Grandes Chroniques de France in the context of "Coronation of the French monarch"

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⭐ Core Definition: Grandes Chroniques de France

The Grandes Chroniques de France is a vernacular royal compilation of the history of the Kingdom of France, most manuscripts of which are luxury copies that are heavily illuminated. Copies were produced between the thirteenth and fifteenth centuries, the text being extended at intervals to cover recent events. It was first compiled in the reign of Saint Louis (d. 1270), who wished to preserve the history of the Franks, from the coming of the Trojans to his own time, in an official chronography whose dissemination was tightly controlled. It was continued under his successors until completed in 1461. It covers the Merovingian, Carolingian, and Capetian dynasties of French kings, with illustrations depicting personages and events from virtually all their reigns.

It survives in approximately 130 manuscripts, varying in the richness, number and artistic style of their illuminations, copied and amended for royal and courtly patrons, the central work of vernacular official historiography. Over 75 copies are illustrated, with between one and over 400 scenes shown; analysis of the selections of subjects reveals the changing political preoccupations of the different classes of patrons over time.

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👉 Grandes Chroniques de France in the context of Coronation of the French monarch

The accession of the king of France to the royal throne was legitimized by a ceremony performed with the Crown of Charlemagne at the Reims Cathedral. In late medieval and early modern times, the new king did not need to be anointed in order to be recognized as French monarch but ascended upon the previous monarch's death with the proclamation "Le Roi est mort, vive le Roi!"

The most important part of the French ceremony was not the coronation itself, but the Sacre – the anointing or unction of the king. The Carolingian king Pepin the Short was anointed in Soissons (752) to legitimize the accession of the new dynasty. A second anointing of Pepin by Pope Stephen II took place at the Basilica of Saint-Denis in 754, the first to be performed by a pope. The unction served as a reminder of the baptism of king Clovis I in Reims by archbishop Saint Remi in 496/499, where the ceremony was finally transferred in 816 and completed with the use of the Holy Ampulla found in 869 in the grave of the Saint. Since this Roman glass vial containing the balm due to be mixed with chrism, was allegedly brought by the dove of the Holy Spirit, the French monarchs claimed to receive their power by divine right. Out of respect for the miraculous oil, the king's shirt and the gloves put on after the unction of the hands were burned after the ceremony. Exceptionally, the shirt worn by Louis XV was not burned. The shirt was donated to the king of Portugal, John V, and is today at the National Palace of Mafra, guarded by the Royal and Venerable Confraternity of the Most Blessed Sacrament of Mafra.

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Grandes Chroniques de France in the context of Crusade vow

The crusade vow (also crusading vow or crusader vow) was a solemn promise to God made before a representative of the Catholic Church legally binding oneself to undertake a crusade. The vow and its attendant privileges were among the defining features of a crusade, along with crusade indulgences.

The act of making a crusader's vow was often referred to as "taking the cross", since it was normal to sew a cross onto one's garments, a practice that began with the First Crusade in 1095.

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Grandes Chroniques de France in the context of Simon Marmion

Simon Marmion (c. 1425 – 24 or 25 December 1489) was a French and Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands.

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