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Cambridge University Press978-1-107-60544-2 - Rethinking the Renaissance: Burgundian Arts Across EuropeMarina BelozerskayaIndexMore information

Académie Royale de Pein-ture et de Sculpture,Paris, 18

Accademia del Disegno,Florence, 7, 12

Accademia di San Luca,Rome, 17, 21

Adolf I, Duke of Cleves, sonsof, 63

Adoration of the Magialtar frontal, Sens cathedral,

116Columba Altarpiece (van der

Weyden), 238, 239Michelangelo, 238

Adoration of the ShepherdsAltarpiece (Ghirlandaio),242

Aelst, Pieter van, 156, 177Agincourt, Seroux d’, 24Agnes of Burgundy, 64, 116Agnès of Cleves, 124Agricola,Alexander, 188, 200Ahasuerus, 116, 137Alberti, Leon Battista, 8, 9,

13, 185, 225Alençon, Dukes of, 65Alexander the Great

Burgundian Dukes’ inter-est in, 69, 71–72, 73, 107

Les faiz du grant Alexandre(Curtius/Lucena),49,70

“Famous Men” friezes,216–18

tapestries immortalizing,53, 54, 54–55,71–72,108,112,149,156,163,197

Alfonso, Prince of Castille,162, 164

Alfonso V of Aragon (Kingof Naples), 61, 65, 120,179–89, 210, 218

Alienor of Poitiers, 92, 94,99, 100, 120

altars and altarpiecesBrabantine altarpieces,

marketing of, 232–38,272

carved wooden altarpieces,costs, 235–36

Columbia Altarpiece (vander Weyden), 238, 239

Dalmau’s Altarpiece of theVirgin with the Councilors,180, 181

delivery, finishing, andinstallation contracts,244

Edinburgh, altarpiece ofCollegiate Church ofHoly Trinity of, 247–49,252–53

fairs and markets, sold at,228, 232, 233, 237

Ghent Altarpiece (vanEyck), 120, 180

gilded, 236goldwork altarpieces, 87hangings for, see altar

hangingsHoly Sacrament Altarpiece

(Molder), 236, PlateXXV

Infancy of Christ altarpiece,Clerey, France, 237

Magdalene retable ofClaudio de Villa, 234,235

marks indicating originsof, 237

Merode Altarpiece(Campin), 227, 228

Miraflores monastery,Burgos, Spain, Juan deFlandes’ Altarpiece of theBaptism at, 162, 163, 165,171

polychromy, effect of,236

Portinari Altarpiece (van derGoes), 242, 244

purchasers of, 236resale, 236–37St. Barbara Altarpiece (van

der Cleyen), 236St. Bertin abbey, 111, 223

• 355

Index

Page or plate numbers for illustrations are in italics.

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altars and altarpieces (cont.)St. John Altarpiece (Mem-

ling), 124, 125Tani triptych, 239Three Coronations tapestry,

Sens Cathedral, 115–16,Plate XII, Plate XIII

Västeras Cathedral,Sweden, 233, 233

Virgin and Child withSaints (Master of St.Lucy Legend), 244, 249

altar hangingsAdoration of the Magi altar

frontal, Sens cathedral,116

Coronation of the Virgin,121

Order of the GoldenFleece, 118, 118–20, 119

Lambert cathedral, Liège,101

St. Francis and Pope SixtusIV, frontal depicting, 262

ambassadors, see diplomacyamber, 96Ammann, Jos (Justus de Alle-

magna), 221–22Anchieta, Juan de, 174, 176André, Bernard, 157Anghiera, Peter Martyr d’,

163Anne of Cleves, 159Anne, sister of Philip the

Good, 146Annunciation

Justus de Allemagna (JosAmmann), 221, PlateXXII

tapestries, 212–13van der Weyden, 221, 222

Anthony, Grand Bastard ofBurgundy, 63, 69, 88,130, 141, 155

Anthony of Luxembourg,Count of Roussy, 142

antiquity, see classicismAntwerp

mark of, 237

Panden, fairs, and marketsof, 227, 228–29, 230,237

Anversa, Paolo d’, 261Apelles, 22, 184Apocalypse, tapestry at St.

Bertin depicting, 111,115

Appiato,Antonio, 199Aragon, see Spainarchitecture

Alfonso V of Aragon, 181bricklaying, 154, 256–57Burgundian projects, 134Edward IV of England’s

projects, 150–51Gorichem, tower at,

140–41importation of Burgun-

dian/Netherlandishartisans and styles,256–57

Muslim elements, Spanishadaptation of, 163

Richmond Palace underHenry VII of England,152–54, 157, 158

Spanish funerary chapels,161–63

Urbino Palace, 210, 211,212

Arduino di Valperga, 56Arienti, Giovanni Sabadino

degli, 48Aristotle, 47, 48, 69, 81, 100,

184, 228armor and weaponry,

125–30, 194chivalry, role of, 125–26fairs and markets, sold at,

227, 232importation of Burgun-

dian/Netherlandishgoods, 259

magnificence, politicalideology of, 125–26

mass-produced, 129Medusa shield of Charles

V (Negroli), 128, 129

ornamentation of, 126–29Philip II of Spain, parade

armor of, 126–28, 127sword of Charles the

Bold, 96, 97Arnold, Duke of Guelders,

113Arnold of Villanova, 98Arras

Congress of, 113, 121ducal tapestries kept at,

106tapestry center, as, 107, 114

arras as term for high-qualitytapestries, 107

ars nova musical composers,188

“Art,” development of mod-ern concept of, 49

art history as discipline, seehistoriographical issues

Arthur, son of Henry VII ofEngland

birth of, 157Katharine of Aragon’s

marriage to, 58, 72, 142,152, 155, 156, 157, 161

Marriage of Prince Arthurtapestry, 156, 157

tutored by Bernard André,158

Arthurian frescoes, PalazzoDucale, Mantua, 105–6

artists and artisans, 5–6,76–77

classical authors on,184–85

court employment andnegative features of,170–71

fairs and markets, value inattending, 230–31

guilds, 226, 227, 228,234–35, 236, 237

immigration/emigrationof, see immigration/emigration of artistsand artisans

mass marketing of Bur-

index

356 •






gundian/Netherlandishartifacts, 226–32

multiplicity of roles of,192–93

representations of, 227,228, 229, Plate XXIII

spies, diplomats, andpoliticians, artists actingas, 192–93

tapestries, 107, 114arts, hierarchy of, 76–84The Ascension (Sittow), 166The Assumption of the Virgin

