kindness shown to her son; and the Earl and his adopted boy left France together. When Richard II. was deposed, Henry Bolingbroke struck off the head of the Earl of Salisbury. Among the papers of the murdered man the lays of Christine were found by King Henry, who was so much struck with their purity and beauty, that he wrote to the fair authoress of her son's safety, under his protection, and invited her to his court.
This invitation was at once a compliment and an insult, for the hand that sent it was stained with the blood of her friend. Christine, however, had worldly wisdom enough to send a respectful, though firm refusal, to a crowned head, a successful soldier, and one, moreover, who held her son in his power. Feminine tact must have guided her pen, for Henry was not offended, and twice despatched a herald to renew the invitation to his court. She steadily declined to leave France, but managed the affair so admirably that she at last obtained the return of her son from England.
Like her father, Thomas de Pisan, Christine seems to have been sought as an ornament of their courts by several rulers. Henry Bolingbroke could not gain her for England, and the Duke of Milan in vain urged her to reside in that city. Seldom has a literary lady in any age received such tempting invitations; yet Christine refused to leave France, although her own fortunes were anything but certain. The Duke of Burgundy took her son under his protection, and urged Christine to write the history of her patron, Charles V. of France. This was a work grateful to her feelings, and she had commenced the memoir when the death of the Duke deprived her of his patronage, and threw her son again upon her care, involving her in many anxieties. But Christine bore herself through all her trials with firmness and prudence, and her latter days were more tranquil. She took a deep interest in the affairs of her adopted country, and welcomed in her writings the appearance of the Maid of Orleans. We believe, however, that she was spared the pain of witnessing the last act in that drama of history, where an innocent victim was given up by French perfidy to English cruelty.
The deeds of Joan of Arc need no recital here. A daughter of France in the nineteenth century had a soul pure enough to reflect the image of the Maid of Orleans, and with a skilful hand she embodied the vision in marble. The statue of Joan of Arc, modelled by the Princess Marie, adorns—or rather sanctifies—the halls of Versailles.
Of woman's work as an artist in the early centuries we have a curious illustration in a manuscript belonging to the Bibliothèque Royale at Paris, which exhibits a female figure painting the statue of the Madonna. The artist holds in her left hand a palette, which is the earliest notice of the use of that implement with which antiquarians are acquainted. The fashion of painting figures cut in wood was once much practised, and we see here the representation of a female artist of very ancient date. Painting, music, and dancing come under the designation of accomplishments; yet to obtain distinction in any of these branches implies a vast amount of work. An illustration of Lygate's Pilgrim shows us a young lady playing upon a species of organ with one hand; in the other she holds to her lips a mellow horn, through which she pours her breath, if not her soul; lying beside her is a stringed instrument called a sawtry. Such varied musical acquirements certainly argue both industry and devotion to art. Charlemagne's daughters were distinguished for their skill in dancing; and we read of many instances in the Middle Ages of women excelling in these fine arts.
The period of time generally denominated the Middle Ages commences with the fifth century, and ends with the fifteenth. We have in several instances ventured to extend the limits as far as a part of the sixteenth century, and therefore include among female artists the name of Sofonisba An-
