Excerpt from audio guide to La Musee National, Paris, France. English version of audio guide (also available in High French, Romancia, German, Dutch, Swedish, Modern Hebrew, Japanese and Chinese) accurate as of 15th May 2021.
In this gallery you will find a series of objects and paintings commemorating La Guerre de la trois Henris, or the war of 3 Henrys, as it is colloquially known. Officially the French Civil War lasted from 1594 until 1597.
As you enter you will see the assassination of King Henry III, painted by Jean de Court. Henry survived numerous assassinations by Huguenots and other disgruntled subjects, but finally in December 1594 Louis De Prost succeeded in stabbing the King twice in the neck, killing him instantly.
Henry was survived by his infant son, young Henry, who was aged 5 when his father died, born in 1589 to the King’s second wife, Isabella Clara Eugenia of Spain. Portraits of mother and son can be seen on the right of the gallery. This high-vaulted gallery was built by the adult Henry IV – known in France as Henry the Good – to celebrate his majority in 1504. This King only became so after a short and bloody war.
In the centre of the room is the armour and portrait of Henry of Navarre, the second Henry of the war. A Protestant, and ally of the Britannic Empire, Navarre had been Dauphin until the younger Henry’s birth and immediately declared the latter’s illegitimacy. Although a Protestant, Henry of Navarre enjoyed considerable support from his own people in Aquitaine and Navarre, the Duchy of Brittany, the Huguenot colony in Bradbury and of course the Britannic Empire. Navarre’s claim to the throne and the illegitimacy of his distant cousin was promulgated in the Edict of Rennes, which is reconstructed on the left of the gallery.
The third Henry was the Duke of Guise, the Kingmaker. His portrait can be seen to the right of the gallery underneath the statue of Zeus. Guise originally did not declare for either claimant, and only committed to Henry the younger after the defeat of his forces at the Battle of Cholet in April 1495. A brief timeline of the Cholet campaign and the battle can be seen opposite Henry of Guise’ portrait. Henry of Navarre defeated a Catholic army under the command of François de Bonne, Duc de Lesdiguières in the pouring rain at Cholet. Originally born a Protestant, de Bonne, converted to Catholicism early in his life and committed himself fully to the cause of the younger Henry. His capture encouraged Guise to declare for the Dauphin, the feud between de Bonne and Guise originally having kept the latter out of the conflict.
As you walk along the gallery you will see ‘The Declaration of Nemours’ by Jacques Louis-Davide. One of the most famous works in French Art, the declaration is modelled on classical tropes, especially the sculpture of the three Horatii brothers. It shows Guise and three other French nobles declaring their loyalty to the young Henry who looks on from the corner, accompanied by his mother the Dowager Queen Isabella. Painted to mark the 200th anniversary of the declaration, Louis-Davide was patronised by the Duke of Guise’ descendants to emphasise the heroic nature of his declaration for the Dauphin in May 1595.
This painting marks the halfway point of the gallery. As you move past it you enter the story of the war itself. The campaigns of 1595 and 1596 are characterised by brutality and foreign intervention. The tableau on the right shows a collection of Breton and Brittanic weapons and standards. The most striking is the banner of the 3rd Calais Regiment, captured at the Battle of Brezolles in June 1596 by the mercenary commander Johan Tserclaes, Count Tilly.
Opposite the tableau, this action is shown in a painting by Champaigne. Tilly’s charge into the flank of the Calais Regiment swung the tide of the battle and the war as the forces of Henry of Navarre, Duke Edward II of Brittany and Baron Thornhaugh were put to flight as they attempted to march upon Paris. In the centre hangs Tilly’s portrait, along with that of the Count of Bucqouy and another of the Duke of Guise, the three Catholic commanders at Brezolles.
Beyond this is displayed the weapons and armour of the Catholic forces of the period, including that of Guise himself. Note the Musket on the right, it is based on stolen and recovered copies of Model III Snelbus, used by the Britannic forces. This Paris-made imitation was more or less identical, and levelled the playing field at Brezolles and later at the siege of Dax.
As we reach the end of the gallery, you will see a statue of Henry IV with Henry of Guise. This was commissioned by the young King himself to go in this gallery. Note that they are standing upon broken chains. This symbol of Navarre also represented their defeat of Henry of Navarre and their victory in the war in the summer in 1597. With the Britannic forces withdrawn to the home country following the political conflagration there, Guise, Bucquoy and Tilly found surrounding Navarre’s forces relatively easy.
