The Ideology of Burgundy: The Promotion of National Consciousness, 1364–1565 (review)
against the Turks. The earliest memorials included the symbolic cross of Lorraine at the edge of the forest where Charles’s body was found; the construction of the church of Notre Dame de la Victoire et des Rois (the present-day Notre Dame de Bonsecours) at the mass grave of Burgundian soldiers; the new mausoleum for the Dukes of Lorraine (1482: “Les Cordeliers”); memorial additions to the old castle church of St. Georges, including the tomb and cenotaph of Charles; a bronze relief honoring René as “saviour of the fatherland”; renovation of the old pilgrimage church of Saint-Nicolas-de-Port where René had attended Mass before the battle; René’s own tomb in Les Cordeliers (1510); and memorial stained-glass windows in both Metz cathedral and at Saint-Nicolas-de-Port. A Madonna of Mercy one-and-a-half meters high by the court sculptor Mansuy Gauvin (1505) commissioned by René for Notre Dame de la Victoire directs the viewer in verse to forget the cause of the war and pray for all of the fallen. Of particular interest are the literary tributes to René, including Pierre de Blarru’s Nanceide (ca. 1500), a Latin panegyric known today from René’s own copy, and the Songe du pastourel by Jean du Prier, reproduced in full with its French text and delicate watercolor illustrations by Pierre Garnier (Vienna, ÖNB cod. 2556), an allegory in which René is the shepherd boy of the title, and his flock the people of Lorraine, who are threatened by a lion (Charles). It culminates in a long debate between Death and a Burgundian soldier, and a chronicle of the battle. Brachmann discusses the recent literature on the manuscript, and the reasons why the illustrations are thirty years later than the text, which had originally been written for dramatic performance. JANE CAMPBELL HUTCHISON University of Wisconsin, Madison