Claus Sluter was a Dutch sculptor, living in the Duchy of Burgundy from about 1380. He was the most important northern European sculptor of his age and is considered a pioneer of the "northern realism" of the Early Netherlandish painting that came into full flower with the work of Jan van Eyck and others in the next generation.
Philip II the Bold was Duke of Burgundy and jure uxoris Count of Flanders, Artois and Burgundy. He was the fourth and youngest son of King John II of France and Bonne of Luxembourg.
Margaret of York, also known by marriage as Margaret of Burgundy, was Duchess of Burgundy as the third wife of Charles the Bold and acted as a protector of the Burgundian State after his death. She was a daughter of Richard, 3rd Duke of York, and Cecily Neville, and the sister of two kings of England, Edward IV and Richard III. She was born at Fotheringhay Castle, Northamptonshire, in the Kingdom of England, and she died at Mechelen in the Low Countries.
Charles I, nicknamed the Bold, was Duke of Burgundy from 1467 to 1477.
Anne of Burgundy, Duchess of Bedford was a daughter of John the Fearless, Duke of Burgundy (1371–1419), and his wife Margaret of Bavaria (1363–1423).
Isabella of Bourbon, Countess of Charolais was the second wife of Charles the Bold, Count of Charolais and future Duke of Burgundy. She was a daughter of Charles I, Duke of Bourbon and Agnes of Burgundy, and the mother of Mary of Burgundy, heiress of Burgundy.
The hennin was a headdress in the shape of a cone, steeple, or truncated cone worn in the Late Middle Ages by European women of the nobility. They were most common in Burgundy and France, but also elsewhere, especially at the English courts, and in Northern Europe, Hungary and Poland. They were little seen in Italy. It is unclear what styles the word hennin described at the time, though it is recorded as being used in French areas in 1428, probably before the conical style appeared. The word does not appear in English until the 19th century. The term is therefore used by some writers on costume for other female head-dresses of the period. This headgear was inspired by the headgear then current in the Mongol court.
Fashion in 15th-century Europe was characterized by a series of extremes and extravagances, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing doublets and hose of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jeweled, and feathered.
Aliénor de Poitiers or Eleanor de Poitiers (1444/1446–1509) was a Burgundian courtier and writer, noted for writing Les Honneurs de la Cour, an account of precedence and ceremony at Burgundian Court, and based on her own experiences of court-life.
Philippe Pot (1428–1493) was a Burgundian nobleman, military leader, and diplomat. He was the seigneur of La Roche and Thorey-sur-Ouche, a Knight of the Golden Fleece, and the Grand Seneschal of Burgundy.
The Chartreuse de Champmol, formally the Chartreuse de la Sainte-Trinité de Champmol, was a Carthusian monastery on the outskirts of Dijon, which is now in France, but in the 15th century was the capital of the Duchy of Burgundy. The monastery was founded in 1383 by Duke Philip the Bold to provide a dynastic burial place for the Valois Dukes of Burgundy, and operated until it was dissolved in 1791, during the French Revolution.
The Royal Monastery of Brou is a religious complex located at Bourg-en-Bresse in the Ain département, central France. Made out of monastic buildings in addition to a church, they were built at the beginning of the 16th century by Margaret of Austria, daughter of the Holy Roman Emperor Maximilian I and Governor of the Habsburg Netherlands. The complex was designed as a dynastic burial place in the tradition of the Burgundian Champmol and Cîteaux Abbey, and the French Saint-Denis. The church is known as the Église Saint-Nicolas-de-Tolentin de Brou in French.
A tomb effigy is a sculpted effigy of a deceased person usually shown lying recumbent on a rectangular slab. Although these funerary and commemorative reliefs were first developed in Ancient Egyptian and Etruscan cultures, they appear most numerously in Western Europe tombs from the later 11th century, in a style that continued in use through the Renaissance and early modern period, and are still sometimes used. They typically represent the deceased in a state of "eternal repose", with hands folded in prayer, lying on a pillow, awaiting resurrection with a dog or lion at their feet. A husband and wife may be depicted lying side by side.
St Michael's Abbey in Antwerp was a Premonstratensian abbey founded in 1124 by Norbert of Xanten and laid waste during the French Revolutionary Wars. In 1807 a semaphore station was installed in the tower of the church. The buildings were demolished in 1831.
Conrad Meit or Conrat Meit was a German-born Late Gothic and Renaissance sculptor, who spent most of his career in the Low Countries.
Pleurants or weepers are anonymous sculpted figures representing mourners, used to decorate elaborate tomb monuments, mostly in the late Middle Ages in Western Europe. Typically they are relatively small, and a group were placed around the sides of a raised tomb monument, perhaps interspersed with armorial decoration, or carrying shields with this. They may be in relief or free-standing. In English usage the term "weepers" is sometimes extended to cover the small figures of the deceased's children often seen kneeling underneath the tomb effigy in Tudor tomb monuments.
The tomb of Philippe Pot is a life-sized funerary monument, now on display in the Louvre, Paris. It was commissioned by the military leader and diplomat Philippe Pot for his burial at the chapel of Saint-Jean-Baptiste in Cîteaux Abbey, Dijon, France. His effigy shows him recumbent on a slab, his hands raised in prayer, and wearing armour and a heraldic tunic. The eight mourners are dressed in black hoods, and act as pallbearers carrying him towards his grave. Pot commissioned the tomb when he was around 52 years old, some 13 years before his death in 1493. The detailed inscriptions written on the sides of the slab emphasise his achievements and social standing.
The Tomb of Philip the Bold is a funerary monument commissioned in 1378 by the Duke of Burgundy Philip the Bold for his burial at the Chartreuse de Champmol, the Carthusian monastery he built on the outskirts of Dijon, in today's France. The construction was overseen by Jean de Marville, who designed the tomb and oversaw the building of the charterhouse. Marville worked on the tomb from 1384, but progressed slowly until his death in 1389. That year Claus Sluter took over design of Champmol, including the tomb. Philip died in 1404 with his funerary monument still incomplete. After Sluter's death c. 1405/06, his nephew Claus de Werve was hired to complete the project, which he finished in 1410.
The Tomb of Mary of Burgundy is a funeral monument completed in 1501 for Mary of Burgundy's grave in the Church of Our Lady, Bruges. She died in March 1482 aged 25, following injuries sustained during a hunting accident a number of weeks earlier.
The tomb of Joan of Brabant was built between 1457 and 1458 by the bronze caster Jacob de Gerines after wooden models by the sculptor Jean Delemer, and placed in the church of the Carmelite monastery in Brussels. Joan of Brabant was a Duchess of Brabant and died in 1406.