To the left of the statue you can see the demise of Navarre. He was shot in the chest by a Catholic civilian during the siege of Dax where Navarre sought to hold off the Catholic army. With his death, his troops surrendered, and the war ended. On the opposite wall hangs the coronation of Henry the Good, another work by Davide. This is largely apocryphal; Henry IV was crowned aged 7 in 1596 as a propaganda tool, but here Davide paints him as the young man he would become; strapping, martial and pious. He is flanked by numerous dignitaries, including Guise and Tilly, but also Richelieu (another apocryphal addition).
Despite the inaccuracies, the painting nonetheless captures the optimism and strength evident in French society after the Civil War. France had stood by her rightful King, and for the first time in generations had frustrated the designs of the Protestants and the English.
[Author's Note: Trying something new here. It's always fascinated me how Museums tell their own story, not always the straight History. So this here is a little twisted to be pro-French. ITTL Guise was a money-grabber who held back his support until he could get the highest price for it. Only the genius of Tilly and Bucquoy really won the war for Henry IV. Navarre did have a good claim but ITTL was not as supported by foreign powers as the Museum makes out. There were some Britannic forces, but Navarre had genuine French support too (something the French Museum overlooked). But broadly the story of the Civil War is as it was told.
Oh just a quick note ITTL Henry III escaped his assassination in 1589, though his wife died of the Flemish Plague. This allowed him to re-marry (the Spanish Princess) and crank out a son before he died. This means that the House of Bourbon never happens, Valois endures, and the claim to the Spanish throne which Henry IV has through his mother may come in handy later... Hope you're enjoying it! -CC]
‘The Treaty of Elba 1596’ History Feature Youtube Transcript 8th January 2017
History is about action, intrigue, politics! It is about battles, assassinations and struggles for control. And then sometimes it is about a bunch of men signing bits of paper. But before you click off the video, this bit of paper these chaps are signing (show painting of the signing of the Treaty of Elba by de Troy) led to so much action, and look closely (zoom in) one of them is a woman! That’s right, there’s more to this boring scene than meets the eye. So today on Feature History we look at the Treaty of Elba.
(play intro sequence)
Well if you’re still with us, well done. Thanks for supporting the algorithm and still being here. The Treaty of Elba was signed in 1596 and it was an unprecedented alliance of the Catholic heads of Europe. Basically, they agreed to support the Pop Clement VII in his efforts to strengthen Catholicism and push back the Protestants across Europe. The Treaty was sort of an Avenger’s Assemble of the new Catholic heroes of Europe, half the people in the picture had only just become King or Duke or whatever or just become old enough to exercise power themselves. Now first to say that this picture is a fake, not all of these lads actually signed the Treaty themselves, they weren’t there, but the painter showed them to be there for Propaganda purposes.
So lets go through the who’s who to work out this here bit of paper was so important. Well leading from the front is Clement VII himself. He is often called the Imperial Pope as he wanted to restore Catholicism over the whole of Europe. After a Century of retreat this was a tall order, but he had already issued Floreat Christus, a Papal Bull designed to strengthen the Inquisition and Jesuit Education across Europe. Then you have the heavy hitters, the woman was actually present; Dowager Queen Isabella of France, mother of Henry IV. Next to her is her brother Phillip III of Spain who was only 18 at the time, he was also present, though I doubt he was so physically impressive. Then further to the left you have the Dukes of Savoy, Ferrara and Tuscany, all Italian nobles.
To the other side of Clement you have the real architect of the treaty, Teodosio I of Portugal. Teodosio had only been King since 1595 when Antonio I died. He had spent his exile in Spain, and was related to much of the Italians by birth. He hated the Protestants, especially the Britannic Empire, as he felt they had deprived him of his rightful crown by supporting Antonio. Beyond him are more men who hated the British; Duke William of Bavaria and Archduke Ferdinand of Austria, also King of Bohemia and Hungary. Past those two fellas are another pair of English-haters. Sigismund of Poland, who had just lost his Swedish Crown after Britannic meddling and Peter of Ware. Peter was the Catholic claimant to the Brittanic throne, though he had never been there. Born in Tuscany, Peter signed the treaty on behalf of Britannia, though he had no authority.
So there you go. In short every ruler in Europe who had reason to dislike Protestants, and the British specifically, in a room together signing a Treaty. This couldn’t be good could it? What did the Treaty say? Well it pledged to the restoration of Catholic Europe. All the signatories promised that they would not ally with any Protestant power and would seek to undermine them, and wage war, when the time was right. This group of realms became known as the Catholic League (or Holy Union in some places, though this sounds like a wedding). The Treaty was a defence pact, if any of the signatories were attacked then all of them would go to war. So why was this special? There had been treaties like this before. This one was unprecedented, not a Catholic soul went against it, but it was given extra weight by events in England the next year.
