Embarquement pour Cythère by Jean-Antoine Watteau (Photo credit: Wikipedia)
Despite the use of the word “for” (pour), it would appear that Jean-Antoine Watteau‘s (10 October 1684 – 18 July 1721) The Embarkation for Cythera (Louvre version) depicts “a departure” from the island of Cythera, the birthplace of Venus. According to Wikipedia, whose sites dealing with our subject have just been maintained, it symbolises “the temporary nature of human happiness.” (See Fêtes galantes, Wikipedia).
Consequently, the characters portrayed in The Embarkation for Cythera are not leaving our imperfect world to travel to the land of love, a land resembling Madeleine de Scudéry‘s (15 November 1607 – 2 June 1701), famous carte de Tendre, or map of Tendre. They are returning from Cythera.
Antoine Watteau by Rosalba Carriera,* 1721 (Photo credit: Wikipedia)
Fêtes galantes: a Definition
The term fêtes galantes was adopted by the French Academy in 1717 when Watteau handed in his reception piece to the Académie royale de peinture et de sculpture. It refers to a “courtship party,” such as a masquerade ball, that borrowed from the commedia dell’arte. In particular, the term Fêtes galantes refers to the paintings of Jean-Antoine Watteau who died of tuberculosis at the age of 36, in 1721.
Watteau may have invented the term fêtes galantes or the term was invented to describe Watteau’s art. There had never been paintings such as Jean-Antoine Watteau’s. (See Fêtes galantes, Wikipedia.) Watteau therefore set a trend. Jean-Honoré Fragonard, François Boucher, Nicolas Lancret and other 18th-century artists also depicted Fêtes galantes. It became a favourite subject matter and it fit the reign of Louis XV (Louis quinze).
The Embarkation for Cythera is a painting rather than a text. After Watteau, however, Fêtes galantes entered literary works and music. The best-known literary Fêtes galantes is a collection of poems by Paul Verlaine, published in 1869. The theme also suffuses Pierre Louÿs’ Les Chansons de Bilitis.
The 17th Century
Interestingly, the word Fêtes galantes has roots in both 17th-century honnêteté and galanterie. There is a galant honnête homme, or galant homme, and un homme galant. The homme galant, is unlikely to be invited to salons, with the possible exception of persons such as Giacomo Casanova (2 April 1725 – 4 June 1798), but the galant homme is an honnête homme.
Given that préciosité developed in salons and promoted Platonic love, galanterie was first associated with l’honnête homme. Platonic love is an aspect of préciosité Molière mocked in his Précieuses ridicules (1659). In Les Précieuses ridicules, Cathos expresses disdain for a man’s body. She tells her uncle Gorgibus:
Comment est-ce qu’on peut souffrir la pensée de coucher contre un homme vraiment nu ? (Les Précieuses ridicules, I, 4)
(How can one suffer the thought of sleeping next to a truly naked man?)
To begin with, the main activity of salonniers and salonnières had been literature, witty literature. Salonniers and salonnièresengaged in “word games,” or ingenuous little poems. For instance, they would be given the end of lines of poetry to which they had to attach a beginning. These bouts-rimés (rhymed ends), as they were called, demanded inventiveness and extensive linguistic skills. A main characteristic of salon literature, poems mainly, is the use of the conceit (la pointe).
However salonniers and salonnières savoured pastoral romances such as Honoré d’Urfée‘s L’Astrée, and heroic romances and occasionally they played shepherds and shepherdesses, which were flights from reality, as would be, to a certain extent Paul Verlaine‘s hedonistic and somewhat decadent fin de siècle Fêtes galantes.
To be understood, galanterie must be contextualized. Paul Verlaine’s poems were hedonistic, but they were poems and therefore fictional. There is a Cythera, but Venus is a mythological figure. Madeleine de Scudéry‘s (15 November 1607 – 2 June 1701), carte de Tendre, or map of Tendre published in Clélie, histoire romaine, is a product of the imagination. Yet, préciosité is a reference in the history of love.
As for the fourteen-year courtship Julie d’Angennes FR (1607 – 15 novembre 1671), Madame de Rambouillet‘s daughter, imposed on the Charles de Saint-Maure, duc de Montausier, one senses genuine apprehensions: pregnancy and childbirth. On her 35th birthday, Montausier gave her the lovely Guirlande de Julie  a collection of 62 Madrigals, but Julie made the Duke wait five more years. This is how “precious” she was. They married on 15 July 1645 and although the Duc de Montausier was an honnête homme and a galant homme, he was un homme. Julie got pregnant and gave birth to a daughter.
Préciosité as mocked in Molière’s Précieuses ridicules (1659), was short-lived. However, as noted above, préciosité is a milestone in the history of love. It was disembodied love and it belonged to the querelle des femmes, the woman question. It therefore differs from chivalry and the Roman de la Rose, which promoted courtly love without rejecting sexual intimacy.