(Sittow), 166, 168Astemio, Lorenzo, 211Astrat, Juan (Juan de Flan-

des?), 171Atkinson, John, 155Aubert, David, 227, 229Aubry, Jean, 106Aubry, Regnault, 106Augsburg as center of armor

manufacture, 126Augurello, Giovanni Aurelio,

56Aurispa, Giovanni, 74Austen,William, 256Austria, Margaret of, 108,

158, 161, 166, 167–68,169, 170

automata, 138, 143Averbode,Abbey of, 236Averlino,Antonio (Filarete),

194, 215Avignon, papal chapel at, 132Avis pour faire le passage

d’Outre-mer, 52, Plate III

bagpipes (saqueboutes), 130,134

Bailleul, Baudouin de, 110,222

“Baltazar” (Johannes Petit),206

banquets, see pageants andbanquets

Baptism of Christ (Verocchio),238

Barbarigo, Marco, 250, 254

Barbo/Borbo, Giacomo, 188Baroncelli, Maria Maddalena,

242–43, 245Bartolomeo, Michelozzo di,

210bas musical instruments, 130,

173, 174Basilio, Giusto de, 189Bathsheba, 116Baume, Guillaume de la,

247Bavaria

Duke of, 86, 137Isabella of, 85, 86

Bayazid (Sultan), 71Bear Hunt tapestry, 113Beatrice of Naples, 190Beauchamp, Richard, Earl of

Warwick, 63, 255–56,258, 259, 261

Beaufort, Edmund, Earl andDuke of Somerset, 63

Beaufort, Lady Margaret,tomb effigy of, 159, 159

Beaugrant, Madame de, 140Bedford, John, Duke of, 146Belfiore Palace, d’Este family,

216Bellori, Giovan Pietro,

17–19, 20Bembo, Bernardo, 56, 267Bembo, Bonifazio, 197Bembo, Pietro, 56, 267–68Benci, Ginevra de, 263Benedicke, Paul, 239benefices for singers, 206–7Bening, Sanders, 215Bening, Simon, 159Bermejo, Bartolomé, 263Berry, Jean, Duc de, 84, 88,

89, 210Bertram, Johann Baptist, 30Bigarny, Felipe, 171Binchois, Gilles, 134, 192Biondo, Flavio, 8births and baptisms, princely,

92, 100, 112, 120Bisticci,Vespasiano da, 211,

215

Black Book of Edward IV, 151Blanche, Queen of Navarre,

124Boccaccio, Giovanni, 8Boisserée, Sulpiz and Mel-

chior, 30, 31Bona of Savoy, 196–97, 207Bonkil, Edward, 247–49La Bonne Vie tapestry, 113Book of Hours of Queen

Isabella, 176, 177books, see also individual

workschant and polyphony,

174fairs and markets, sold at,

227, 228, 232illuminated manuscripts,

see illuminated manu-scripts

importation of Burgun-dian/Netherlandishgoods and artisans,259–60

libraries, see librariesBorgia, Cesare, 213Borgia, Lucretia, 193Borreman, Jan, 233Bosworth, Henry VII’s

victory at, 157Botticelli, Sandro, 163, 208,

265Bouchot, Henri, 38, 40Bourbon ducal family, 62, 64,

85, 86, 115–16, 135bourgeoisie, see middle

classes, Burgundian artsfor

Bourgogne, Jean de, 197Bouts, Dirk, 255Brabant as tapestry center,

114Brabantine altarpieces, mar-

keting of, 232–38, 272Brandolini, Raffaele, 204–5Brederode, Gijsbrecht van,

99–100Brethren of Common Life,

45

index

• 357






Breviary of Queen Isabella,176, Plate XVI

bricklaying, 154, 256–57Brittany, Dukes of, 65brocade, 121, 122Brocart, Jacot, 106Brown, D.A., 268Bruegel, Pieter, 39Bruges

Academy, 32exposition of 1902, 38–40exposition of 1907, 40–41mark of, 237paintings, depicted in

backgrounds of, 243–44Pand, fairs, and markets at,

227, 229–30, 231, 232Princehof at, 150, 153St. Donatian’s, 191

Brunelleschi, Filippo, 9, 33,210

Bruni, Leonardo, 8, 9, 108Bruselas, Hanequin de, 161,

162, 163Bruselas, Jean de, 260Brussels

Museum, 30tapestry center, as, 114

Bruxelles, Jean de, 189buffets (dressoirs), 92, 99, 106,

138Bugatto, Zanetto, 194–97Burckhardt, Jacob, v, 2, 8, 20,

22, 23, 34–37, 38, 41–42,66

Burgos, 163, 171Burgundian court and dukes,

47–75allies of, 145Burgundian style’s loss of

connection with Bur-gundian dukes, 5, 226,272

chivalry and, 65–67classicism at, 57–58, 67–74contemporary awareness

of importance of, 1–7,45–46

cost of living at, 64–65

crusading ambitions, 57,61–62

culture of, defined, 5demise of, 2Dukes, list of, 49education at, see education

and learning at Burgun-dian court

England, relationshipwith, 59, 61, 63, 114,146–47

foreign visitors and diplo-mats at, 63–64

France, imitation of, 77,94

France, relationship with,53–56, 58–60, 61, 62, 65

France, subject to, 58–59genealogical identification

with ancient heroes, 59,70, 73, 107, 109

German Empire, relation-ship with, 59, 62, 65, 168

Huizinga’s analysis of,42–43

international politics, rolein, 58–65

libraries of, 68–69, 70, 74literature, Burgundian

cultivation of, 134magnificence, political ide-

ology of, see magnifi-cence, political ideologyof

painting at, 49, 75, 78, 184royal ambitions of, 59, 94Savoy and Milan, alliance

with, 53Sforza family, relationship

with, 194Spain, influence on,

160–61stagecraft of, 67–74territorial assemblage of,

58–61Tetzel’s account of trea-

sures of, 50–52“Burgundian mode,” 5, 226,

272

Burgundian/Netherlan-dish/Northern art

academic tradition and,17

Alfonso V of Aragon,influence on, 179–89

Belgian achievement,viewed as, 38–39

Brabantine altarpieces,232–38

Burckhardt’s treatment of,36–37

Edward IV of England,influence on, 152–60

eighteenth-century viewson, 23–24

fairs and markets, sold at,226–32

Ferdinand and Isabella,influence on, 160–78

Flemish and Netherland-ish schools, differentia-tion of, 32

German and Netherland-ish schools, differentia-tion of, 30–31

Hegel on, 29Henry VII of England,

influence on, 152–60Huizinga on, 41–44imitation by foreign artists

and artisans, 262–70immigration/emigration

of artists and artisans, seeimmigration/emigrationof artists and artisans

importance, realization of,1–7, 45–46

international influence of,146, 218–20, 260–61,262–70, 270–73

de Laborde’s study of,31–32

marketing of, 226–32Medici, influence on,

201–08middle ages, rehabilitation

of, 24–26middle classes, see middle

index

358 •






classes, Burgundian artsfor

Montefeltro, Federigo da,Duke of Urbino, influ-ence on, 209–18

musicians of BurgundianNetherlands, 132, 188,189–91

nationalism and, 40nineteenth/early twenti-

eth century interest in,29–32, 38–40, 41–44

painting, esteem for,185–86realism of, 38, 41, 263Sforza, influence on,

194–200van Mander’s writings on,

15–17burial monuments, 134–35,

159, 161–63, 221, 222,255–56, 260

Burke, Peter, 45, 219Busnois,Antoine, 130, 134Byzantine Empire, 57, 61, 68

Çabater, Pere, 188Caesar, Julius 56, 69, 70, 107,

108, 148, 158Caesar tapestries, 108–109,

109, 247Camogli, Prospero da, 76,

110, 122, 195Campbell, Lorne, 171, 247,

248, 250Campin, Robert, 227Capilla Mayor, 162, 165, Plate

XVCapilla Real, Granada, 163Caravaggio, 18Caravajala, Isabel de, 171Carda, Ottaviano Ubaldini

della, 209, 250Careggi, Medici villa at, 201,

238Carracci,Annibale, 18cassoni, 108Castell, Giles van, 150, 255Castelnuovo, arch at, 181,

