Claus de Werve / Jean de la Huerta / Antoine le Moiturier, Tomb of John the Fearless & Margaret of Bavaria, 1410-70 (Dijon, Musée des Beaux-Arts)

• Philip the good pays for it, very expensive despite John the Fearless’ wishes

• Issues with head carver

• Clause de Werve dies 1419

• Juan de la Hureta- trouble finding alabaster,

• Antoine de Moituirier

• Completed 1470, after phil the good’s death

• Establishes dynastic link to Philip the bold, dutiful son, and aesthetic of matching

• Basically the same- effigy, angel, lion, mourners

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Guillaume Vluten, Tomb of Anne of Burgundy, Duchess of Bedford, c.1436-45 (Paris, Louvre)

• daughter of John the Fearless, sister to Philip the good

• White marble

• Part of elaborate wall tomb, now destroyed

• Effigy

• Eyes open

• Bicorn hairnet, popular at time

• Long dress

• Surcoat with loops- looks old, typical of French nobility

• Jeweled girdal

• Coat of arms

• Husbands arms w labels

• John the fearless w lion of flanders

• 2 dogs at feet

• Comissioned by Philip the good- situation with england means Anne’s husband would not make it lavish, no kids,  John of lancaster remarries quickly

• Conservative, not innovative-

• folds do not obey gravity

• Against a wall, unusual for burgundy normal rof paris

• Original base, tracery, vault of niche replaced

• Morners now lost-outer 2 are nobles, not clergy, Philip the Good and John of Lancaster

• From drawing- figure moved behind figure when choir moved?

• Black marble slab- mark of her family, similar to other monument in celestine church

• Political situation

• Burgundy @ war w france

• Phil convinces charles VI to dis-inherit son, adn to recogize King Henry V of England

• John of lancaster is Eng regent

• Congress of  Arras- burgundy and france ally against eng

• Symbol of reconsilliation w France- Celestine churc associated w Royals and Argmanacs

• Where she requested to be buried

• V austere monks

Jacques de Gérines (Jacob van Gerines), Tomb of Louis of Mâle, Count of Flanders, Margaret of Brabant & Margaret of Flanders (lost, formerly St Peter’s church, Lille)

• Jaques de gerynes is a coppersmith

• Made of Antoing stone

• Isabella of Portugal, wife of Philip the Good, negotiates the commission according to the drawing, draftsman unknown

• Brass plates with figures recording death dates

• Women, how Philip the good was able to inherit land, phil included as a mourner

• Margaret of Brabant- wife of Louis

• Margaret of Flanders- daughter of louis (duchess of burgundy, maried philip the bold, philip the good's grand father)

• Mourners in arcades 24- descendants of the dead in chronological order, no clergy

• Morner Figures stand with pedestal- crest to identify, names inscribed above

• Free standing on stationary pedestals

• Positions and figures would relate to one another

• Likely real portraits- specific dress

• Phil the good will be taking over Louis of Males land, which residents dislike, Phil must find way to show his connection

Jacob van Gerines, Tomb of Joanna, Duchess of Brabant, 1459 (lost, formerly Carmelite church, Brussels)

• Damaged under calvinist control in 1578, drawings and inventory used to study, mourn

• One of the last independen dynasties to be inherited by Burgundian dukes

• Phil the Good comissions-publicly display his relationship to the old ruler, Brabant subjects should be loyal

• Brabant less turbulent than Flanders, so Louis of Males is more glitzy

• Angels and mourners identical to Margaret of Flander’s tomb, Jacob van Gerines may have casted them into broze for Males tomb, the wooden figures used to cast bronze painted here

• Polychromy by van der Weyden

• After thought to her husband’s

Mourners & effigy from tomb of Isabella of Bourbon, Countess of Charolais, c.1475-76 (Amsterdam, Rijksmuseum & Antwerp Cathedral) 

• Mourners are her ancestors - clothes of an earlier fashion, copied from Louis of Male's tomb

