Christine de Pizan or Pisan (Cristina da Pizzano) c.1364 - 1430 is an Italian-born French court writer during the reign of King Charles VI of France, considered one of the first feminist writers. After the death of her husband, Christine has to support her mother and children.
She works through complex legal battles regarding her husband's estate. Her experience leads her into a career as a court writer for Charles VI (1388 - 1422) and the French royal family. By 1393, her love ballads beguile affluent patrons at court.
King Charles is called "the Mad", because he is, but the French court is fertile ground for arts, philosophy and literature, arising from the cultural boom of the last two centuries. Cristina's writing talent blossoms, as does her handling of patronage during tumultuous politics.
She's recognized as the first professional woman of letters in Europe. Unlike many writers of her time, Christine doesn't rely on one consistent patron. She establishes complex connections within different factions of the royal family, including Burgundy, Orleans and Berry.
Among the earliest feminist writings, her extensive collection of work encompasses novels, poetry, biography and literary, historical, political, and religious criticisms. The most famous of her works are The Book of the City of Ladies and The Treasure of the City of Ladies.
Above: Illumination from The Book of the City of Ladies. Christine is shown before the personifications of Rectitude, Reason, and Justice in her study. She works alongside Justice to build the Cité des dames.
Christine completes paid projects for various patrons and these are well circulated among the appreciative French nobility. She has to be versatile to adapt to the diverse interests of her clientele. Her works are illustrated by unknown artists. She employs at least one consistently.
Medieval artists are very low on the status scale. If an artist paints a masterpiece it's the patron who gets recognition, for being wise enough to choose this artist. The anonymous illustrator of the Book of the City of Ladies is called Master (Painter) of the City of Ladies.
The illustrator of Christine's work could be a monk or nun. Many are skilled artists and medieval art and architecture are centered on Christian theology. Illuminated manuscripts gain popularity at this time.
Illuminated manuscripts are hand-written books on parchment. Illustrations and painted decorations incorporate precious metals like gold or silver. Illuminated manuscripts are made c. 1100 - 1600, mainly in convents and monasteries.
Despite Venetian origins Cristina is enamored of the French court, having emotional and financial ties with the French royal family. Her dedication to Queen Isabeau as well as Louis I, Duke of Orléans, and Marie of Berry is clear in her early ballads.
The reign of Charles VI of France (r. 1380 - 1422) is marred by a series of royal mental breakdowns beginning in 1392. The king's episodes of delirium plunge the French monarchy into a leadership crisis.
Charles is often away from court. Due to mental instability he cannot make decisions without approval of the royal council. On a war path, he kills several of his retinue thinking they're the enemy. Sometimes he doesn't remember his own name or recognize his wife and children.
During her husband's absence from court, Queen Isabeau is officially responsible for governance. She faces the difficulties of resolving conflicts within the royal family. Praising the virtues of women in her literature, Christine dedicates her writings to Queen Isabeau.
In doing so she helps empower the queen. The description of Queen Isabeau in 1402 as a "High, excellent crowned Queen of France, very redoubtable princess, powerful lady, born at a lucky hour" captures the reverence given her position and political significance.
This era marks a significant shift in patronage practices, moving from traditional continuous roll manuscripts to a more modern bound codex format. The French interest in commissioning books supports Christine's work and promotes the growth of literature in the late Middle Ages.
The codex (plural: codices) is precursor to the modern book format. Most books today follow the codex structure, with pages stacked and bound along an edge. The term "codex" now refers to older manuscript books made of vellum, parchment, or papyrus instead of paper.
She creates the writings while in service of John the Fearless of Burgundy. Her guidance books for royals and knights, such as the Epistle of Orthea, are popular into the 16th century. Cristina's literary skills challenge traditional gender roles, and advocate education of women.
The majority of the French population speaks various vernacular languages derived from vulgar Latin, the common spoken language of the Western Roman Empire. In the Middle Ages and Renaissance, a small number of women can read and write in Latin.
Others gain a proficiency in vernacular languages like French or German. However, most women lack literacy skills. During the Middle Ages in Europe, it's estimated 10% of men and 1% of women are literate.
The majority of men strongly oppose the notion of female literacy. Among women, nuns are most likely to be literate as they're expected to learn scriptures. Women teach themselves to read, aided by the popularity of the printing press and books in vernacular.
Literacy creates libraries and knowledge encourages the practices such arts as alchemy in convents and monasteries throughout medieval Europe. Friars Roger Bacon and Albertus Magnus are especially influential. In Italy, Naples has its own mini-Renaissance.
Through her writings, Christine addresses societal issues such as misogyny, gender inequality, and the importance of women's intellectual capabilities. Her works record the cultural and political landscape of medieval France and provide a voice for women in patriarchal society.
Christine de Pizan is a key figure in the intellectual circles of her time. Her legacy as a pioneering female writer continues to inspire feminist scholars. Her works give a glimpse into medieval daily life while exploring the complexities of gender, power and society.
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