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Eleanor E. Tremayne - The First Governess of the Netherlands, Margaret of Austria

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Transcribers note Obvious printer errors have been repaired but spelling has - photo 1
Transcriber's note: Obvious printer errors have been repaired, but spelling has not been standardized. Likely spelling errors in the French poems have not been corrected, as the consulted sources have the same.
Some Roman numerals are followed by superscript representing ancient units of weight used in the godsmith's trade:
m stands for marc
o stands for once
e stands for estelin
Number "83" was somehow left out in the (French) Inventory of Margaret's possessions.
ROMANTIC HISTORY
General Editor: Martin Hume, M.A.
THE FIRST GOVERNESS OF
THE NETHERLANDS
Frontispiece
FROM THE WINDOW IN THE CHAPEL OF THE VIRGIN
IN THE CHURCH OF BROU (about 1528)
THE FIRST GOVERNESS
OF THE NETHERLANDS
MARGARET OF AUSTRIA
BY
ELEANOR E. TREMAYNE
WITH TWENTY ILLUSTRATIONS
New York : G. P. PUTNAM'S SONS
London : METHUEN & CO.
1908
CONTENTS
CHAP.PAGE
Introduction ,
I.Queen of France ,
II.Princess of Asturias ,
III.Duchess of Savoy ,
IV.The Building of Brou ,
V.Regent of the Netherlands ,
VI.The League of Cambray ,
VII.Margaret's Correspondence ,
VIII.A Love Affair ,
IX.Charles declared of Age ,
X.Death of Maximilian ,
XI.Revolt of the Duke of Bourbon ,
XII.Capture of Francis I. ,
XIII.The Ladies' Peace ,
XIV.The Mission Ended ,
XV.The Church of Brou ,
Inventaire des Tableaux,
Livres, Joyaux, et Meubles de
Marguerite D'Autriche ,
List of Pictures from Margaret's Collection
sent to Brou (1533) ,
Catalogue of Manuscripts in Margaret of
Austria's Library at Malines ,
A Few Letters from Maximilian I. to Margaret,
and from Margaret to Various Persons ,
Index ,
LIST OF ILLUSTRATIONS
MARGARET OF AUSTRIA,
From the Window in the Chapel of the Virgin in the Church of Brou (about 1528).
PHILIPPE LE BEL AND HIS SISTER MARGARET OF AUSTRIA,To face page
Panel in the Imperial Museum, Vienna.
(Photograph by J. Lwy.)
TOMB OF DON JOHN, PRINCE OF ASTURIAS, ONLY SON OF FERDINAND AND ISABELLA, AVILA,
(Photograph by J. Lacoste.)
GHENT, SHOWING THE OLD BELFRY AND CHURCH OF ST. JOHN, WHERE CHARLES V. WAS BAPTIZED,
(Photograph by Deloeul.)
MEDAL STRUCK AT BOURG TO COMMEMORATE MARGARET OF AUSTRIA'S MARRIAGE WITH PHILIBERT, DUKE OF SAVOY,
British Museum Collection.
TOMB OF PHILIBERT LE BEAU, DUKE OF SAVOY,
In the Church of Brou.
(Photograph by Neurdein frres.)
PHILIPPE LE BEL,
From the Painting in the Louvre (Flemish School)
(Photograph by Neurdein frres.)
CHARLES V. AND HIS TWO SISTERS, ELEANOR AND ISABEL,
Painted in 1502 (Margaret's Collection),
now in the Imperial Museum, Vienna.
(Photograph by J. Lwy.)
ELEANOR OF AUSTRIA AS A CHILD,
From the Painting by Mabuse in the possession
of M. Charles Lon Cardou, Brussels.
(Photograph by G. Van Oest & Co.)
MARGARET OF AUSTRIA IN WIDOW'S DRESS,
From the Painting by Bernard van Orley
in the possession of Dr. Carvallo, Paris.
(Photograph by the Art Reproduction Co.)
