Vimana 21 - Serie Hors - special Jeanne d'Arc - mai 1987

Magazine Overview

Title: Vimana
Issue: 21
Volume: 21
Date: May 1987
Publisher: A.D.R.U.P. (Association Dijonnaise de Recherches Ufologiques et Parapsychologiques)
Type: Quarterly magazine
Price: 10F

This special issue of Vimana magazine, number 21, is dedicated to the historical figure of Jeanne d'Arc. The cover features a striking graphic with stylized clouds and rays, and the prominent title "NUMERO SPECIAL JEANNE D'ARC". The magazine explores various aspects of Jeanne d'Arc's life, history, and legacy, including historical sites, artistic representations, and related literature.

Monuments and Souvenirs of Jeanne d'Arc

The magazine details several key locations and monuments associated with Jeanne d'Arc, primarily in the Vosges region of France.

Maison de Jeanne d'Arc (House of Joan of Arc)

Located in Domremy-la-Pucelle, this house was remodeled at the end of the 15th century. The tympanum of the entrance door, dated 1481, bears the coat of arms of Claude du Lys and Nicole Thiesselin, relatives of Jeanne. An inscription reads "Vive le roy Loys; Vive labeur." The house was purchased by the Department of Vosges in 1818. A fountain with a bust of Jeanne, donated by Louis XVIII in 1820, stands in front of the house. Nearby, a statue of Jeanne receiving her sword from a personified France, created by Antonin Mercié in 1891, has been moved.

Musée (Museum)

The museum is dedicated to the history of Jeanne d'Arc's region, her youth, traditions, and cult. It houses a statue of a kneeling Jeanne from the late 16th century, which was restored. A cast of this statue, prior to restoration, was placed above the house's entrance. This statue may have originated from the chapel of La Pucelle, built in the second half of the 16th century in Bois Chenu by Étienne Hordal. The museum also displays a keystone and the pediment from the chapel door.

Église (Church)

The church retains its 14th-century tower and was enlarged in the 16th century and again in 1825. The choir was established where the porch once stood. The altar was located under the current tower during Jeanne d'Arc's time. Near the baptismal fonts, a tombstone with engraved lines commemorates two members of the Thiesselin family, related to the Pucelle family (15th century). A statue of Saint Margaret (14th century) and stained glass by P. Gaudin are also noted.

Basilique du Bois Chenu (Basilica of Bois Chenu)

Constructed from 1892 onwards (architect Paul Sédille), this basilica is located at the edge of Bois Chenu. It features mural paintings by Monchablon and Lionel Royer depicting episodes from Jeanne d'Arc's life. At the foot of the basilica, near the Carmelite convent, is the "fontaine des fiévreux" (fountain of the feverish), near which stood the "arbre des fées" (tree of the fairies).

Notre-Dame-de-Bermont

Situated amidst the woods of Brixey, near a spring, is the hermitage of Bermont, which Jeanne d'Arc frequented. It contains a small, contemplative chapel from the late 15th or early 16th century, housing a 14th-century statue of the Virgin.

Bourlémont

This is a castle of the lords of Bourlémont, who were lords of Domremy until the 15th century. The fortress, which overlooks the Meuse valley, dates from the 14th-15th centuries. A Renaissance wing was added in the 19th century.

Map and Historical Context

A map of the region is provided, highlighting key locations related to Jeanne d'Arc's life, including Domremy, Vaucouleurs, Chinon, and Orléans. The map also indicates other historical sites like the ruins of a 14th-century castle, royal towns, and chapels.

The text provides a chronological overview of significant events:

• 1412: Birth of Jeanne d'Arc in Domremy.
• 1424-1428: The Apparitions. Archangel Saint Michael and Saints Catherine and Margaret frequently appear to Jeanne, detailing France's misfortunes and preparing her for her mission.
• 1428-1429: Chinon, Orléans. Following the Archangel's command, Jeanne goes to Chinon to meet King Charles VII. He trusts her and sends her to fight the English besieging Orléans.
• May 1429: Orléans. Jeanne's troops capture the bastions of Saint-Loup and the Augustins. During the assault on Les Tourelles, she is wounded but returns to the fight, leading to the definitive defeat of the English.
• May 8, 1429: Entry into Orléans. This date is still celebrated annually.
• Subsequent Successes: Jeanne continues her successes, recapturing Jargeau, Meung, Beauvais, Beaugency, Patay, Troyes, and Châlons.
• 1431-05-31: Burning of Jeanne d'Arc in Rouen.