Catherine de Vivonne, Marquise de Rambouillet (Photo credit: Wikipedia)
La Chambre bleue d’Arthénice
Italian-born Catherine de Vivonne, Marquise de Rambouillet (1588 – 2 December 1665) opened the first salon: L’Hôtel de Rambouillet, rue Saint-Thomas-du-Louvre. Its hostess was Italian-born Catherine de Vivonne, Marquise de Rambouillet (1588 – 2 December 1665). Arthénice is an anagram of Catherine. Hôtels were private residences (un hôtel particulier) and salon hostesses received once or twice a week. The hostess usually sat in bed and her guests were in a ruelle, literally and alley way, on a side ofthe bed. Madame de Rambouillet received in her blue room, la chambre bleue. Occasionally, salonniers and salonnières went on a picnic. That outing was called un cadeau, a gift. When the Marquise closed her salon, Madeleine de Scudéry (15 November 1607 – 2 June 1701) opened hers. Mademoiselle de Scudéry was not married.
Let us return to Watteau’s 18th-century Fêtes galantes. Jean-Antoine Watteau’s paintings depicted “courtship parties.” (See Fêtes galantes, Wikipedia).
In Fêtes galantes personal sentiment is masked by delicately clever evocations of scenes and characters from the Italian commedia dell’arte and from the sophisticated pastorals of 18th-century painters, such as Watteau and Nicolas Lancret, and perhaps also from the contemporary mood-evoking paintings of Adolphe Monticelli.
Fêtes galantes are associated with the commedia dell’arte. Actors were, as in ‘to be’ “masks.” As well, the sad clown is an archetype. Masquerade balls have survived. Balls go back to the ballet de cour. They are courtly.
The Laws of Gallantry
- Les Loix de la galanterie (Google e-book)
- Les Lois de la galanterie (Molière 21)
- Les Loix de la galanterie (Ludovic Lalanne)
Charles Sorel, who was named the historiographer of France in 1635, wrote Les Loix de la galanterie, first published in 1644, but galants met and discussed the rules of gallantry.
We have several e-copies of Sorel’s Loix or lois de la galanterie. However, despite repeated attempts, I have not found a translation into English of Charles Sorel‘s (c. 1602 – 7 March 1674) Loix de la galanterie. I presume there is a translation, but it is not on the internet. In my next post, I will therefore provide not a translation, but a summary of Les Loix de la galanterie, using Ludovic Lalanne’s text.
The terms honnête homme and galant homme are no longer used, nor is the term gentilhomme. The honnête homme is now called a gentleman in both French and English. The word gallant has survived and is used to describe men who still open the door of a car to help a woman out or hold a heavy door when a fragile individual enters or leaves a building or are very polite. The term “grande dame” is used to describe particularly accomplished women, including women who had a salon. As for Verlaine’s Fêtes galantes, theywere a source of inspiration to composers Gabriel Fauré and Claude Debussy, among others. Fêtes galantes now belong to the discourse on love refined or “galant,” love as in Watteau’s ethereal Fêtes galantes.
With kind regards to everyone. ♥
- Galanterie & l’Honnête Homme (16 April 2016)
- Le Chêne et le Roseau, the Oak Tree and the Reed: the Moral (28 September 2013)
- A Few Words on Sprezzatura (21 June 2012)
- Il Cortegiano, or l’Honnête Homme (3 September 2011)
- Bergamo: Arlecchino & Brighella (23 July 2014)
- The Figaro Trilogy (14 July 2014)
- Picasso in Paris (9 July 2014)
- Picasso’s Harlequin (3 July 2014)
- Arlecchino, Arlequin, Harlequin (30 June 2014)
- Pantalone: la Commedia dell’arte (20 June 2014)
Sources and Resources
- Paul Verlaine: Fêtes galantes is a Wikisource publication FR
- Jules Tellier: La Guirlande de Julie is an article FR
- Pierre Louÿs: Les Chansons de Bilitis is a Wikisource publication FR
- Charles Sorel: Le Berger extravagant is a Wikisource publication FR
 Another version is housed at the Charlottenburg, in Berlin.
 Calligraphy by Nicolas Jaret. Paintings by Nicolas Robert.
 A madrigal could be either a poem or a song.
 “Paul Verlaine”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2016. Web. 22 Apr. 2016 <http://www.britannica.com/biography/Verlaine-Paul>.
Duel after a Masquerade Ball by Jean-Léon Gérôme (Photo credit: Wikipedia)
© Micheline Walker
25 April 2016
(revised: 26 April 2016)
Original Article: https://michelinewalker.com/2016/04/25/fetes-galantes-galanterie/
News & Views welcome always published as long as NO bad language or is not related to subject matter.