The princes of Baux were podestas of Milan, consul-podestas of Arles, where they had a castle, were seneschals of Piedmont, grand justiciaries of the kingdom of Naples, princes of Orange, and viscounts of Marseilles. They bore also the titles of counts of Provence, kings of Arles and Vienne, princes of Achaia, counts of Cephalonia, and finally assumed that of emperors of Constantinople.
The castle was thrice besieged, twice destroyed, and again rebuilt; it lasted over eleven centuries. The most complete restoration of the castle and of the town-walls took place in 1444 by Louis III. of Provence; but when it passed to the Crown of France in 1630, by order of Cardinal Richelieu, it was destroyed. The strength of the position was such that he feared it.
In the old days, when the Princes and Princesses des Baux held court in this eagle's nest, it was a great resort of the troubadours, who came to it from all quarters. Fouquet, the Provençal poet, celebrated in his verses Adelasia, wife of Berald, Prince of Baux. He was filled with a romantic love for this exalted lady, and on her death, in a fit of sorrow, became monk of Citeaux. Afterwards he became abbot of Thoronêt, bishop of Marseilles, and finally archbishop of Toulouse.
He was born between 1160 and 1170, and was the son of a merchant of Venice who had retired from business and settled at Marseilles. When Richard Coeur de Lion was on his way to Syria, he made some stay at Marseilles before going on to Genoa, where he was to embark, and there Fouquet insinuated himself into his good graces. He was married, but his wife was sorely neglected, and all his devotion was paid to the lady Adelasia des Baux.
Provençal traditions diverge as to the result of his suit. According to one account, he could "jamais trouver merci, ni obtenir aucun bien en droit d'amour," from the object of his passion, and, in disgust, he turned to make love to Laura de S. Jorlan, sister of Berald des Baux. But the other account is that he made love to both ladies at once, and that Adelasia cast him off because she found that his fickle heart was turning to the fresher charms of Laura. Anyhow, he made his rejection by Adelasia the subject of poetical laments, and prosecuted with vigour his siege of the heart and virtue of his patron's sister. And then he pursued with the same ardour the conquest of Eudoxia, wife of William, Count of Montpellier.
As already said, after the death of Adelasia, he assumed the cowl. As Bishop of Toulouse, he exercised the ferocity of a wolf in his dealings with the Albigenses. "There is no act of treachery or cruelty throughout the war," says Dean Milman, "in which the Bishop of Toulouse was not the most forward, sanguinary, and unscrupulous." The historian of his life, in the 'Histoire Littéraire de la France,' says of him: "After having given half his life to gallantry, he gave up, without restraint, the remainder of his life to the cause of tyranny, murder, and spoliation, and unhappily he profited by it…. Loving women passionately, a ferocious apostle of the Inquisition, he did not give up the composition of verses which bore the impress of his successive passions."
Another troubadour, William de Cabestaing, sang the praises of Berengaria des Baux. Afterwards he lost his heart to Sermonda, wife of Raymond de Roussillon, who, not seeing the fun of this romantic spooning of his wife, waylaid and slew him, then plucked out his heart and had it served up at table in the evening. After his wife had partaken of the dish he informed her that what she had tasted was the heart of her admirer. She, full of horror, threw herself from a window of the castle and was dashed to pieces. This outrage was the occasion of civil war. The relatives of the lady and of William de Cabestaing persuaded Alphonso I., King of Aragon, to ravage the territories of the Count of Roussillon and to destroy his castle.
Again, another troubadour, Sordel, sang the praises of Rambaude des Baux, but in such enigmatical fashion that his verses may be read as a satire upon her charms.
The princely family, moreover, had among its members two troubadours,
Berard des Baux in the twelfth century, and in the next Rambaud des Baux,
who in 1236 distinguished himself by his songs in honour of Marie de
Chateauvert and of the Countess of Argeuil.
In 1244 the troubadours vied with each other in lauding Cecilia des Baux, who was called Passe-Rose, on account of her beauty. Other ladies of the same family sung by the poets were Clairette in 1270 and 1275 by Pierre d'Auvergne, and Etiennette de Ganteaume—who shone in the Court of Love in 1332 at Romanil, and Baussette, daughter of Hugh des Baux in 1323, sung by Roger of Arles. So the family must have been one that in its alliances and daughters was distinguished by its beauty, or else paid liberally for flattery.