• excess of fabric

• Second wife of Charles the bold

• Commissioned by Mary of Burgundy

Tomb of Mary of Burgundy, 1488-96 (Bruges, Church of Our Lady

• Daughter of Charles the bold, wife of Maximillian

• Commissioned by Maximillian

Likeness consistent w portraits

Gilded

Brocade individually applied

Familly tree of ancestors

• Maximillian uses it to show his connection

• Coates of arms are enamel

Conrad Meit, Tomb of Margaret of Austria, 1516-32 (Brou, Bourg-en-Bresse, Church of St Nicholas of Tolentino)

• In same church as

• Husband philibert of Savoy- her tomb is near his but not alongside, balance between connection and independence

• Margaret of Burbon, mother in law

• Complex is like a new champmol, which was now out of Burgundy’s territory

• Baldachin w late gothic tracery

• Double tiered

• Depicted as wife of philibert

• Turned slightly towards his tomb

• Medallion on her bust

• Stately attire- hood

• Putti with arms and commemorative plate

• Less conservative than widow portraits

• Depicted as corpse- Transi

• Humility- everybody dies

• Loose hair

Foundation brass of Isabella of Portugal, c.1446 (Basel, Historical Museum)

• Engraved brass with marble frame

• Arms- portugal impaled w burgundy

• Wife of philip the good

• Council Basil 1431-49

• Pieta/lamentation

• Features her w son charles the bold,  husband, dead sons (crosses above heads, w coats of arms)

• Coats of arms w colored enamel

• Motto- “As long as I live” corresponds to Philip the Good’s “I will take no other”

• Inclosed garden=chastity and purity

• Takes a long time to complete

• In basel, switzerland

• Site of a major conference

• Masses to be said for her family’s souls at the carthusian monastery

Margaret of York’s crown, c.1461-74 (Aachen, Cathedral Treasury)

• 1474 Margaret of york makes pilgrimage to Aachen which is the coronation site of german kings

• Germans are only ones who could give her husband, charles the bold, a kingly title

• Gilded silver

• 16 floral decorations

• Enamel petals

• Jewels as center

• Pearls line band

• Diamonds on the cross

• CM

• Margarita de york

• Coat of arms- burgundy and england

• Tiny, fits on virgin ‘our lady of aachen’, a venerated statue

Gerard Loyet, votive image / reliquary of Charles the Bold, 1467-71 (Liège, Cathedral Treasury)

• Gold

• Commissioned by charles the bold

• Originally in St Lamberts cathedral, moved during French Rev

• Hollow cast figures on silver-gilt base

• Pointille technique- c&m (marriage to Margaret of York, helps date), firesteel, motto stippled into gold

• Coat of arms now missing

• Designer unknown

• Realistic textures, hair, cushion, chainmail

• St George

• blue green enamel en ronde boss dragon

• Presents the duke

• Armor is mix or real and fantasy

• Lions heads decorations

• Duke

• Holds reliquary- finger of St lambert, rare for reliquary not to match saint depicted in reliquary

• Kneels on enamel cushion w gold applique gold tassels

• Warting golden fleece, armor, are accurate to time

• Gorget charles had scar from removing, now mission

• Face repainted in 19th cen

• St Lambert was patron of liege, citizens prayed to him to help them win wars

• War of 1467

• Liege not a part of Burgundy, but became so under HRE, ruled by Burgundy- allied prince bishop

• Louis of France allies w towns people

• Charles the bold leads a siege, knocks down walls

• Charles commissions the votive image to thank St Lambert for favoring him over the city- symbol of his glory, thus St. george

• War of 1468

• People revolt, charles’ punishments are too harsh

• Charles orders destruction of all city except the churches, relics of st Lambert untouched

• Thus delay for votive to be delivered, 1471

• Townspeople give it the reputation of being a act of repentance for destroying town

• Most other metalworks melted down later

Giovanni Candida, Medal of Maximilian of Austria and Mary of Burgundy, 1478-79 (National Gallery of Art, Washington DC)

• Mary referred to as Duke?

