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Thus, for instance, the old Fabliaux--the Farces of the fifteenth century,
the story-tellers of the sixteenth--reveal one of the sides, one of the
veins, so to speak, of our literature. The art that addresses itself to
the eye had likewise its share of this coarseness. Think of the sculptures
on the capitals and the modillions of churches, and the crude frankness of
certain painted windows of the fifteenth century. Queen Anne was, without
any doubt, one of the most virtuous women in the world. Yet she used to go
up the staircase of her chateau at Blois, and her eyes were not offended at
seeing at the foot of a bracket a not very decent carving of a monk and a
nun. Neither did she tear out of her book of Hours the large miniature of
the winter month, in which, careless of her neighbours' eyes, the mistress
of the house, sitting before her great fireplace, warms herself in a
fashion which it is not advisable that dames of our age should imitate.
The statue of Cybele by the Tribolo, executed for Francis I., and placed,
not against a wall, but in the middle of Queen Claude's chamber at
Fontainebleau, has behind it an attribute which would have been more in
place on a statue of Priapus, and which was the symbol of generativeness.
The tone of the conversations was ordinarily of a surprising coarseness,
and the Precieuses, in spite of their absurdities, did a very good work in
setting themselves in opposition to it. The worthy Chevalier de
La-Tour-Landry, in his Instructions to his own daughters, without a thought
of harm, gives examples which are singular indeed, and in Caxton's
translation these are not omitted. The Adevineaux Amoureux, printed at
Bruges by Colard Mansion, are astonishing indeed when one considers that
they were the little society diversions of the Duchesses of Burgundy and of
the great ladies of a court more luxurious and more refined than the French
court, which revelled in the Cent Nouvelles of good King Louis XI.
Rabelais' pleasantry about the woman folle a la messe is exactly in the
style of the Adevineaux.

A later work than any of his, the Novelle of Bandello, should be kept in
mind--for the writer was Bishop of Agen, and his work was translated into
French--as also the Dames Galantes of Brantome. Read the Journal of
Heroard, that honest doctor, who day by day wrote down the details
concerning the health of Louis XIII. from his birth, and you will
understand the tone of the conversation of Henry IV. The jokes at a
country wedding are trifles compared with this royal coarseness. Le Moyen
de Parvenir is nothing but a tissue and a mass of filth, and the too
celebrated Cabinet Satyrique proves what, under Louis XIII., could be
written, printed, and read. The collection of songs formed by Clairambault
shows that the seventeenth and eighteenth centuries were no purer than the
sixteenth. Some of the most ribald songs are actually the work of
Princesses of the royal House.

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