CHARLES V.,
From the Painting in the Louvre (Flemish School).
(Photograph by Neurdein frres.)
THE EMPEROR MAXIMILIAN I. AND HIS FAMILY,
From the Painting by Bernhard Strigel in
the Imperial Museum, Vienna.
(Photograph by J. Lwy.)
FRANCIS I.,
From a Painting in the Louvre (French School).
(Photograph by Neurdein frres.)
THE CHILDREN OF CHRISTIAN II. AND ISABEL OF DENMARKIN MOURNING DRESS FOR THEIR MOTHER,
From the Painting by Mabuse at Hampton Court Palace.
(Photograph by W. A. Mansell & Co.)
CARVED WOODEN MANTELPIECE IN THE PALAIS DE JUSTICE, BRUGES, ERECTED TO COMMEMORATE THE PEACE OF CAMBRAY,
(Photograph by Neurdein frres.)
INTERIOR OF COURTYARD IN MARGARET'S PALACE AT MALINES, NOW THE PALAIS DE JUSTICE,
(Photograph by Deloeul.)
JOHN ARNOLFINI OF LUCCA, AND HIS WIFE JOAN,
From the Painting by John van Eyck
in the National Gallery.
LEGEND OF 'NOTRE DAME DU SABLON,'
From the Tapestry in the Muse du Cinquantenaire, Brussels.
It contains portraits of Margaret and her Nephews and Nieces.
(Photograph by Deloeul.)
TOMB OF MARGARET OF AUSTRIA,
In the Church of Brou.
(Photograph by Neurdein frres.)
MARGARET OF AUSTRIA SITTING AT A TABLE WITH AN OPEN BOOK ADORING THE VIRGIN AND CHILD,
From a Diptych in the possession of M. Lescarts,
Mons (Margaret's Collection).
(Photograph by G. Van Oest & Co.)
INTRODUCTION
Three of the craftiest royal rogues in Christendom strove hard to cozen and outwit each other in the last years of the fifteenth and the earlier years of the sixteenth century. No betrayal was too false, no trick too undignified, no hypocrisy too contemptible for Ferdinand of Aragon, Maximilian of Austria, and Henry Tudor if unfair advantage could be gained by them; and the details of their diplomacy convey to modern students less an impression of serious State negotiations than of the paltry dodges of three hucksters with a strong sense of humour. Of the three, Ferdinand excelled in unscrupulous falsity, Maximilian in bluff effrontery, and Henry VII. in close-fisted cunning: they were all equal in their cynical disregard for the happiness of their own children, whom they sought to use as instruments of their policy, and fate finally overreached them all. And yet by a strange chance, amongst the offspring of these three clever tricksters were some of the noblest characters of the age. John, Prince of Castile, and Arthur, Prince of Wales, both died too young to have proved their full worth, but they were beloved beyond the ordinary run of princes, and were unquestionably gentle, high-minded, and good; Katharine of Aragon stands for ever as an exalted type of steadfast faith and worthy womanhood, unscathed in surroundings and temptations of unequalled difficulty; and Margaret of Austria, as this book will show, was not only a great ruler but a cultured poet, a patron of art, a lover of children, a faithful wife, a pious widow, and, above all, a woman full of sweet feminine charm.
In an age when princesses of the great royal houses were from their infancy regarded as matrimonial pledges for the maintenance of international treaties, few were promised or sought so frequently as Margaret; for an alliance with her meant the support of the Empire and the States of Burgundy, whilst her two rich dowries from earlier marriages made her as desirable from a financial point of view as she was personally and politically. But with her second widowhood in her youthful prime came to her a distaste for further experiments in a field where, as she said, so much unhappiness had befallen her, and of political marriages she would have no more. Her one real love affair, to which reference will be made presently, is pathetic as showing the sad fate of such an exalted princess, who, being a true woman and in love with a gallant man, yet had to stifle the yearnings of her heart for a happy marriage, and fulfil the duty imposed upon her by the grandeur of her destiny.
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