Andreas Capellanus (Andrew the Chaplain), 12th-century author of a treatise commonly known as De amore (Concerning Love), and often known in English as The Art of Courtly Love, He is presumed to have been French and a courtier of Marie de Champagne, daughter of King Louis VII of France and of Eleanor of Aquitaine De Amore was written at the request of Marie de Champagne, .

From Eleanor of Aquitaine and the Four Kings, pp. 162-163

Ovid’s Ars Amatoria, as the poet himself contrived it, is a bit of foolery for a sophisticated audience that well appreciates the author’s transparent intention to make fun of the young Roman’s illicit love affairs by pretending to take them seriously. It is a screed on the fine art of seduction done with all the delicate analysis of a disputation. In it the art of loving is reduced to rule. How to proceed and succeed with the business of seduction: how to dress, how to scrape an acquaintance, how to get on in conversation, how to humor the mood of the fair one, how to give and withhold, to please and torment — the gamut of the little comedy — furnish the themes of his discourse. The Ars is elegantly embellished with allusions to classical instances, which enhance its air of make-believe solemnity.

This work, which provides an admirable framework for Marie’s doctrines of civility, underwent, however, a most remarkable change in André’s redaction, which offers itself to the court as a guide to a young man seeking to equip himself for admission to elect society. André’s work, like Ovid’s, is frankly erotic. It would not have occurred to Marie to be squeamish about the seduction and adultery in her original. Both works discourse with all the precision of dialectic on the science of loving in all its branches, define the principles of love, its disciplines, its code, its etiquette. But whereas in the work of Ovid, man is the master, employing his arts to seduce women for his pleasure, in André’s work, woman is the mistress, man her pupil in homage, her vassal in service.

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