182, 189, 210

Castiglione, Baldesar, 69, 209Castille, see SpainCavalcaselle, Giovanni Bat-

tista, 32Caxton,William, 71, 78,

147–48, 149Cennini, Cennino, 185Cent nouvelles nouvelles, 68chambers musicians, 130Chambre d’Utrecht weavings,

120Champmol, Chartreuse de,

Dijon, 134chandeliers, 138, 182chapel musicians, see musicCharlemagne, 59, 112Charlemagne, Les chroniques et

conquêtes de, 227, 229Charles, Duke of Orléans, 63Charles II of Bourbon, Arch-

bishop of Lyons,115–16Charles, Prince of Navarre,

124Charles the Bold

death of, 7education of, 68L’Etat de la maison du duc

Charles de Bourgogne,151

Ferrante I ofNaples/Galeazzo MariaSforza conflict overmusician, involvementin, 191

international politics and,59–65

learning of, 69magnificence, political

ideology of, 49–50,52–53, 54–58, 64–65, 84

marriage to Margaret ofYork, see Margaret ofYork’s marriage toCharles the Bold

musical interests of,187–88

Order of the GoldenFleece and, 65–66

portrait of, 51

Charles the Noble ofNavarre, 260

Charles V Hapsburg, 7, 57,58, 65, 72, 106, 128, 226

Charles VI of France, 77, 85,86, 88, 94

Charles VII of France, 58Charles VIII of France, 72,

116Chastel,Thierry du, 120Chastellain, Georges, 9, 10,

43, 55, 68, 77, 78, 82, 86,100, 122, 157

Chateaubriand, François-René, 25

châteauxSaumur, 210Valenciennes, 141

Chesne, Jean du, 70Chevrot, Jean, Bishop of

Tournai, 123chivalry, 1, 4, 24, 65–67, 140,

219armor and weaponry, role

of, 125–26Burgundian court, impor-

tance at, 65–67Chambre d’Utrecht embroi-

deries, 120classicism, based on, 67–68“Famous Men” friezes,

216–18historiographical percep-

tions of, 24, 36, 41, 42Italian participation in

revival of, 66–67nobility, books on nature

of, 158Order of the Ermine,

209Order of the Garter, 209Order of the Golden

Fleece, see Order of theGolden Fleece

tapestries, 112–13, 114tournaments, see tourna-

mentsChrist as the Man of Sorrows

(Memling), 264, 265

index

• 359






Christian II of Denmark,portrait of, 169, 170

Christianity, see religionChristus, Petrus, 32, 201, 250chronicles, 10, 50, 58, 69, 81,

137, 157–58, 269Chronique de Lucerne

(Schilling), 88, 88Les chroniques et conquêtes de

Charlemagne, 227, 229Chrysolaras, Manuel, 108Cicero, 13, 21, 48, 69, 70, 74,

81, 158Cimabue, 8Claesens,Antonio, 162classicism

academic tradition, domi-nance of, 17–19

Alfonso V of Aragon’s useof, 181

Burckhardt’s views on, 37Burgundian court, at,

57–58, 67–74eighteenth-century histor-

ical writing, 20–24Feast of the Pheasant,

57–58genealogical identification


Margaret of York’s marriageto Charles the Bold,71,109

nineteenth-/early twentieth-century views on, 37, 38

Renaissance associatedwith, 1, 8–9, 16

stagecraft and, 69–75tapestries, 107–10, 114

ClevesAdolf I, Duke of Cleves,

sons of, 63Agnès of Cleves, 124Anne of Cleves, 159Dukes of, 63, 69John, Duke of Cleves, 63

Cleyen, Aerd van der, 236cloth, see textilesclothing, 121–24

Alfonso V of Aragon andNaples, 182

bejewelled hat of Charlesthe Bold, 96, 97

black, fashion for, 64,121–22

embroidered, 116, 121fairs and markets, sold at,

232gemstones, embroidered

with, 118, 123, 142magnificence, political

ideology of, 49, 52, 53,64–65, 88–89, 121–24,134

Margaret of York’s marriageto Charles the Bold,136,142

middle class aspirationsand, 246–47

musicians, for, 130Netherlandish/Burgun-

dian style, imitation of,243, 246–47, 250

Order of the GoldenFleece, 66, 120, 198

religious themes, use indepictions of, 87, 118,123–24

social relations, 121,123–24

sumptuary laws, 121,246

vestments, see vestmentsClovis King of France, 112,

137coins and medals

Alfonso V of Aragon andNaples, medals com-missioned by, 181, 183

Italian value placed on,185

Colbert, Jean-Baptiste, 19Cologne, 30Colonia, Hans and Simon

de, 162Columba Altarpiece (van der

Weyden), 238, 239Comminges, Count of, 65

Communion of Apostles (Joosvan Ghent), 215–26, 217

Commynes, Philippe de, 64Compère, Loyset, 188, 200condottiere, Federigo da

Montefeltro as, 209,211, 216

conspicuous consumption,see magnificence, politi-cal ideology of

Constance, League of, 56Constantinople, fall of, 57copper effigies, tomb of

Richard Beauchamp,Earl of Warwick,255–56, 258, 259, 261

coral, 96Cordier, Johannes, 191, 200,

207Cornelius, Bastard of Bur-

gundy, 68Corneto family of armorers,

128–29Cornish,William, 155Corvinus, Matthias, 72cosmopolitanism of fifteenth-

century Europe,1,2,5,6,45,219,271–73

Burgundian territoriesand, 60–61

economic role of Bur-gundy in Europe, 5–6,76–77, 114

international influence ofBurgundian arts, 146,218–20, 260–61,262–70, 270–73

international politics, roleof Burgundian court in,1, 2, 5, 6, 45

luxury goods market,76–77

mid-level artifacts, inter-national disseminationof, see middle classes,Burgundian arts for

weddings, role of, 144–45Cossa, Francesco del, 215cost issues, see also economics

index

360 •






Burgundian court, cost ofliving at, 64–65

carved wooden Braban-tine altarpieces, 235–36

gemstones, cost of workin, 223, 225

goldwork, cost of work in,223

metalwork, cost of workin, 223

middle classes of fifteenthcentury, salaries of,222–23

Spanish courtiers, salariesof, 171

tapestries, 222, 225Coudenberg Palace, 123Council for Union between

Greek and LatinChurches, 204

Courajod, Louis, 38, 40, 41court employment, negative

features of, 170–71The Courtier (Castiglione),

69, 209courtly love, Medici tourna-

ments themed on,207–8

Coustain, Pierre, 143craftspeople, see artisansCréqui, Jean de, 69Crosby Hall, 256Crowe, Joseph, 32Croxetis, Jean de, 197Croy, Antoine de, 130Croys of Chimay, 147Crucifix with the Virgin and St.