• Commissioned by Maximilian

• Private devotional object

• 2 sides same coin

• Unconventional to have 2 portraits, usually portrait + arms/devices

• Maximillian uses as official court portrait for over 20 yrs

• Profile- roman coin, imperial

• mary=power behind him

• Has burgundian ducal crown

• More impressive pedigree, had land and money

• Hair up- roman empress look, practical as part of hunting guise?

• Bronze, stained petina

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Thierry du Chastel(?) and others, Vestments of the Order of the Golden Fleece, 1425-40 (Vienna, Kunsthistorisches Museum), especially antependium and chasuble with Transfiguration of Christ

All

• Linen, later lined with silk

• Qualities of light

• Pictoral light and luminus quality of gold in thread and silk itself

• Movemets shifts light

• Included in inventory of 1477, when Golden Fleece treasures are trasffered to the Habsburgs, Charles II and Burbon kings of Spain

• Do not include firesteel emblem, possibly not made for them

• Comissioned by Phil the Good

• Used for St. Andrews day msss

• Remarkable condition

• Only complete burgundian chapelle set

Chasuble- priest wears in mass

• Praying angels on either side of jesus

• Baptism of christ on front

• Trinity in river jordan on arm, st john performing baptism on right, angel holds robe on left

• Back- transfiguration of christ

• God, Jesus and peter down length of cross

• John and Jacob on sides

• Moses and elijah on horizontal arms of the cross

• Christ demonstrates divnity to disciples -Jesus took Peter, James, and John with him and led them up a high mountain, where they were all alone. There He was transfigured before them. His clothes became dazzling white, whiter than anyone in the world could bleach them. And there appeared before them Elijah and Moses, who were talking with Jesus.

• Or nue on christ face- glowing red gold  as he transfigures

Antependia-decorate altar

In front:

• Virgin and child, w/ St John and  St. Catherine, christ gives her ring as part of mystic marriage

• All of the above at portal @ champmol, maybe made for there?

• in interantional style, may predate order

• pearls

Throne of Mercy, God the father with dead Jesus, eyes open, wounds, holy spirit as dove, champmol dedicated to trinity

• Sides- 12 rectangles, of prophets, apostles

Copes- worn by 3 priests

• Hood is main focus

• Mary and John as intercessors on ither side of jesus cope during mass- deesis

• Christ-baldichin and cloth of honor,Blessing and sceptor

• Below him Micheal w sword of judgement and cherubins

• Holy martyrs, rulers, bishops

• Mary- like a byzantine icon

• Holy women- st. Barbra

• Gabriel

• Floral roundels with seed pearls

• St. John the Baptist- repentance, baldichin,

• Raphel with fish

• Patriarchs and prophets

• Monks and hermits

• Honey comb shape with saints (?)

Workshop of Rogier van der Weyden, Isabella of Portugal, c.1450, reworked c.1530 (Los Angeles, Getty Museum)

• Looks outward, not demure as is typical of female burgundian portraits

• May have been in Margaret of Austria’s portrait collection, green dress underneath responds to inventory

• Reflectography

• Smudges of left handed person, not van der Weyden

• Inscription- “persian sibyl” added later 1600

• Dress repainted 1530- color changed

Rogier van der Weyden, Portrait diptych of Jean Gros, 1460-64 (Tournai, Musée des Beaux-Arts / Art Institute of Chicago)

• Back

• Emblem- pulley

• Motto- graces a dieu, thanks to god

• Initials on either side JG

• Arms - same as grandfather

• Was a secretary to phil the good

• Managed $ for charles the bold

• W/o arms identity can fade

After Rogier van der Weyden, Charles the Bold, c.1465 (Berlin, Gemäldegalerie)

• Sword hilt- charles military ambitions, tries to link the original duchy w; the territories his father gained

• Collar of the golden fleece- simple w/o firesteel, rebelling against father’s rules? Or going to war?