Artistic Representations of Jeanne d'Arc

The magazine features several images of artistic works depicting Jeanne d'Arc:

• A statue titled "La Bourgogne à Jeanne d'Arc".
• A scene titled "Jeanne d'Arc" with a central statue.
• A bust titled "JEANNE EN PRIÈRE POUR LA FRANCE" by Castex.
• A statue titled "JEANNE EN PRIÈRE POUR LES SOLDATS" by Léo Roussel.
• Images related to the Basilica of Domremy, including statues and murals.
• A stylized depiction of Jeanne with a sheep.
• A mural depicting Jeanne d'Arc.

Featured Books

Two books about Jeanne d'Arc are presented:

• "Jeanne d'Arc" by Edward Lucie-Smith, translated from English by Philippe Erlanger, published by Académique Perrin.
• "ARTHUR DE RICHEMONT LE JUSTICIER: Précurseur, Compagnon et Successeur de JEANNE D'ARC Du L'HONNEUR D'ETRE FRANÇAIS" by Jean-Paul Etcheverry.
• "JEANNE D'ARC FILLE DE DIEU" by Chanoine P. Glorieux, published by Les Éditions Ouvrières.

Recurring Themes and Editorial Stance

This issue strongly focuses on the historical and cultural significance of Jeanne d'Arc, presenting her as a national heroine and a figure of faith. The magazine, published by an association for ufological and parapsychological research, seems to integrate historical figures and events into a broader context of the unusual or unexplained, though this particular issue is heavily weighted towards historical documentation and artistic representation of Jeanne d'Arc. The inclusion of a special issues on historical figures suggests a broader scope beyond just ufology and parapsychology, potentially exploring historical mysteries or unexplained aspects of history.

This issue of "Le Coeur Flamboyant" focuses on "LA LÉGENDE DE LA PUCELLE" (The Legend of the Maiden), centering on Joan of Arc. It presents a narrative that blends historical accounts with legendary elements, exploring her life, impact, and the controversies surrounding her origins.

The Life and Legend of Joan of Arc

The issue begins by recounting key moments in Joan of Arc's life. It details her role in opening the gates of Reims to the King in July 1420, where she stood in the choir of the cathedral with her banner. It also describes her capture in Compiègne in 1430-1431, her subsequent sale to the English, and the insults she endured in the prison of Rouen. The dramatic execution on May 31, 1431, in the Place du Vieux-Marché in Rouen is depicted, noting the presence of 8,000 English soldiers to control the crowd and the executioner's cry, "Nous avons brûlé une Sainte!" (We have burned a Saint!). The issue highlights her beatification by Pope Pius X on April 18, 1909, and her canonization by Pope Benedict XV on May 16, 1920, both in Saint-Pierre de Rome.

The 'Heart of Joan' Legend

A significant portion of the magazine is dedicated to a legend recounted by a boatman named Michel. He tells the story of how, after Joan of Arc was burned, her heart remained intact and was thrown into the Seine River along with her ashes. The legend states that the Seine cradles her heart, which glows at the bottom of the water, serving as a protective sign for boatmen when storms threaten. This narrative emphasizes the enduring reverence for Joan of Arc among the common people, particularly those connected to the river.

Historical Context: The Hundred Years' War

To understand Joan of Arc's era, the magazine provides a historical timeline of the Hundred Years' War. It begins with Edward of England's claim to the French crown in 1337, leading to a prolonged conflict. Key events mentioned include the naval defeat at l'Écluse (1340), the Battle of Crécy (1346), the siege of Calais (1347), the capture of King John II at Poitiers (1356), the Treaty of Brétigny (1360) which ceded territory to the English, the reign of Charles V and the successes of Duguesclin, the descent into madness of Charles VI (1392), the defeat at Azincourt (1415), the assassination of the Duke of Burgundy, the Treaty of Troyes (1420) which surrendered France to its enemies, and the subsequent ruin of the country. By 1422, England controlled most of France, with only Orléans resisting, and Charles VII was mockingly called "the little king of Bourges."

Debates on Joan of Arc's Origins and Identity

The magazine also addresses scholarly debates regarding Joan of Arc's origins and nationality. It notes that while some historical accounts simplify her story, a deeper look reveals complexities. The article questions whether she was truly named "d'Arc," suggesting "Romée" might have been her family surname. It highlights the ongoing debate about whether Domrémy, her birthplace, was historically part of Champagne or Lorraine. Citing historical texts, including one from 1612, it discusses the village's location on the Meuse River, bordering Champagne, and within the diocese of Toul, which spanned parts of France, the Empire, and Lorraine. The text emphasizes that exemptions granted to villages like Greux and Domrémy were "A cause de la Pucelle" (Because of the Maiden), affirming her French nationality. It also challenges the image of Joan as a poor shepherdess, presenting evidence that her father, Jacques d'Arc, was a notable figure in Domrémy by 1420, involved in leasing a castle and representing the people in legal matters.