John, St. George’sChapel,Windsor, 151

Crucifixion triptych (van derWeyden), 209, 210

crumhorns, 134crusading ambitions of Bur-

gundian Dukes, 57,61–62, 70–71, 110, 194

Cruz, Diego de la, 162, 165cups and goblets, 92, 94, 98,

139, 143, 201–202, PlateIX

Cyprus, Cardinal of, 113Cyriacus of Ancona, 271–72Cyropaedia (Xenophon), 70,

148

D’Accone, F. A., 203Dalmau, Luis, 180, 263dancing, 130, 131, 138, 141Dante (Alighieri), 242Danzig,Tani altarpiece seized

for, 239dark ages, concept of, 8Dary, Robert, 110Dasse, Johann, 238David, Gerard, 32, 39David, son of Philip the

Good, Bishop ofThérouanne, 99–100

De pictura, Della Pittura(Alberti), 9, 13

De re aedificatoria (Alberti), 13De statua (Alberti), 13De triumphis religionis (Arienti),

48De viris illustribus (Facius),

186Decameron (Boccaccio), 8“decorative” or “minor” arts,

2, 4–5, 46, 74–75, 76–84armor and weaponry, see

armor and weaponryBruges exposition, segre-

gation of art media at,39

clothing, see clothingembroideries, 106, 116–21,

232, 261gemstones, see gemstonesgoldwork, see goldworkjewelry, 84–85, 88, 95–96,

96, 124, 255magnificence, role in

political ideology of,76–84

metalwork, see metalworkmusic, 5, 6, 45, 67, 130–34nineteenth century revival

of interest in, 39tapestries, see tapestries

decorum and ornateness, 81Delft, John Van (John Vandelf),

154Della Famiglia (Alberti), 225Denmark, portrait of Christ-

ian II of, 169, 170Descamps, Jean-Baptiste,

23–24Deschamps, Eustace, 42Desprez, Josquin, 132, 188,

196Didier, R., 256Dijon

architectural projects ofBurgundian Dukes, 134

Champmol, Chartreusede, 134

ducal tapestries kept at,106

entry of Charles the Boldinto, 52

Ste. Chapelle, 134Dinant, Charles the Bold’s

campaigns against, 55Dionysius of Halicarnassus,

21diplomacy

artists, political missionsof, 192–93

Burgundy, diplomats sentto, 63–64, 147

international interchange,fostering, 144–45

musicians as element of,189–93

Order of the GoldenFleece as instrument of,65

Spain’s methodology of,160–61

viewing platforms erectedfor diplomats at greatcelebrations, 136

divertissements, see entremetsor divertissements

Doche working in England,151, 256

Dolce, Lodovico, 15Dôle, university at, 68

index

• 361






Domenichino, 18Donatello, 9, 44donations to churches by

middle-class patrons,249–50

Doni Portraits (Raphael), 269Donne, Sir John and Lady,

244–47, 249Donohue, Alice, 21, 22Doria,Andrea, 72Dortenche, Filipotto de, 206dosseret, 99drageoirs, 84, 85, 90–92, 91dressoirs (buffets), 92, 99, 106,

138drums, 173du Pol,Alexandre, 128Duc, Louis le, 171Dufay, Guillaume, 192Dürer,Albrecht, 12, 25, 166,

231, 263Duwes, Giles, 158dwarfs, 140Dynter, Edmond de, 68

Eastlake, Charles, 31economics

art acquisition as economicactivity and stimulus,224

Burgundy’s economic rolein Europe, 5–6, 76–77,114, 160

costs of specific items, seecost issues

exportation of Burgun-dian/Netherlandishgoods, styles, and skillsabroad, 255–70

fairs and markets, see fairsand markets

middle classes, see middleclasses, Burgundian artsfor

Edinburgh, altarpiece ofCollegiate Church ofHoly Trinity of,247–49, 252–53

education and learning

Burgundian court, seeeducation and learningat Burgundian court

English court, 158–59“Famous Men” friezes,

216–18Montefeltro’s self-portrayal

as man of, 211, 214musical education and

scholarship at Spanishcourt, 174, 176

education and learning atBurgundian court

classicism of, 67–69cultivation of learning, 134foreign noble youths,

63–64libraries, see librariesuniversity education pro-

moted by Dukes, 68–69Edward IV of England,

147–52architecture, 150–51Donne, Sir John, 245–46,

247exile in Flanders, 63, 147Gruuthuse and, 63, 147,

150library of, 147–59Margaret of York, sister

of, see Margaret ofYork’s marriage toCharles the Bold

Medici agent’s loan todefray cost of Margaretof York’s marriage, 239

Order of the Garterreceived by Federigo daMontefeltro from, 209

Order of the GoldenFleece, 65

St. George’s Chapel,Windsor, 255

tapestries and, 72, 107, 108,149–50, 187, 197

Egas, Enrique de, 163Eleanore, daughter of Philip

the Fair and Joanna theMad, 112

Elizabeth I, Queen of Eng-land, 159

Elizabeth of York, Henry VIIof England’s marriageto, 157

Ellul, J., 108Eltham, building projects at,

150, 157émail en rond-bosse, 86embellishment, importance

of, 78–84, see also “dec-orative” or “minor”arts

embroideries, 106, 116–21,232, 261

emigration/immigration ofartisans, see immigra-tion/emigration ofartisans

enameled goldwork, 86Enghien, Pierre d’, 156England, 146–60, see also spe-

cific rulers and individ-ual places

architecture underEdward IV and HenryVII, 150–51, 156–57

Burgundy, relationshipwith, 59, 61, 63, 114,146–47

chronicles, 157–58Field of Cloth of Gold,

156, 157glass and glaziers, 154,

156–57immigration of Nether-

landish/Burgundianartists and artisans to,147, 150, 154, 156–57,158–59, 255–60

importation of Netherlan-dish/Burgundian arti-facts to, 255–60

libraries of Edward IV andHenry VII, 147–49,158–59

magnificence, politicalideology of, 151–52,155, 156–58, 159–60

index

362 •






Margaret of York, see Mar-garet of York’s marriageto Charles the Bold

paintings from Nether-lands acquired by mid-dle classes of, 244–47

Richmond Palace underHenry VII, 152–54, 157,158

tapestries of Edward IV,72, 107, 108, 149–50,187, 197

English, John, 155Enlightenment historiogra-

phy, 19–24Enseignement de la vrai noblesse,

158Enseignement Paternels (Lan-

noy), 67Entombment (Michelangelo),

238, 241entremets or divertissements

Katharine of Aragon’smarriage to PrinceArthur, son of HenryVII, 155

Margaret of York’s mar-riage to Charles theBold,136,139–40

Spanish court, 172, 174tableaux vivants, 69–70,

71Ermine, Order of the, 209Escalona Castle,Toledo, 161escuyers, 98espices, service of, 90, 92espreuves, 98, Plate XEste family, 218, 220