• Somber, humbleness is Burgundian stylistic choice more than actual rep. Charles’ fashion is way over the top

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Anonymous, Margaret of York, c. 1468-70 (Paris, Louvre)

• Necklace

• White rose of york- Personal emblem, ties her to england

• Red rose of lancaster

• C&M- initials w charles the bolds

• Burgundian b & pearl (margaritte) on pin of headpiece

Netherlandish or South German - Michael Pacher (?), Mary of Burgundy, c.1479 (private collection, sold Sotheby’s, London, 4 July 2018)

• Austrian/italian influence- profile

• Max’s second wife Bianca Maria Sforza is N italian

• Similar to medals

• Max wants to emperor- imperial association of side profile

• Burgundian influence- plain background, dark clothes

• Probs copied and widely dispersed

• Idealized over time

• Clothing frozen from time of their marriage

• headpiece

• Maximillian makes a mythology around her, idealizes it as a successful dynastic marriage

• Jewels- later pawned by Max to fight turks

Master of Moulins (Jean Hey?), Margaret of Austria, c.1490 (New York, Metropolitan Museum of Art)

• 11 years old

• Red velvet, ermine, black velvet w gold embroidered hood

• Pearl rosary- margaritte

• Necklace-fleur de lis, pearl, pelican- listed in inventory

• Pelican believed to feed chick w its blood- like christs sacrifice

• Likely commissioned by Charles VIII of france’s mother

• Shells on headdress, order of st michael

• Laker abandons her for anne of Brittany

• Imprisoned and her land siezed

• May have been a diptych- holds rosary

• Loggia exposes landscape w her castles

• Oil on oak

Attributed to Pieter van Coninxloo, Philip the Fair & Margaret of Austria, c. 1495 (London, National Gallery)

• Marriage portrait

• Shows territories they come with

• Margaret- arms half empty bc unmarried, lozenge as common for women

• Philip the fair wears collar

After Bernard van Orley, Margaret of Austria, 1522-30 (Brussels, Royal Museums of Fine Arts)

• Mourning clothing- death of husband, Philibert of Savoy

• Hood, pleated white ruff, widow’s wimple

• Official portrait-symbol of her as regent of netherlands

• Not remarrying so no other foreign men will be involved

• Somber, dark, simple background- burgundian tradition

• Multiple versions, aided by workshop

• Oil on wood panel

Conrad Meit, Philibert of Savoy & Margaret of Austria, c. 1515-25, boxwood (British Museum, London)

• Similar to marble version in Margaret of Austria’s library at Mechlen

• Margaret as a bride- no wimple

• Philibert has st margaret’s seal on his hat?

• Lifelike, reasonable likeness compared to margaret as widow by van orley

• Reinforces her devotion to her late husband, has no need or desire to get a new husband

Attrib. to Master WA, Coat of Arms of Charles the Bold, engraving, 1472 (Brussels, Royal Library)

• St. George=charles the bold

• St. Andrew=patron saint of golden fleece

• Charles the Bold: Je lay emprins (“I have dared it”)

• Firesteels

• Only surviving print in book

• 50-200 prints, widely distributed

• Like portrait wo likeness

• Shield- cross of st Andrew, firesteels

• Arms of his territory

Charles the Bold receives his military captains, from Military Ordinance of Charles the Bold (1475), fol. 5 (London, British Library)

• Servants in black and violet

• Charles garment is 100% gold

• Level of astentation hard to depict in small space- cant see jewels

• Artistic choice? Patterned gold robe on patterned gold cloth of honor would be hard to read

• Aims to look kingly

• Ordinance= rulebook for conducting military campaigns

• Hands the book to man on his left

• Long hair=post phil good

• Motto in rafters- Je lay emprins (“I have dared it”)

• Hierarchy

• Charles in center, highest up, larger in scale, fancy robe, more separated from court than depictions of his father