In this gallery you will find a series of objects and paintings commemorating La Guerre de la trois Henris, or the war of 3 Henrys, as it is colloquially known. Officially the French Civil War lasted from 1594 until 1597.
As you enter you will see the assassination of King Henry III, painted by Jean de Court. Henry survived numerous assassinations by Huguenots and other disgruntled subjects, but finally in December 1594 Louis De Prost succeeded in stabbing the King twice in the neck, killing him instantly.
Henry was survived by his infant son, young Henry, who was aged 5 when his father died, born in 1589 to the King’s second wife, Isabella Clara Eugenia of Spain. Portraits of mother and son can be seen on the right of the gallery. This high-vaulted gallery was built by the adult Henry IV – known in France as Henry the Good – to celebrate his majority in 1504. This King only became so after a short and bloody war.
In the centre of the room is the armour and portrait of Henry of Navarre, the second Henry of the war. A Protestant, and ally of the Britannic Empire, Navarre had been Dauphin until the younger Henry’s birth and immediately declared the latter’s illegitimacy. Although a Protestant, Henry of Navarre enjoyed considerable support from his own people in Aquitaine and Navarre, the Duchy of Brittany, the Huguenot colony in Bradbury and of course the Britannic Empire. Navarre’s claim to the throne and the illegitimacy of his distant cousin was promulgated in the Edict of Rennes, which is reconstructed on the left of the gallery.
The third Henry was the Duke of Guise, the Kingmaker. His portrait can be seen to the right of the gallery underneath the statue of Zeus. Guise originally did not declare for either claimant, and only committed to Henry the younger after the defeat of his forces at the Battle of Cholet in April 1495. A brief timeline of the Cholet campaign and the battle can be seen opposite Henry of Guise’ portrait. Henry of Navarre defeated a Catholic army under the command of François de Bonne, Duc de Lesdiguières in the pouring rain at Cholet. Originally born a Protestant, de Bonne, converted to Catholicism early in his life and committed himself fully to the cause of the younger Henry. His capture encouraged Guise to declare for the Dauphin, the feud between de Bonne and Guise originally having kept the latter out of the conflict.
As you walk along the gallery you will see ‘The Declaration of Nemours’ by Jacques Louis-Davide. One of the most famous works in French Art, the declaration is modelled on classical tropes, especially the sculpture of the three Horatii brothers. It shows Guise and three other French nobles declaring their loyalty to the young Henry who looks on from the corner, accompanied by his mother the Dowager Queen Isabella. Painted to mark the 200th anniversary of the declaration, Louis-Davide was patronised by the Duke of Guise’ descendants to emphasise the heroic nature of his declaration for the Dauphin in May 1595.
This painting marks the halfway point of the gallery. As you move past it you enter the story of the war itself. The campaigns of 1595 and 1596 are characterised by brutality and foreign intervention. The tableau on the right shows a collection of Breton and Brittanic weapons and standards. The most striking is the banner of the 3rd Calais Regiment, captured at the Battle of Brezolles in June 1596 by the mercenary commander Johan Tserclaes, Count Tilly.
Opposite the tableau, this action is shown in a painting by Champaigne. Tilly’s charge into the flank of the Calais Regiment swung the tide of the battle and the war as the forces of Henry of Navarre, Duke Edward II of Brittany and Baron Thornhaugh were put to flight as they attempted to march upon Paris. In the centre hangs Tilly’s portrait, along with that of the Count of Bucqouy and another of the Duke of Guise, the three Catholic commanders at Brezolles.
Beyond this is displayed the weapons and armour of the Catholic forces of the period, including that of Guise himself. Note the Musket on the right, it is based on stolen and recovered copies of Model III Snelbus, used by the Britannic forces. This Paris-made imitation was more or less identical, and levelled the playing field at Brezolles and later at the siege of Dax.
As we reach the end of the gallery, you will see a statue of Henry IV with Henry of Guise. This was commissioned by the young King himself to go in this gallery. Note that they are standing upon broken chains. This symbol of Navarre also represented their defeat of Henry of Navarre and their victory in the war in the summer in 1597. With the Britannic forces withdrawn to the home country following the political conflagration there, Guise, Bucquoy and Tilly found surrounding Navarre’s forces relatively easy.