Alfonso, 193Belfiore Palace, 216Borso, 216, 218Ercole I, 48, 188, 193, 196,

220Ferrante I of Naples’ rela-

tionship with, 189Francesco, 63, 193, 218Ippolito, 193Isabella, 78, 193Leonello, 63, 216, 218

Medici clients in purchaseof tapestries, 201

tapestries, 197, 201Esther, story of, 71, 113, 116Étempes, Jean comte d’, 69Ethics (Aristotle), Oresme

translation, 228, PlateXXIV

Eton College, 255, 256, 257Eugenius IV (Pope), 113eulogies of painters, 184–86Ewing, D., 229Exeter, Henry Holland,

Duke of, 63exportation of Burgun-

dian/Netherlandishgoods and skills abroad,255–70

Exposition de la Toison d’or,Bruges, 1907, 40–41

Expositions, 38–41Eyck, Hubert van, 25, 29,

30–31, 32, 36, 41, 43Eyck, Jan van

Alfonso V of Aragon, 180,182–84

armor, depiction of, 126art history, place in, 16–17,

25, 29, 30–31, 32, 36, 39,40, 41, 43

Bruges exposition of1902, 39, 40

clientele of, 238Dalmau, Luis, 180education and learning at

Burgundian court and,68

English portrait in mannerof, 250

esteem enjoyed by, 185eulogy by Giovanni Santi,

269Facius on, 183, 186, 209,

250Ghent Altarpiece, 120, 180Italian rulers’ appreciation

of, 184Lomellini triptych (van

Eyck), 183

Mappamundi, 183–84Medici, paintings owned

by, 201political missions of, 192Pontano on, 185–86St. George, 184St. Jerome in his Study, 201salary of, 128Sforza, Ludovico, recom-

mended by Filarete to,194

Virgin with Canon van derPaele, 116, 117, 126

Fabriano, Gentile da, 108,186

Facius, Bartholomaeus(Bartholomeo Fazio),108, 182, 183, 186, 187,209, 250

fairs and marketsaltarpieces sold at, 228,

232, 233, 237artists and artisans attend-

ing, 230–31dissemination of Burgun-

dian/Netherlandishartifacts via, 226–32

duty-free fairs of Castile,178

Medici purchase ofNetherlandish luxurygoods at, 201

Panden, 227–30, 233representations of, 227,

228, 229, Plate XXIII,Plate XXIV

Les faiz du grant Alexandre(Quintus Curtius,transl. Lucena), 49, 70,72, 100, 148, Plate II

“Famous Men” friezes,216–18, 219, Plates XIX-XXI

Famous Men (Joos vanGhent), 216, 219, PlateXIX, Plate XXI

Feast of the Pheasant, 57–58,70, 88, 110, 134, 136, 138

index

• 363






Federico, Prince of Taranto,64

Felicis, Johannes, 197Fenlon, Iain, 45Feragut, Bernard, 204Ferdinand II of Aragon, 65,

160–78, 189Ferguson,W. K., 7, 8, 20, 43Fernández de Oviedo,

Gonçalo, 174Ferrante I King of Naples,

189–91, 218, 220d’Este family, relationship

with, 189Federico, Prince of

Taranto, son of, 64Medici family and, 204,

205, 206Montelfeltro, Federigo da,

209music, 188, 189–91, 204,

205, 206Order of the Golden

Fleece, 63, 65, 190painting, 189, 215Sforza family, relationship

with, 189, 191tapestries, 189Trojan War tapestries, 72

Ferrara, Dukes of, see Estefamily

Field of Cloth of Gold, 156,157

Fierens-Gevaert, Hippolyte,38, 40, 41

Fiesole, Medici villa at, 201fifteenth century

Burckhardt’s championingof, 37

Huizinga on, 41–44Michelet’s view of, 33Renaissance, used in place

of, 3Vasari’s characterization of,

14Filarete (Antonio Averlino),

194, 215Filelfo, Francesco, 56

Fillastre, Guillaume de,65–66, 151, 222–23

Firenze, Niccolo da, 216Flanders

Louis of Male, Count of,134–35

Margaret of, 95tapestry center, as, 114

Flandes, Juan de, 163, 166,171–72

Flandre,Arnau de, 260Flaxman, John, 25Flemish art

differentiation of Flemishand Netherlandishschools, 32

The Early Flemish Painters(Crowe and Caval-caselle), 32

French/Flemish connec-tion, 38, 40

Les Primitifs flamands etl’art ancien, Brugesexposition, 1902, 38–40

Florenceimportation of Burgun-

dian/Netherlandishgoods and artisans,205–6, 261–62

Medici family of, seeMedici family

Milan and Venice, tourna-ment celebratingalliance with, 208

Strozzi family, 250Florentine/Tuscan phenom-

enon, Renaissancetreated as, 1, 2

Huizinga’s views, 42van Mander’s challenge to,

17Vasari’s Lives of the Artists

and, 1, 2, 8–9, 11–13Voltaire, 20

Floris, Franz, 39Flower, Bernard, 157flutes, 130, 134, 174, 203

Fonseca, Bishop JuanRodrigues de, 171–72

Fonseca family, 161Fontaine (musician), 134, 192Foppa,Vicenzo, 197Fortescue, Sir John, 151–52fossilized sharks’ teeth (“ser-

pent tongues”), 96–98,Plate X

fountains, 136, 138Fouquet, Jan (“Grachetto”),

194, 263Fra Angelico, 216, 238, 241France, see also individual

cities; specific rulersBurgundian imitation of,

77, 94Burgundian/Netherlan-

dish arts, influence of,263

Burgundian/Netherlan-dish arts, rise of domi-nance over, 226

Burgundian relationshipwith, 53–56, 58–60, 61,62, 65

Burgundian subjection to,58–59

Flemish/French connec-tion, 38, 40

magnificence, origins ofpolitical ideology of, 77

medieval art and national-ism, 25–26

musicians from Nether-lands/Burgundy,employment of, 132

paintings ofBurgundy/Netherlands,nineteenth-centuryinterest in, 31

Les Primitifs français, Parisexposition, 1904, 38, 40

Spain, relationship with,160–61

Francesca, Piero della,263–64

Franch, Huguet lo, 188

index

364 •






Francis I of France, 7, 33, 156Fregoso,Agostino, 209frescoes compared to tapes-

tries, 105–6Fresenius, Karl, 35Friedländer, Max J., 3, 40Friedrich III (Emperor), 57,