• Men nearest- fur

• Golden fleece on his right

• Clergy on his left

• Bottom-men recieving comissions

• Hall is more lavishly decorated than earlier depictions

William Caxton presenting his book to Margaret of York, frontispiece for Recuyell of the Historyes of Troye, published Bruges, c.1473-74 (San Marino, Huntington Library)

• Presentation scene

• C&M in background with motto (may good come of it)

• First book printed in English

• Story of the trojan war

• Margaret of york proofread it

• William caxton

• Printing press in Bruges

Margaret of York performs the Seven Acts of Mercy (fol. 1r) and Margaret of York with the four Church Fathers (fol. 17r), from Nicolas Finet’s Benois seront les misericordieux (“Blessed are the merciful”), c.1468 (Brussels, Royal Library)

• Tempera and gold leaf on parchment

• C. 1468

• Nicholas Finet=is spiritual advisor/ almoner, commissioned by him

• Made shortly after marriage

• Master of Girard de Roussillon is illuminator

• Initials and coat of arms and inscription

• Seven acts of mercy

• How to be a pious noble woman

• Give poor food, water and clothing, shelter pilgrims, visit imprisoned and sick, bury dead

• Dress: gold w red brocade and ermine, formal female royal dress

• Shows vita activa

• With four church fathers

• W/ st Margaret her patron saint

• Contemplative life

• Gerome

• Gregory

• Augustine

• Aubrose (sp)

• In Brussels church of st gadelen, view from palace

Frontispiece to Nicolas Finet’s Le Dyalogue de la duchesse de Bourgogne a Jhesu Christ

(“The duchess of Burgundy’s dialogue with Jesus Christ”), c.1468 (London, British Library)

• Shows margaret of york as mary magdalen in nolo me tengere

• Symbols of having an heir

• CM loveknot

• Motto on bed

• Margaret requests it, but Finet has control over contents

• Advice for new wives, and contemplative piety

Frontispiece with Margaret of York & Mary of Burgundy, Register of the Guild of St Anne at Ghent, 1477, fol. 2v-3r

• St Anne is mother of Virgin Mary

• Depicts Margaret of York & Mary of Burgundy

• Good pals despite Mary of York being a stepmother very close in age

• Guild of St Anne

• In Ghent, founded after Ghent uprising

• encourages marriage and childbirth

• St. Anne=patron of pregnant women

• Both are members - Margaret’s inability to conceive related to this?

• Mary of burg-

• Blank husband on arms

• Scene below tells of angel telling christs grandfather that his wife will have the virgin

Mary of Burgundy praying at a window and Christ nailed to the Cross, from the Hours of Mary of Burgundy, c.1475 (Vienna, Austrian National Library)

• Made for her before death of father

• Mary of Burgundy praying at a window

• Duchess holding prayerbook of same size

• Letter O starts prayer to virgin

• In her imagination she is before virgin and child at altar

• Crowds peak in form ambulatory

• iris= symbol of Mary

• Red carnations=true love

• Window into churches exist as a concept in this period, but not from this view

• Concentration on text is so intense, that she envisions this

• Christ nailed to the Cross

• Little book has crucifixion

• Outside of window, christ is nailed to cross

• Like a vision of the person at window reading, as was encouraged

• Viewpoint from Cavalry, thus she would be in position of Mary Magdalene, as if she is participating in the vision

Mary of Burgundy on horseback, from Excellente Cronyke van Vlaenderen, c.1481 (Bruges, Public Library, MS 437, fol. 372v.)

• How to symbolize yourself as a female ruler

• Cant be a knight- too masculine

• Huntress instead, still displays power

• Falcon part of this guise

• First iteration of mary as huntress was in seals, this is second

• 17 coats of arms from her territories

• Ermine dress, crown

• Irony- she dies in hunting incident

• Text by Anthonis de Roovere

 Aultre n’aurey (“I will have no other”)

Philip the Good

Tant que je vive (“As long as I live”)

Je lay emprins (“I have dared it”)

Bien en aviengne (“May good come of it”)

Fortune – Infortune – Fortune (“Fortune – Misfortune – Strong one”)