Recurring Themes and Editorial Stance

The recurring themes in this issue are the legend and historical reality of Joan of Arc, the impact of the Hundred Years' War on France, and the nature of historical interpretation. The editorial stance appears to be one that seeks to present a comprehensive view of Joan of Arc, acknowledging both her legendary status and the historical debates surrounding her life. It aims to inform readers about the historical context while also preserving the mystique and heroic narrative associated with her. The magazine emphasizes that Joan's story is not just a simple tale but a complex blend of reality, legend, and ongoing historical inquiry.

This issue, identified as number 27 from volume 19 of 'Histoire de Jeanne d'Arc', published in 1981, delves deeply into the unresolved questions surrounding the birth and identity of Joan of Arc. The cover headline poses the central question: 'Are the problems of Jehanne's birth resolved?' The content challenges traditional narratives and explores controversial theories.

Debates on Joan of Arc's Origins and Birth

The article begins by examining the traditional image of Joan as a peasant girl, contrasting it with theories suggesting a noble lineage. It mentions Jacques, who owned 20 hectares of land and a stone house, and a theory that Jehanne and her family descended from the village of Arc en Barrois, implying noble origins. Genealogists are cautioned to be prudent with such distant claims, as surnames often derived from place names. However, serious studies suggest this hypothesis, with 'Dailly' being a noble name from Lorraine. Jean Dailly's son, Pierre, allegedly abandoned his noble status in Lorraine and was called Prel (Pierrelot). In 1405, Pierre Day (or Dars) was named a knight and known as Pierre d'Arc, living in Arc en Barrois, Burgundy. He is cited in Côte d'Or on July 31, 1359, as Pierre d'Arc, father of Jacques, who was likely born in 1385. Proponents of this noble theory suggest it explains many mysterious aspects of Jehanne's life, such as her relationship with the king and her military success.

The issue then presents another significant theory: that Jehanne was the illegitimate daughter of Duke Louis d'Orléans and Isabeau of Bavaria, making her a half-sister to the Dauphin (future Charles VII). This theory, proposed by M. Caze in 1819, is supported by testimony from a woman in Domrémy during Jehanne's rehabilitation trial, who claimed to be 45 and stated Jehanne was 3-4 years older. This would place Jehanne's birth in 1407, aligning with the period after the Duke of Orléans' assassination and the birth of his stillborn son, Philippe. Jacoby, a proponent of this theory, suggests Jehanne's self-introduction to the King as 'Sire, I am your sister... Look at me...' explains Charles VII's initial support. However, the article questions why Charles VII later allowed her to be burned.

Further complicating the narrative, Jean Guitton's book 'Problème et mystère de Jeanne d'Arc' cites a letter from Boullain Villiers suggesting Jehanne was born on Epiphany, at midnight, with the villagers unaware of the event. The text also notes Jehanne's own words to the Duke of Alençon, implying a hidden truth about her identity.

The 'Masculine' Identity Debate

The issue tackles the controversial claim, originating from a 1981 English journal based on a biologist's work, that Jehanne might have been biologically male, suffering from 'testicular feminization'. This condition, the theory suggests, could explain her feminine appearance despite a male genetic makeup, her lack of interest in men, and her preference for masculine clothing. The biologist's findings, allegedly based on documents including testimony from Jehanne's squire, indicate she had not reached puberty by age 18 or 19. This condition, the article posits, could explain her 'shocking' preference for male attire.

Childhood and Early Life

Returning to her childhood, the article notes the scarcity of information. She is described as pious, preferring solitude, a good spinner, and skilled at sewing. Crucially, from the age of 13, she heard voices: Sainte Marguerite, Sainte Catherine, and Saint Michel. The text points out the anachronism that Sainte Marguerite and Sainte Catherine are considered purely legendary figures. At this age, Jehanne took a vow of virginity, while her father had a premonitory dream.

The Call to Arms and the Siege of Orléans

Two years after her visions began, in 1425, a troop of Anglo-Burgundians raided Domp-Rémy, stealing cattle and burning the church, an event that may have influenced Jehanne. On October 12, 1428, at 16 years old, the English under Salisbury besieged Orléans, threatening the King's retreat and the kingdom's survival. A rumor spread that a virgin would lift the siege and lead the Dauphin to Reims for his coronation. Jehanne and her family sought refuge in Vaucouleurs, which was under siege. Jehanne approached Captain Robert de Baudricourt of Vaucouleurs, explaining her mission, but faced numerous rejections. Despite her young age and extraordinary claims, Baudricourt was eventually convinced, though the reasons remain unclear. A small troop then accompanied her to Chinon, arriving on February 13, 1429.