59, 62, 72, 89, 108, 123,170

Froissart, Jean, 10, 158funerary monuments,

134–35, 159, 161–63,221, 222, 255–56, 260

furniture sold at fairs andmarkets, 228, 232

Gaddo, Gaddi, 10Galassi, M. C., 264gambling on tennis, 154Garter, Order of the, 209Gavere, battle of, 103Gemäldegalerie, Berlin,

30–31, 40gemstones

armor and weaponry,decorating, 126

clothing embroideredwith, 118, 123, 142

coronet of Margaret ofYork, 142, Plate XIV

cost of work in, 223, 225embroidery, used in, 118,

121fairs and markets, sold at,

232goldwork, as part of,

85–86, 88–89, 90, 139Italian value placed on, 185Medici family, 201–2properties attributed to,

83–84rosaries and prayer beads,

232, 237–38vessels carved from, 93–94,

99, 124genealogical identification


Gerard of Holland, 189Germain, Cardinal Jean, 59German Empire, see also

specific rulersarmor production in, 128Burgundian/Netherlan-


Burgundy, relationshipwith, 59, 62, 65, 168

goldwork inherited byHapsburg heirs of Bur-gundy, 95

Ghent Altarpiece (van Eyck),120, 180

Ghent, campaigns against,69–70, 72, 112, 145

Ghent, Joos van (Giusto daGuanto, Joos vanWassenhove), 215–19,264

Ghiberti, Lorenzo, 8, 9Ghirlandaio, Domenico, 242,

263Ghizeghem, Hayne van,

134Gibbon,William, 20Gideon tapestries, 79, 100,

110–12, 114, 222gift-giving, 64, 100, 113,

124–25gilding, see goldworkGilio, Livino di, 261Ginevra de Benci (Leonardo

da Vinci), 263Giotto, 8, 23, 26, 185Giovanni, Coppino di, 261Gistel, Jan van, 222Giusto, Giovanni di, 189glass and glaziers, 94, 154,

156–57, 250, 255, 256,260

goblets and cups, 92, 94, 99,139, 143, 201–2, Plate IX

Goes,Hugo van der,215,242,247,249,255

Goethe, 23Golden Fleece, Order of the,

see Order of the GoldenFleece

Golden tree, tournament of(Pas de l’Arbre d’or), 135,140, 141–42, 155

Goldene Rössl, 85, 86, 88,Plate VII

Goldstein, Carl, 19Goldthwaite, Richard, 224goldwork, 84–103, see also

specific types andobjects

Agnès of Cleves’ marriageto Charles Prince ofNavarre, gifts of Philipthe Good at, 124

altarpieces, gilded, 236armor and weaponry,

126borrowing, 88Burgundian collection,

88–89cloth and thread, 106, 107,

117–21, 121–24cost of work in, 223dismemberment and

melting down of,84–85, 86–87

fairs and markets, sold at,228, 230, 232

gemstones as part of,85–86, 88–89, 90

horse ornaments, 84, 120importation of Netherlan-

dish/Burgundian artists,255–56


Margaret of York’s mar-riage to Charles theBold, 144

Medici family, 201–2political tool, as, 84,

99–100, 103practicality of, 86religious or Church

pieces, 84–85, 87, 89,101–3

index

• 365






goldwork (cont.)rosaries and prayer beads,

232, 237–38tapestries, use in, 107

Goltzius, Hendrick, 16Gombrich, Ernst, 36Gonçalvez, Nuno, 263Gonzaga family

Ludovico I, 187, 193Rodolfo, 63–64, 65–66,

193tapestries, 197

Gorichem, tower at, 140–41Gossaert, Jan, 39“Gothic” art, 24, 26, 33, 38,

219Gozzoli, Benozzo, 83, 105,

215Granada, 163Grand Bastard of Burgundy

(Anthony), 63, 69, 88,130, 141, 155

Les Grands chroniques de France,9

Grandson, Battle of, 112, 126Greco-Roman classicism, see

classicismGreek presence in Burgundy,

68Greenberg, Clement, 80Grenier, Guillaume, 197Grenier, Jean, 155Grenier, Melchior, 197Grenier, Pasquier, 71, 108,

109, 113, 114, 149, 150,155, 197

Grimaldi, Lionello andManuele Oliva, 221–22

Gruuthuse, Louis de, 63, 147,150, 247

Grymeston, Edward, 250,254

Guadalupe, 163, 260Guanto, Giusto da (Joos van

Ghent, Joos van Wassen-hove),215–19,264

Guas, Juan, 162–63Guelders

Arnold, Duke of, 113

Dukes of, 63Mary of, 100, 248

Guildhall, London, 256guilds, 226, 227, 228,

234–35, 236, 237,257–58

hanaps, 99Haneron,Antoine, 68Hannibal, 69, 72, 113Hanseatic League, 59, 239Hapsburgs, see also German

empireCharles V, 7, 57, 58, 65, 72,

106, 128, 226goldwork inherited by

Hapsburg heirs of Bur-gundy, 95

Mary of Burgundy’s mar-riage to Maximilian IHapsburg, 57, 58, 59, 64,95, 96

Maximilian I, 57, 58, 59,64, 73, 95, 96, 161, 167,177, 191

harps, 130, 203Haskell, Francis, 33Hastings, Elizabeth, 246Hastings, Lord, 247haut musical instruments,

130, 173haute-lice tapestries, 138Haynin, Jehan de, Lord of

Louvignies, 137Haze, Jean de, 112Hegel, 2, 22, 23, 27–29, 34,

35–36Heinsberg, Jean de, Bishop

of Liège, 113Helmschmid, Desiderius,

126, 128Hennekart, Jehan, 143Henry IV of Portugal, 162Henry V of England, 146Henry VI of England, 146,

250, 255Henry VII of England, 58,

72, 107, 151, 152–60,153, 166, 167, 177, 220

Henry VIII of England, 7,156, 157, 158, 159, 161,225

Hercules, 70, 73, 107–8,109–10, 140, 148,157–58, 163

Herder, Johann Gottfried, 25heroes, depictions of series

of, 216–18Hersella, Levinus, 197Hesdin, Jason painting cycle

at castle of, 71, 78, 82Hexter, J. H., 68hierarchy of arts, 76–84Histoire de Jason (Lefèvre), 71,

