important noble houses of Normandy and adjacent regions. Jean II, lord of Harcourt (d.
1302), was admiral of France. His oldest grandson, Jean IV, received the title of count in
1338, but the latter’s brother, Godefroi, lord of Saint-Sauveur (Manche), became a
chronic rebel against Philip VI and John II of France. The king executed Jean V of
Harcourt in 1356 for supporting the party of the king of Navarre against the French
crown.
Like many other Norman lords who had been English or Navarrese sympathizers in
the 1340s and 1350s, the Harcourts became royalist after 1360. Both Jean VI and his
brother Jacques, lord of Montgommery, served the king frequently in war. Jean VII
(1370–1452) was captured at Agincourt (1415). His younger son, Louis, was archbishop
of Rouen (1409–22). The senior male line of the family ended with Jean VIII’s death in
battle at Verneuil (1424). The descendants of Jacques, lord of Montgommery, included
Jean (d. 1452), archbishop of Narbonne and patriarch of Antioch, whose brother Jacques
married the heiress of the Melun family and thus acquired the county of Tancarville. The
county of Harcourt itself passed to the house of Lorraine by marriage in 1476.
John Bell Henneman, Jr.
Anselme de Sainte-Marie, Pierre (de Guibours). Histoire généalogique et chronologique de la
maison de France. 9 vols. 3rd ed. Paris: Compaignie des Libraires Associés, 1726–33.
Delisle, Léopold. Histoire du château et des sires de Saint-Sauveur-le-Vicomte. Valognes: Martin,
1867.
La Roque de la Lontière, Gilles-André. Histoire généalogique de la maison de Harcourt. 4 vols.
Paris: Cramoisy, 1662.
HAUT PASSAGE
. See CUSTOMS DUTIES
HAYNE VAN GHIZEGHEM
(fl. ca. 1465–85). Composer of some of the most successful songs of the late 15th
century. First documented in 1457 as a young boy entrusted to the care of the Burgundian
court chapel singer Constans van Languebroeck, he appears in the court accounts as a
singer and valet de chambre from 1467 to 1477, though the style of his music makes it
clear that he must have lived for at least another ten years. Of his seventeen songs, all
seem to be rondeau settings and are among the most characteristic late examples of that
genre. Three had particu-larly impressive careers: Amours amours (seventeen sources);
Allez regretz (thirty sources, setting a poem by Jean II, duke of Bourbon); and
particularly De tous biens plaine (twenty-nine sources, and providing the musical
materials for nearly sixty later works).
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