The Meeting with the Dauphin

The Dauphin and his advisors were initially skeptical, viewing Jehanne as potentially mad. A three-week examination followed, documented in 'Le livre de Poitiers', which has since disappeared. It is known that her virginity was verified, and she underwent extensive questioning by theologians, successfully navigating the ordeal. She then met the Dauphin, delivering a message that reportedly made him radiant, though the content of this message is unknown.

Miracles and the Sword of Fierbois

During her journey to Chinon, armed men attempted to ambush Jehanne, but their feet were rooted to the ground, preventing them from acting. Upon meeting the Dauphin, she reportedly rebuked a guard who insulted her, and that guard later drowned. To prepare for her mission to Orléans, Jehanne needed a weapon. She sent men to the church of Sainte Catherine de Fierbois to find a sword, claiming her voices had told her it was there. Indeed, a rusty sword, with a guard adorned with five crosses, was found behind the altar. The origin of this sword is debated, with traditions attributing it to Charlemagne or Charles Martel.

Physical Appearance and Historical Embellishment

Little is known about Jehanne's physical appearance, as no contemporary portraits exist, save for a small drawing of her entering Orléans, whose authenticity is questioned. Texts suggest she was about 1.60m tall with a gentle face, though some, like the English witness Grafton, describe her as ugly. The article concludes by stating that the historical account of her meeting with the Dauphin, particularly her recognition of him when disguised, has likely been embellished over time.

Recurring Themes and Editorial Stance

The recurring themes in this issue revolve around the mystery and controversy surrounding Joan of Arc's origins, identity, and the veracity of her claims. The editorial stance appears to be one of critical inquiry, presenting various theories and historical debates without definitively endorsing any single one. It highlights the gaps in historical records and the potential for embellishment in popular narratives, encouraging the reader to 'judge for yourself'. The issue emphasizes that the traditional image of a simple peasant girl is challenged by evidence and theories suggesting noble birth, unusual parentage, and even biological anomalies, all contributing to the enduring enigma of the Pucelle.

This issue of L'Histoire magazine, dated December 1986 (Issue No. 95), is dedicated to the historical figure of Joan of Arc (Jeanne d'Arc), under the cover title 'JOAN OF ARC'. The magazine delves into her life, military achievements, trial, and enduring legacy, presenting various historical interpretations and visual representations.

The Life and Campaigns of Jeanne d'Arc

The articles detail Jeanne's early life and the descriptions of her appearance, noting that most are subject to caution. It highlights her departure for Orléans on April 27, 1429, with priests singing and a large convoy. Her arrival at Orléans on April 29 led to discussions with Dunois, the city's military commander. A crucial event occurred when contrary winds suddenly shifted, and waters rose, allowing the convoy to enter the city, an event perceived as a miracle attributed to Jeanne. The text emphasizes that the liberation of Orléans was not immediate but involved numerous difficult battles.

The capture of the Bastille of Saint-Loup on May 4, 1429, is presented as a turning point. Jeanne is quoted predicting the lifting of the siege within five days. On May 6, she foresaw her injury, stating, 'The blood will come out of my body above my breast.' By May 7, she predicted that when her banner fluttered in the wind, the enemy would be mastered, and the Bastille was indeed taken. On May 8, the English unexpectedly lifted the siege of Orléans, fulfilling Jeanne's prophecy and freeing the city.

The narrative continues with Jeanne's glorious combats leading to the coronation of Charles VII at Reims. It mentions an event in Troyes where a multitude of white butterflies reportedly flew around her standard. A miracle at Lagny in early 1430 is described, where a stillborn child reportedly came to life for three days after Jeanne prayed with other women.

Defeats, Capture, and Trial

Despite successes, Jeanne faced defeats and lacked sufficient support from the King. On May 23, 1430, she was captured by the bastard of Wandonne, acting for Jean de Luxembourg. The text notes she had a premonition of this event. Her period of imprisonment was marked by negotiations for her release, which were complicated by the death of the demoiselle de Luxembourg, who had befriended and protected Jeanne. The King of France is described as notably absent during this time.

Sold to the English, Jeanne faced a trial orchestrated by Cauchon, allegedly influenced by the English and Burgundians. The trial is characterized as illegal, citing the famous abjuration document she signed. It is mentioned that she may have smiled while signing and that she appended a cross next to her signature, a secret code signifying that her signature was invalid, a practice used for military purposes at the time.