148Histoire de la Toison d’or

(Fillastre), 65–66, 151,Plate IV

Histoire of Renaud de Mon-tauban (Liédet), 130, 131

historiographical issues, 2–3,4, 8–46

academic tradition, classi-cal/Italian dominanceof, 17–19

“Art,” development ofmodern concept of, 49

biases of art history as dis-cipline, 4, 13, 17–19

Burgundian style’s loss ofconnection with Bur-gundian dukes, 5, 226,272

chivalry, perceptions of,24, 36, 41, 42

classicism, see classicismeighteenth-century sys-

tematization of history,19–24

expectations of classicizingborrowing in Burgun-dian/Netherlandisharts, 271

“great man theory,” 20hierarchy of arts, 76–84idea of Renaissance, ori-

gins of, 8–10Italian dominance, see Italy

index

366 •






and Italian history,dominance of

medieval culture/middleages, see medieval cul-ture/middle ages

nationalism, 25–26, 28, 29,30, 32, 37–38, 40

nineteenth-/early twentieth-century conceptions ofRenaissance, 32–44

painting, focus on, 184–86,223–24

periodization, see periodi-zation

regional schools, problemswith, 29, 273

Renaissance, concept of,see Renaissance

taste, concept of, 80universalist art histories,

26–29Vasari’s influence, 8–17visual evidence, depen-

dence on, 33–34, 41Holbein, Hans, 25Holland, Henry, Duke of

Exeter, 63Holy Roman Empire, see

German Empire; Haps-burgs

Hone, Gaylon, 157Horenbout, Gerard, 158Horenbout, Lucas, 158Horenbout, Susanna, 158–59Horn, Georg, 24horse ornaments, 84, 120,

142Hospederìa Real, Guadalupe,

163Hôtel d’Ablainsevelle, Arras,

fireproof hall at, 106Hôtel d’Artois, Paris, 53, 79,

105, 106, 108household ordinances of

Burgundian court andEdward IV of England,151, 158, 188

Hughes,Anthony, 3Hugonet, Guillaume, 150

Huizinga, Johan, 2, 8, 32, 34,40–44, 45, 66

Hulin de Loo, Georges, 40humanism, 4, 8–9, 24, 56,

66–67, 68, 74, 108, 158,163, 182, 185, 194, 211

Humbert II, 99Hungary, Matthias Corvinus

of, 72Hunt of the Duke of Burgundy

tapestry, 201Huntsman Salt, 93, 95Hupiss merchant house,

Ravensburg, 221

Illescas, Gonzalo de, Bishopof Córdova, 260

illuminated manuscriptsartists and artisans, repre-

sentations of, 227, 229,Plate XXIV

Burgundian cultivation of,134

English use of Burgundianmasters, 158–59, 259–60


importation of Burgun-dian/Netherlandishgoods, 259–60

Spain, 176, 179immigration/emigration of

artists and artisans, 5–6,147, 150, 255–70

Alfonso V of Aragon,artists imported by, 180,189

Burgundian/Netherlandsregion, artists and arti-sans studying in,179–80, 189, 215,262–70

Burgundians/Netherlan-ders working abroad,255–62

EnglandBurgundians/Nether-landers in, 147, 150, 154,156–57, 158–59, 255–60

FlorenceBurgundians/Nether-landers in, 205–6,261–62

SpainBurgundians/Nether-landers in, 161, 163–72,177–78, 180

importation of Burgun-dian/Netherlandishgoods and skills abroad,255–70

Infancy of Christ altarpiece,Clerey, France, 237

Innocent VIII (Pope), 189internationalism of fifteenth-

century Europe, see cos-mopolitanism offifteenth-centuryEurope

Isaac, Heinrich, 132, 188, 196,206

Isabel, daughter of Ferdinandand Isabella of Spain,161

Isabella of Bavaria, 85, 86Isabella of Bourbon, 85, 86,

135Isabella of Castille, 72, 108,

160–78, 173, 260Isabella of Portugal, 65, 69,

87, 92, 94, 104, 120, 143,144, 162, Plate XV

Isenbrant,Adraien, 32Islamic elements, Spanish

adaptation of, 163Italy, see also specific families

and city-statesarmorers of, 128–29Burgundian/Netherlan-

dish arts, influence of,263–70

Burgundy, relationshipbetween Italian statesand, 60, 61, 62

historiographical domi-nance of, see Italy andItalian history, domi-nance of

index

• 367






luxury fabrics, productionof, 122

Naples, see Naples, King-dom of

Netherlandish musicians,employment of, 132,188, 189–91, 197–200

Netherlandish painting,influence of, 263–70

painters and painting,praise and patronage of,184–86, 223–24

Italy and Italian history,dominance of

academic tradition, 17–19Burckhardt and, 35–36Burgundian/Netherlan-

dish arts, rise of domi-nance over, 226

chivalric ethos of Burgun-dians, Italian humanismcontrasted with, 66–67

classicism of Burgundianscompared to, 74–75

eighteenth-century histor-ical writing, 20–24

Florence/Tuscany, seeFlorentine/Tuscan phe-nomenon, Renaissancetreated as

Hegel’s theories, 29Huizinga on, 41, 43Hungary, Matthias Corvi-

nus of, 72middle ages, despite reha-

bilitation of, 26nineteenth-/early twenti-

eth-century views onrole of, 35–6, 37, 38, 39,40, 41, 43–44

Renaissance identifiedwith, 1, 2–3, 4, 8, 11, 20

universalist art historiesand, 26–27, 29

ivory, 96, 99

James II, King of Scots, 100James III, King of Scots,

248–49

James IV, King of Scots, 156,158, 249

Jason, story of, 57–58, 70–71,73, 77, 82, 110

Jérôme de Bruxelles, 260Jerusalem Siege tapestries, 156jewelry, 84–85, 88, 95–96, 96,

124, 255jewels, see gemstonesJoan II of Aragon, 65Joanna, Duchess of Brabant,

135Joanna of Aragon’s marriage

to Philip the Fair, 155John, Duke of Bedford, 146John the Fearless, 49, 71, 88,

112, 123, 126, 134joiners and joinery, 154, 228Joseph and his brothers tapestry

cycle, Palazzo Vecchio,Venice, 106

Josephus, 69, 148Jouffroy, Jean, Cardinal of

Arras, 113Journey of the Magi (Gozzoli),

82–83, 105–6jousts, see tournamentsjoyaux, 84, 85, 86, 92, 94Joye, Gilles, 192Joys of the Virgin tapestry, 113Juan II of Castille, 161, 162,