To the left of the statue you can see the demise of Navarre. He was shot in the chest by a Catholic civilian during the siege of Dax where Navarre sought to hold off the Catholic army. With his death, his troops surrendered, and the war ended. On the opposite wall hangs the coronation of Henry the Good, another work by Davide. This is largely apocryphal; Henry IV was crowned aged 7 in 1596 as a propaganda tool, but here Davide paints him as the young man he would become; strapping, martial and pious. He is flanked by numerous dignitaries, including Guise and Tilly, but also Richelieu (another apocryphal addition).
Despite the inaccuracies, the painting nonetheless captures the optimism and strength evident in French society after the Civil War. France had stood by her rightful King, and for the first time in generations had frustrated the designs of the Protestants and the English.
[Author's Note: Trying something new here. It's always fascinated me how Museums tell their own story, not always the straight History. So this here is a little twisted to be pro-French. ITTL Guise was a money-grabber who held back his support until he could get the highest price for it. Only the genius of Tilly and Bucquoy really won the war for Henry IV. Navarre did have a good claim but ITTL was not as supported by foreign powers as the Museum makes out. There were some Britannic forces, but Navarre had genuine French support too (something the French Museum overlooked). But broadly the story of the Civil War is as it was told.
Oh just a quick note ITTL Henry III escaped his assassination in 1589, though his wife died of the Flemish Plague. This allowed him to re-marry (the Spanish Princess) and crank out a son before he died. This means that the House of Bourbon never happens, Valois endures, and the claim to the Spanish throne which Henry IV has through his mother may come in handy later... Hope you're enjoying it! -CC]
‘The Treaty of Elba 1596’ History Feature Youtube Transcript 8th January 2017
History is about action, intrigue, politics! It is about battles, assassinations and struggles for control. And then sometimes it is about a bunch of men signing bits of paper. But before you click off the video, this bit of paper these chaps are signing (show painting of the signing of the Treaty of Elba by de Troy) led to so much action, and look closely (zoom in) one of them is a woman! That’s right, there’s more to this boring scene than meets the eye. So today on Feature History we look at the Treaty of Elba.
(play intro sequence)
Well if you’re still with us, well done. Thanks for supporting the algorithm and still being here. The Treaty of Elba was signed in 1596 and it was an unprecedented alliance of the Catholic heads of Europe. Basically, they agreed to support the Pop Clement VII in his efforts to strengthen Catholicism and push back the Protestants across Europe. The Treaty was sort of an Avenger’s Assemble of the new Catholic heroes of Europe, half the people in the picture had only just become King or Duke or whatever or just become old enough to exercise power themselves. Now first to say that this picture is a fake, not all of these lads actually signed the Treaty themselves, they weren’t there, but the painter showed them to be there for Propaganda purposes.
So lets go through the who’s who to work out this here bit of paper was so important. Well leading from the front is Clement VII himself. He is often called the Imperial Pope as he wanted to restore Catholicism over the whole of Europe. After a Century of retreat this was a tall order, but he had already issued Floreat Christus, a Papal Bull designed to strengthen the Inquisition and Jesuit Education across Europe. Then you have the heavy hitters, the woman was actually present; Dowager Queen Isabella of France, mother of Henry IV. Next to her is her brother Phillip III of Spain who was only 18 at the time, he was also present, though I doubt he was so physically impressive. Then further to the left you have the Dukes of Savoy, Ferrara and Tuscany, all Italian nobles.
To the other side of Clement you have the real architect of the treaty, Teodosio I of Portugal. Teodosio had only been King since 1595 when Antonio I died. He had spent his exile in Spain, and was related to much of the Italians by birth. He hated the Protestants, especially the Britannic Empire, as he felt they had deprived him of his rightful crown by supporting Antonio. Beyond him are more men who hated the British; Duke William of Bavaria and Archduke Ferdinand of Austria, also King of Bohemia and Hungary. Past those two fellas are another pair of English-haters. Sigismund of Poland, who had just lost his Swedish Crown after Britannic meddling and Peter of Ware. Peter was the Catholic claimant to the Brittanic throne, though he had never been there. Born in Tuscany, Peter signed the treaty on behalf of Britannia, though he had no authority.
So there you go. In short every ruler in Europe who had reason to dislike Protestants, and the British specifically, in a room together signing a Treaty. This couldn’t be good could it? What did the Treaty say? Well it pledged to the restoration of Catholic Europe. All the signatories promised that they would not ally with any Protestant power and would seek to undermine them, and wage war, when the time was right. This group of realms became known as the Catholic League (or Holy Union in some places, though this sounds like a wedding). The Treaty was a defence pact, if any of the signatories were attacked then all of them would go to war. So why was this special? There had been treaties like this before. This one was unprecedented, not a Catholic soul went against it, but it was given extra weight by events in England the next year.