Cauchon is described as the master of justice in an unequal combat. The indictment against Jeanne contained 70 articles, but only 12 were read to her. Her responses to her accusers, described as 'masters in theology,' are praised as a remarkable page of French history.

A primary accusation against Jeanne was her wearing of men's clothing. The text mentions that Cauchon and his associates attempted to force her to change back. The article states that the intricacies of the trial cannot be fully summarized and must be read in full.

Condemnation and Execution

Jeanne was condemned to be burned alive and was executed on May 30, 1431, in Rouen's Place du Vieux Marché. The description of her execution is graphic, detailing how she was tied to a scaffold, set ablaze, and her body was exposed to the public to prevent claims of escape. An English soldier who had sworn to personally set fire to her pyre reportedly had a profound spiritual experience upon hearing Jeanne call out the name of Jesus at the moment of death, falling into an ecstasy and witnessing a white dove fly from the flames towards France.

Despite efforts to ensure her complete demise, her entrails and heart reportedly did not burn. Her ashes and heart were thrown into the Seine. The article concludes this section by stating that the legend of Jeanne the Maid was about to begin.

Visual Representations and Interpretations

The magazine includes numerous visual representations of Jeanne d'Arc, spanning from medieval depictions to more modern interpretations. These include paintings, engravings, statues, and illustrations, showcasing the evolving image and perception of the historical figure.

One caption quotes Jeanne: "Everything good I have done, I have done by order of my voices." This phenomenon is noted as not unique, with Jeanne perceiving her voices more clearly than her companions. Another quote from Pius II's 'Commentaries' reflects on whether her career was a miracle or human work, suggesting it warrants consideration and will likely be viewed with more wonder than credulity by posterity.

Further visual elements include depictions of Jeanne in various historical contexts, such as after her coronation ceremony, and artistic renditions of her life and impact. The magazine also features a quote from Gauguin regarding paintings of Jeanne d'Arc, noting that while they sometimes show flashes of talent or genius, they are not consistently brilliant.

Bibliography and Resources

A comprehensive bibliography is provided, listing numerous books and articles on Jeanne d'Arc, including works by Marius Selet, Vercoutre, Emile Badel, Renard, Paul Fabre, Jean Guitton, Raymond Oursel, Régine Pernoud, Chanoine Longueville, and Charles Vouriot. It also includes references to newspaper articles and a bulletin from the Association des anciens élèves de St Joseph. A note indicates that most of these cited works can be consulted at the Municipal Library of Dijon.

Recurring Themes and Editorial Stance

The recurring themes in this issue are the historical accuracy and interpretation of Jeanne d'Arc's life, the divine versus human aspects of her actions, her military significance, the injustices of her trial, and her transformation into a national symbol and legend. The editorial stance appears to be one of historical inquiry, presenting documented events, acknowledging uncertainties and controversies, and exploring the multifaceted legacy of Jeanne d'Arc through textual and visual evidence. The magazine aims to provide a comprehensive overview of her story and its impact on history and culture.

This issue of ICI PARIS, dated August 7-13, 1986, is dedicated to the enduring figure of Jeanne d'Arc, exploring her legacy through the lens of contemporary artists and historical accounts.

Ludmilla Tcherina: A Dream to Embody the Maid

The cover story features Ludmilla Tcherina, a renowned dancer and painter, who expresses her deep aspiration to play the role of Jeanne d'Arc in theater or cinema. The article highlights her artistic background, her work with Serge Lifar, and her interest in various theatrical projects, including a role in Pierre Nort's "Le Capitaine Ardant." Tcherina articulates the profound desire to embody the Maid, seeing it as a challenge to surpass oneself and embrace the sublime aspects of sacrifice and military heroism, while retaining a sensitive, feminine nature.

The Prophecies of Marie Robine

A significant portion of the magazine delves into the life and prophecies of Marie Robine, a visionary from Avignon in the late 14th century. The text recounts her experiences, including a miraculous healing from an incurable illness in Avignon, reportedly aided by the prayers of Cardinal Pierre de Luxembourg and Pope Clement VII. Marie Robine received divine messages, including instructions to the King to unite the church and reform its practices. Her visions also foretold calamities for France. The article questions whether the famous prophecy of a warrior maiden delivering the kingdom, often associated with Jeanne d'Arc, truly originated from Marie Robine, suggesting a possible misinterpretation or omission in historical records.

Theatrical and Cinematic Tributes to Jeanne d'Arc

The issue showcases the continued fascination with Jeanne d'Arc in the performing arts. It mentions the Comédie-Française's staging of Charles Péguy's "Jeanne d'Arc" and highlights actresses who have dreamed of playing the role, such as Simone, who played Jeanne in François Porché's "La Vierge au grand cœur." The article notes that despite the passion of actresses, many plays about Jeanne d'Arc have not achieved widespread public success.

