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Another famous collection, now known as Le Viandier de Taillevent, was originally compiled at the beginning of the 14th century; later it was attributed to the head chef of the Valois court, Guillaume Tirel, also known as Taillevent, who had a long and distinguished career as a professional chef. Tirel had the status of a squire and the coat of arms on his tomb, at St Germain en Laye outside Paris, incorporates a row of three cooking pots. The collection has the distinction of being the first printed cookery book; this occurred in the 1480s and the book went through several subsequent editions. The contents were modified considerably with the passage of time; the first printed version contains an additional group of contemporary recipes that have been described as the 15th century French 'nouvelle cuisine'! - you can see an online version at:

The Romance language group (or Gallo-Romance) in the north of France is that of the langue d'oïl, the languages which use oïl (in modern usage, oui) for "yes". These languages, like Picard, Walloon, and Francien, were influenced by the Germanic languages spoken by the Frankish invaders; Norman was later also heavily influenced by the Norse settlers who founded the Norman state of Normandy. From the time period Clovis I on, the Franks extended their rule over northern Gaul. Over time, the French language developed from either the Oïl language found around Paris and Ile-de-France (the Francien theory) or from a standard administrative language based on common characteristics found in all Oïl languages (the lingua franca theory). Oïl derives from the Latin hoc ille ("that is it").

"NPR's Sheilah Kast speaks with Eric Jager, author of The Last Duel: A True Story of Crime, Scandal and Trial by Combat in Medieval France. At about this time of year in 1386, two knights in armor faced a duel to the death at a monastery in Paris -- it would be the last time the French government authorized a duel to settle a legal dispute."

Dance of Death, also variously called Danse Macabre (French), Danza Macabra (Italian and Spanish), Dança da Morte (Portuguese), Totentanz (German), Dodendans (Dutch), is a late-medieval allegory on the universality of death: no matter one's station in life, the Dance of Death unites all. There is also a strong element of estates satire. The Danse Macabre consists of the dead or personified Death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, youngster, and labourer. They were produced to remind people of the fragility of their lives and how vain were the glories of earthly life.[1] Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now lost mural in the cemetery of the Holy Innocents in Paris dating from 1424-25.

Il existe une remarquable galerie de portraits des rois de France sur Gallica : il s'agit, d'après les notices des photos, de médailles du graveur Dassier, mais cette identification est inexacte : cette série gravée avec des portraits de profil des souverains français fut commandée en 1712 par Nicolas de Launay, directeur de la Monnaie de Paris et de la Monnaie des médailles du Louvre. Le médailleur responsable fut l'artiste français Thomas Bernard (1650-1713). Les deux derniers portraits de la série, ceux de Louis XV et Louis XVI, sont dûs à Gatteaux et Duvivier. On peut découvrir la totalité cette galerie de portraits des rois de France (67 photos des rois) dans le diaporama ci-dessous.

The subject of The Life of King Louis the Fat  was Louis VI, the first important Capetian king of France, who reigned from 1108 to 1137.  Louis's main achievement was to consolidate royal power within the Ile-de-France by suppressing the castellans who dominated the royal domain lands. (The term "castellan" refers to a noble who possessed one or more castles.) Louis's success owed much to an alliance he forged between the French monarch and the great Churchmen (bishops and abbots) and the leading townsmen of northern France.  Suspicious of the power of his barons, Louis used clergy and burghers rather than great nobles as royal administrators. His efforts to establish peace and maintain order facilitated the development of agriculture, trade and intellectual activity in the Ile-de-France. Under his rule, Paris began its expansion which would make it by 1200 the greatest Christian city north of the Alps. The following excerpts describe Louis's military actions against the "robber barons" of the Ile-de-France and the King of England Henry I (r.1100-1135).

"So unpopular was John that his barons finally rose up in rebellion against his arbitrary rule, and against the severe punishments often inflicted upon them, until they eventually forced the king to grant them the Charter of Liberties, also known as Magna Carta, at Runnymede on 15 June 1215. Few can have lamented King John's eventual demise at Newark Castle - most probably following an attack of dysentery -in October 1216. Writing some forty years later, Matthew Paris (d. 1259), monk and historian of St Albans Abbey, delivered the ultimate condemnation: 'Foul as it is, Hell itself is made fouler by the presence of John'."

This book is intended as a manual of 'good housekeepimg', presented as advice given by an elderly householder for his young wife. The recipes form a substantial section of the text. The manuscript includes descriptions of the food presented for a range of different occasions. The advice is quite particular; for example, the need to discard and replace the water used to soak pulses before cooking! An online translation

" What did medieval cities look like? Or more precisely, how did medieval people depict cities? Here are 15 images from the Middle Ages that show how the urban world looked like."