women in the middleages see Diane Bornstein,The
Ladyin the Tower(Hamden,Conn.:ArchonBooks, 1983); Kirohes&
Wemple, eds. Womenof theMedievalWorld(1985); PennySchineGold,
TheLadyand the Virgin:Image,Attitudeand Experiencein Twelfth-Century
France(Chicago:Universityof Chicago, 1985); MargaretMiles, Imageas
Insight:VisualUnderstanding in WesternChristianand SecularCulture
(Boston:Beacon, 1985); and PatriciaSimons,"Womenin Frames:The
Gaze, the Eye, the Profilein RenaissancePortraiture," HistoryWorkshop:
A Journalof Socialistand FeministHistorians(Spring1988), 4-30. Al-
thoughdirectedat Italianportraitsof women, Simons'sworkprovidesa
usefulmethodologicalmodelregardingthe relationshipof the masculine
patronand artistand its effecton the portraitsof women.
12. Willard,"APortugueseTranslation," 459-64.
13. de Pizan, TheTreasure,59.
14. See EdithYenal,Christinede Pisan:A Bibliography(London:Scare-
crow, 1982) 43-44, 46-47.
15. SusanGroag Bell,"MedievalWomen BookOwners:Arbitersof Lay
Pietyand Ambassadorsof Culture,"Signs (Summer1982), 763-64.
16. Thecotehardieis a tightlyfittedgarmentmadeof one or two pieces
wornundera moreformaloutergarmentsuchas a houppelandeor surcoat;
sometimesit was wornalone. Itwas firstnotedin the middleof the 14th
centuryand remainedpopularthroughout the firstfew decades of the 15th.
Itwas wornat variouslengthsby men, butit was always long whenworn
by womenand oftenscandalouslylow-cut.Itis called a kirtlein England
and a gamurraor camorain Italy.See BlanchePayne,A Historyof Cos-
tume(New York:Harper& Row, 1965) and MargaretScott,A VisualHisto-
ry of the Costumeof the Fourteenth Century(London:B.T.Batsford,1986).
Allthe costumesdescribedin the textare documentedin these two volumes.
17. Christineis depictedten timesin thissame costumein miniatures
producedunderher supervisionfor TheCityand TheTreasureand in many
portraitsshe commissionedto accompanyher proseworks.Fora fulldis-
cussionof her portraits,see my "AWomanof ExcellentCharacter:A Case
Studyof Dress,Reputationand the ChangingCostumeof Christinede
0
Pizan,"Dress(1990), 107. Also, fora moreextensivediscussionand re-
productionof miniatures,see mydissertation,"AnAssemblyof Ladies:The
15th-Century PictorialTraditionof Christinede Pizan'sLacit6 des dames
and Latr6sorde la cit6 des dames"(University of Washington,1989).
18. de Pizan, TheTreasure,134-38, 149-53.
19. MargaretScott, LateGothicEurope:1400-1500 (London:Mills&
Boon, 1980) and DorothyHartley,MedievalCostumeand Life(London:
B.T.Batsford, 1931).
20. de Pizan, TheTreasure,150.
21. DianeOwen Hughes,"Lamoda prohibita.Lalegislazionesumptuar-
ia nell Italiarinascimentale," Memoria(1984), 95-97.
22. Forminiaturesee London,BritishLibrary,Harley4431, f. 290,
1410-15.
23. LuluM. Richardson,Forerunners of Feminismin FrenchLiterature of
the Renaissance:FromChristinede Pizanto Mariede Gournay(Baltimore:
JohnsHopkins,1929), 30.
24. So namedby MillardMeissin "TheExhibition of FrenchManuscripts
of theXIII-XVI Centuriesat the BibliothequeNational,"ArtBulletin(Summer
1956), 153. Seeminglya favoriteof Christine's, thisartistpaintedminiatures
for TheCityand TheTreasure and formanyof herothermanuscripts as well.
25. Thehouppelandeis a costly,voluminousovergownof varyinglength
for men,always long forwomen, and requiringlarge quantitiesof fabric.
FashionablethroughoutEuropebetween 1380 and 1420, it was often
heavilyembroideredand wornwitha wide varietyof collarsand sleeves,
dependingon the date. Thewearingof a houppelandealways indicates
wealthand status.
26. de Pizan, TheTreasure,32.
27. Therobes royale, consistingof a cloak and open or sidelessgown
witha plastronwornover a cotehardie,were worn by the royalfamilyand
some membersof the aristocracyon ceremonialoccasions.
28. See CheunsonSong and LucyRoySibley, "TheVerticalHeaddress
of FifteenthCenturyNorthernEurope,"Dress(1990), 4-15.
29. Theliripipe,a long tail of fabricextendingfromthe peak of a hood,
was wornby aristocratsin the 14th centuryand the middleand lower
classes in the 15th.
30. de Pizan, TheTreasure,31.
31.The Brusselseditionis boundwith TheCityof Ladies,which is illus-
tratedwithsix miniatures.All nine are unusual.Thefirstfor TheTreasure
shows Christineand the virtuesconversinginsidea walled garden. The
second shows themmeetingwomenat a crossroadsbeforea landscape.
32. Accordingto Willard,in A MedievalWoman'sMirror,36, the three
virtuesserveto unitethe two books and badger Christineintoorganizing
the college, butit is Prudencewho technicallydeliversthe lecturesin the
College of Ladies.
33. Thegroupsare easily identifiedby theircostume.Middle-class
women became great readersof thistext in its early-16th-centuryprinted
editions.See CharityCannonWillard,"TheManuscriptTraditionof the
Livredes TroisVertusand Christinede Pisan'sAudience,"Journalof the
Historyof Ideas(1966), 439-40.
34. de Pizan, TheTreasure,145.
35.1tis speculatedthatthiscodex, presumedlost, may be the one once
in the BourbonLibrary and owned by Anneof France(1462-1522). See
TheYaleUniversityLibraryGazette (no. 4, 1978), 244.
36. Simons,"Womenin Frames,"41.
37. de Pizan, TheTreasure,47.
38. Ibid., 153.
39. Ibid., 168.
40. Willard,in "TheManuscriptTradition," 438, writesthatas Marieof
Burgundy,Margaret'ssisterbecame the Duchessof Cleves, and herfriend,
MarieHarcourt,became the Duchessof Guelders,"Itis thereforenottoo
difficultto understandhow a copy of the textshouldhave made itsway in-
to the handsof a Dutchartist."
41. de Pizan, TheTreasure,61.
42. See Willard'sintroduction,A MedievalWoman'sMirror,39-40.
43. de Pizan, TheTreasure,180.
Laura Rinaldi Dufresne is Associate Professor of Art History at
Winthrop Universityin South Carolina.

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