A section commemorates the 500th anniversary of the revision of Jeanne d'Arc's trial, referencing a historical reenactment at Notre-Dame in Paris. It also touches upon the Comédie-Française's production of Péguy's play, with Claude Winter in the lead role.

Photographs feature actresses like Ingrid Bergman and Michèle Morgan, who have portrayed Jeanne d'Arc in film, and a group of actresses who have embodied the heroine in various productions. Claude Winter, a young actress, is highlighted for her role in Péguy's play, and Madeleine Ozeray is mentioned for creating the role of Domrémy in a play by Charles Péguy.

Historical Context and Artistic Interpretations

The magazine provides historical context, referencing the schism in the Church during Marie Robine's time and the political landscape. It also explores the artistic interpretations of Jeanne d'Arc, from early engravings to modern theater and cinema, emphasizing the enduring appeal of her story and the complex motivations behind actresses' desire to portray her.

Recurring Themes and Editorial Stance

The recurring themes in this issue are the enduring legend of Jeanne d'Arc, the power of prophecy and divine inspiration, and the artistic and theatrical interpretations of historical figures. The editorial stance appears to be one of admiration for Jeanne d'Arc's legacy and an exploration of how her story continues to inspire artists and resonate with the public. There is a clear interest in the psychological and emotional aspects of embodying such an iconic figure, as well as a historical inquiry into the origins of certain prophecies attributed to her.

This issue of the magazine, dated January 29 to February 4, 1987, features actress Sophie Marceau on its cover, with the headline "Sophie Marceau sur les traces de la Pucelle!" (Sophie Marceau on the trail of the Maid!). The cover story highlights Marceau's role as Jeanne d'Arc and her efforts to shed her earlier image, mentioning her research between Rouen and Domrēmy. An inset image hints at a film role involving a pyre and love scenes.

The False Jeannes of Arc

The main content of the magazine delves into historical controversies surrounding Jeanne d'Arc, specifically the theory that she may have survived her execution and that impostors, known as 'false Jeannes,' appeared in her stead. The article begins by recounting how Father Vignier, in 1645, discovered a 15th-century chronicle in Metz that suggested Jeanne d'Arc came to Metz in May 1436, five years after her supposed burning in Rouen. This chronicle states that she was known as Claude and was reunited with her two brothers, Pierre and Petit-Jehan, who were surprised and relieved to find her alive. She was then given gifts and taken to Roquelon. The chronicle further details her marriage to a knight named Hermoise in Arlon, after which she returned to live in Metz.

Further evidence is presented through the work of Father Calmet, who, in his 'Histoire de Lorraine,' cited archives mentioning a marriage contract between Robert des Herroises (Lord of Trichemont) and Jehanne du Lys, 'the Maid of France,' Lady of Trichemont, involving the sale of property. In 1749, new documents discovered in Orléans and published by Polluche revived the question of Jeanne's survival. Polluche found records from the Orléans Hôtel de Ville from 1436 detailing payments to a messenger carrying letters from Jehanne la Pucelle to the King. Another record from August 1436 indicates that Jeanne's brother passed through Orléans returning from meeting the King and rejoining his sister. The city honored him and provided funds for his journey. Orléans had also sent a messenger to Jeanne, who was in Arlon, Luxembourg, and she had sent letters to the King.

A document from October 18, 1436, details expenses for a journey to deliver letters from Jehanne la Pucelle, who was in Arlon, to the King at Loches. In July 1439, four years after her marriage, 'la Pucelle' personally visited Orléans under the name Jehanne d'Armoises. City records show expenses for her reception and a gift from the city for her services during the siege. A payment on August 1, 1439, was made to Jehanne d'Armoises by deliberation of the City Council for the good she did for the city during the siege.

The article suggests that the people of Orléans, driven by gratitude, may have been too eager to believe. However, a detail from Polluche's findings indicates a shift: a memorial service for the Pucelle in the church of Saint-Sanxon, held until 1439, ceased in 1440, after Jeanne's visit to Orléans. This implies that the city waited for a direct encounter and testimony before fully accepting her survival. The narrative posits that the Bishop of Beauvais, who was entrusted with Jeanne's trial by the English, may have substituted another condemned woman at the stake and facilitated Jeanne's escape after the death of the Duke of Bedford in 1435.

Further evidence comes from a journal of a Parisian bourgeois during the reign of Charles VII, which mentions a rumor after Jeanne's death that another woman was burned in her place, a rumor that gained credence. Some believed that due to her sanctity, she escaped the fire, and someone else was burned instead. This opened the door for 'false Jeannes d'Arc.' A witness from the justification trial stated that the English, fearing that the Pucelle might not be dead and that someone else was burned in her place, ordered the fire and wood to be removed from the body to prove her death.

The article also touches upon the apparent ignorance of Monsieur des Armoises regarding a famous ancestor in his family's lineage two centuries prior. It speculates that if the lady of Armoises was an adventuress, her deception was eventually discovered, leading to the marriage being kept quiet as a family misfortune.

Even considering the King's ingratitude and Jeanne's modesty in retiring with her husband and children, the article questions why she did not appear during the rehabilitation trial in 1455. It notes that Charles VII, who had done nothing to save her, only initiated an inquiry in 1450. The authorization for the rehabilitation trial was obtained in 1445, based on an inquiry signed by Jeanne's mother and one of her brothers. This suggests that by 1445, Madame des Armoises was entirely disowned by Jeanne's family.

Despite positive testimonies of her death in the trial, including those of Father Martin Ladvenu and Jean Massieu, who testified to her piety and resignation, the article highlights that out of 112 witnesses, none suggested she might have lived. However, her family seems to have recognized her. The article suggests that after more than four years, her brothers might have expected her to be changed by her suffering and were simple enough to accept the extraordinary news. In any case, the existence of Jeanne des Armoises did not cause a major stir, as a journal entry from 1440 mentions the Parliament and University bringing a woman to Paris, believed by many to be Jeanne la Pucelle, who was honorably received in Orléans and presented at the Palais, her life and marriage acknowledged.

This latter account suggests that this woman, though received in Orléans, was not the same 'Dame des Armoises' who had been welcomed there the previous year. This woman was soon discovered to be the widow of a knight, with whom she had two children, and was returning from Italy. She was released and left Paris that winter. A new 'pucelle' appeared in 1441, so closely resembling Jeanne that she had the audacity to present herself to the King. Charles VII, who was injured and wearing a boot, was astonished but recognized her. The woman, a false pucelle, knelt and confessed her treason, leading to severe punishments for some involved.

In 1473, another Jeanne d'Arc appeared, older and pushed by the Count of Virnenbourg, in the Electorate of Treves. She claimed to be the candidate for the archiepiscopal see of Udalvic de Mandencheit. She was judged by the Inquisition of Cologne, which intended to reveal the entire affair and have her executed, but the Count of Virnembourg managed to help her escape.

By 1456, the Chancellor of the University of Paris could pronounce an apology for the martyr without fear of contradiction from the Pucelle or her children or parents. The era of the false 'Jeanne d'Arc' had passed.

On the Trail of the False Jeannes

The article concludes by mentioning that at the château of Jaulny, in Meurthe et Moselle, a 'museum' room displays the portrait of Jeanne d'Arc, Dame des Armoises, and her husband. It is speculated that she might be buried in a chapel within the château. Additionally, the Spanish chronicle of Don Alvaro de Luna mentions a 'Historia de la Ponzella d'Orléans.'

Anecdote: Did Jeanne d'Arc Bring Misfortune?

An anecdote recounts a scene from the 1957 film 'Joan of Arc' directed by Otto Preminger, starring Jean Seberg. In the film, the heroine, chained to a pyre, was saved by her executioner when a gas apparatus under the pyre malfunctioned, causing a radiator to explode. She sustained only superficial burns to her hands and legs.

Commemorative Plaque

A commemorative plaque at the Cathédrale Saint-Etienne de Toul states that in 1428, Jeanne d'Arc, a 'Diocésienne de Toul,' appeared before the officiality of Bishop Henri de Ville, presided over by Frédéric de Maldemaire, Dean of Saint Genglout. This was for a matrimonial trial initiated by a young man from Domrēmy. Her judges declared her free of all ties, allowing her to undertake her 'marvelous campaign' and save France.

Sources

The article lists various sources for representations of Jeanne d'Arc, including personal documents, cited books, the comic strip 'Le cordon infernal' by Claire Bretecher (1978), newspaper articles ('Ici Paris,' 'Jour de France'), the cover of Jean Paul Etcheverry's book on Arthur de Richemont, the cover of Chanoine P. Glorieux's book on Jeanne d'Arc, and imagery from Epinal. The researchers express gratitude to those who assisted, particularly Monsieur Robert Fischer.

Comic Strip

A comic strip titled 'LA VIE PASSIONNEE DE JEHANNE D'ARC' (The Passionate Life of Jehanne d'Arc) is included, depicting humorous interactions related to geese and potential romantic entanglements, with dialogue in French.

Recurring Themes and Editorial Stance

The recurring theme is the persistent historical debate and speculation surrounding Jeanne d'Arc's survival and the subsequent appearance of impostors. The magazine presents these theories and historical accounts without definitively concluding Jeanne's fate, but leans towards the possibility of her survival and the existence of 'false Jeannes.' The editorial stance appears to be one of historical inquiry, exploring controversial interpretations of a significant historical figure and linking them to contemporary cultural representations, such as Sophie Marceau's portrayal.

This issue of "Le Magazine de la Cote d'Or Insolite" (Issue 21) is dedicated to exploring the realm of the unusual and unexplained. The magazine, published quarterly, is the work of the members of an association whose aim is to inform the public about their research.

Content Highlights

ADRUP: Researching the Unexplained

The association ADRUP (Association pour la Recherche et l'Etude des Phénomènes Insolites) is a central focus. Founded in 1976, it operates under the law of July 1, 1901, as a non-profit organization. Its primary goal is to "separate the true from the false" in domains such as ufology, parapsychology, and other related phenomena, and to inform the public. ADRUP's methods include archiving documents, press articles, conducting investigations and counter-investigations, and maintaining national and international relations with other associations. They also publish their work in the trimestrial review "Vimana 21" and organize radio emissions, television programs, debates, exhibitions, and slide shows.

"Le Magazine de la Cote d'Or Insolite" and Past Issues

The magazine itself serves as a platform to inform the public about ADRUP's work. A subscription is available for 60 French Francs per year. A list of previously published issues is provided, detailing topics such as "LA VAGUE DE 1954" (The Wave of 1954), "LES TAPISSERIES DE BEAUNE" (The Tapestries of Beaune), "TRACE A ECHENON" (Trace at Echenon), "TRACE A MARLIENS" (Trace at Marliens), "CATALOGUE D'OBSERVATIONS" (Catalogue of Observations), "CHRONIQUE S ANCIENNES" (Ancient Chronicles), "L'AFFAIRE DE RENEVE" (The Reneve Affair), "LA FOUDRE EN BOULE" (Ball Lightning), "COLLOQUE DE L'INSOLITE" (Colloquium of the Unusual), and "ROUTES MAGIQUES" (Magic Routes). Some of these past issues are noted as "disponible" (available) or "épuisé" (out of print).

SOS INSOLITE and Allo ADRUP

A prominent advertisement for "SOS INSOLITE" encourages individuals with documents or a passion for the unusual to contact them for study. They are interested in haunted places, humanoids, apparitions, miracles, UFOs, legends, and witchcraft. An "Allo ADRUP" hotline is provided, with anonymity guaranteed. The contact number is 80-34-37-67.

Camera Club Cote d'Orient

Another section details the activities of the "CAMERA CLUB COTE D'ORIEN," an association for filmmakers and amateur videographers. Their services include initiation and advanced training in filmmaking, advice on equipment, film production support, and access to equipment for loan. They organize film projections and reunions every other Friday evening at the Centre Social de Fontaine d'Ouche in Dijon.

Crédit Mutuel Services for Associations

Several pages are dedicated to the services offered by "Crédit Mutuel" (Credit Mutual) to associations. They provide a comprehensive range of support across four key phases of an association's development: "LA VIE" (Life), "LA GESTION" (Management), "L'ANIMATION" (Animation), and "LA PROMOTION" (Promotion). Services include advice on administrative, legal, fiscal, and financial matters, provision of meeting spaces, assistance with treasury management, and support for communication and promotional materials. They emphasize their role as an effective partner for associations, committees, and cultural organizations.

Cover Comic Strip

The cover features a four-panel comic strip with French text. The main headline reads "JEHANNE, VA DELYVRER ORLEANS ET BOUTE LES ANGLOIS HORS DE FRANCE" (Joan, go deliver Orleans and drive the English out of France). The comic depicts Joan of Arc (Jehanne) being inspired and encouraged, seemingly by angelic figures, to undertake her mission, with simple farm scenes and sheep in the background. The final panel shows "ALLEZ JEHANNE!" (Go Jehanne!).

Recurring Themes and Editorial Stance

The recurring themes in this issue are the exploration of unexplained phenomena, the promotion of local cultural and hobbyist associations, and the financial and administrative support available to these organizations. The editorial stance appears to be one of open-minded inquiry into the unusual, coupled with a practical approach to supporting community groups and providing essential services through financial institutions like Crédit Mutuel. The inclusion of the Joan of Arc comic on the cover, while seemingly unrelated to the core themes of the magazine, might serve as a historical or inspirational element, or perhaps a humorous juxtaposition.