Plate XVJuan, son of Ferdinand and

Isabella of Spain, 161,174, 176

Juana de Loca (Joanna theMad), 112, 161, 167, 175,176

Judgment tapestries, 150Justus de Allemagna (Jos

Ammann), 221–22Juvenal, 69

Katharine of AragonArthur, son of Henry VII,

marriage to, 58, 72, 142,152, 155, 156, 157, 161

Henry VIII, marriage to,161


Sittow’s portraits, 166, 167,170

Katwijk, Diderik van, 166Kervyn de Lettenhove,

Henri, 39King’s College, Cambridge,

255Kugler, Franz, 26–27

Laborde, L. E. S. J. de, 31–32,38

Lady and the Unicorn tapes-tries, 115

Lalaing, Simon de, 130Lambespring, Bartholomew,

256Lambeth Palace, 256Lamentation (Fra Angelico),

238, 241Lamentation (van der Weyden),

238, 240, 271–72Lamentation over Christ (Mas-

ter of St. Lucy Legend),244, 247

Lamo,Alessandro, 15languiers, 98, Plate XLannoy, Ghillebert de, 67, 68,

148Last Judgment Altarpiece (van

der Weyden), 249–50Last Judgment triptych

(Memling), 239, 242, 243Leadenhall, London, 256leather and leatherworkers,

144, 232, 259Lefèvre, Jean, 71Lefèvre, Raoul, 110, 147–48,

149Legenda Aurea (Jacopo da

Voragine), 255Lemaire, Jean, 157Lenoir,Alexandre, 26, 33Leo of Rozmital, 50–52, 98,

123Leo X (Pope), 177, 205Léon, 163, 260Leonardo da Vinci, 7, 14, 40,

index

368 •






44, 185, 193–94, 238,263

Lettenhove,Henri Kervyn de,39

Leureux, Jean, 197Leyden, Lucas van, 16liberality as noble virtue,

100, 114libraries

Burgundian Dukes,68–69, 70, 72, 74

Edward IV of England,147–49

Gruuthuse, Louis de, 147Henry VII of England,

158–59Montefeltro, Federigo da,

Duke of Urbino,210–11, 215

Sforza library, Frenchbooks in, 67

Spanish monarchs,163,174,178

Vatican library, 74Liédet, Loyset, 130Liège, campaigns against, 55,

112, 137, 193Life of the Virgin

Brabantine altarpieces,232, 233, 233

tapestries, 113, 114Lignana,Agostino Corradi

di,Abbot of Casanova,65

Lincoln’s Inn, London, 256liturgical manuscripts, trade

in, 259–60, see alsobooks, illuminatedmanuscripts

Livy, 60, 69, 148, 158Loherant, Garin de, 137Lomazzo, Gian Paolo, 17Lomellini triptych (van

Eyck), 183Lomme, Janin, 260Loos, Adolf, 80Louis d’Orléans, 85Louis of Luxembourg,

Count of St. Pol, 108–9

Louis of Male, Count ofFlanders, 134–35

Louis, Pasquier, 130Louis XI of France,53–56,59,

60,62,63,65,72,78,86,92,94,109,135,194,195

Louvain, University of, 68Louvignies, Jehan de

Haynin, Lord of, 137Loyet, Gérard, 101, 102, 126Lucan, 67Lucasbrüder, 25Lucena,Vasco da, 49, 70, 72,

100, 148Lucian, 74Lucretia tapestries, 71, 138Ludwig I of Bavaria, 30Luna,Alvaro de, 161lutes, 130, 134, 203Luton Hoo,Werner collec-

tion at, 39Luxembourg,Anthony of,

Count of Roussy, 142Luxembourg expedition,

126Luxembourg, Louis of,

Count of St. Pol, 108–9luxury goods, see also specific

typesdonations to churches,

249–50fairs and markets, sold at,

227–28, 232role of, 5–6, 76–84, 182

Lysippus, 22

Macchiavelli’s Discourses onLivy, 60

Madonna and Child (Botti-celli’s workshop), 265,266

Madonna of the Goldfinch(Raphael), 265–67, 267,269, 270

Magdalene retable of Clau-dio de Villa, 234, 235

magnificence, political ideol-ogy of, 3–5, 47–58,76–84, 273

Alfonso V of Aragon’smove to Naples, 180–81

armor and weaponry,125–26

Charles the Bold, 49–50,52–53, 54–58, 64–65, 84

clothing, 49, 52, 53, 64–65,88–89, 121–24

“decorative” or “minor”arts, role of, 77–78

embroideries, 120–21England, Burgundy’s

influence on, 151–52,155, 156–58, 159–60

goldwork as political tool,84, 99–100, 103

international adoption ofBurgundian style, 146

luxury arts and, 76–84Medici family, 201, 203,

208Montefeltro, Federigo da,

Duke of Urbino, 209,218

music, 130, 133–34ornateness and embellish-

ment, importance of,78–84

pageants and banquets,135, 136–37, 139, 142

painting, 186Philip the Good, 49–58,

84Sforza family, 194Spain, 160, 161, 162, 163,

174tapestries, 109, 110, 114textile decorations, 122–25

Mainfroy, Jehan, 126Male, Louis of, Count of

Flanders, 134–35Maletta, Francesco, 191, 200Mander, Karl van, 15–17, 23Manfredi,Astorre, 201Mannerism, 18Mantegna,Andrea, 185Mantua, marquisate of,

63–64, 78Manuel I of Portugal, 161

index

• 369






Mappamundi (van Eyck),183–84

Marchant, Jehan, 120Marche, Olivier de la, 68, 92,

109, 126, 139, 142, 143,151, 208

Margaret, daughter of Philipthe Bold, 88

Margaret of Austria, 108, 158,161, 166, 167–68, 169,170

Margaret of Flanders, 95Margaret of York’s marriage

to Charles the Bold,135–44

banquets at, 136, 138–39,140–41

buffet at, 99Caxton,Margaret of York’s

patronage of,148,149chandeliers, 138chivalric ideas embodied

in festivities, 66classical stories referred to

festivities, 71, 109clothing, 136, 142coronet of Margaret of

York, 142, Plate XIVdecor and displays at,

135–39, 140, 142England, consolidation of

alliance with, 135,139–40, 147

entremets or divertisse-ments, 136, 139–40

influence and importanceof festivities, 58, 142

international interchange,144

Katharine of Aragon’smarriage to PrinceArthur modeled on, 155

library of Margaret ofYork, 147

magnificence, politicalideology of, 135,136–37, 139, 142

Medici loan to defray costof, 239

multiple resources, layer-ing of, 136–37, 139, 140,142–44

music at, 140, 141organization and execution

of festivities,142–44painters, role of, 143–44sculpture at, 136, 141, 144solemnization of, 135tapestries displayed at, 71,

111, 120, 137–38, 139textiles used at, 136–38,

140, 142, 144tournament of the

Golden Tree (Pas del’Arbre d’or), 135, 140,141–42, 155

Margaret Tudor’s marriage toJames IV King of Scots,156, 158

Marguerite of Bavaria, 123Maria, daughter of Ferdi-

nand and Isabella ofSpain, 161

markets, see fairs and marketsMarmion, Simon, 223marriages, see weddings and

engagements, princelyMartelli, Luigi, 237Martin V (Pope), 113Martini, Johannes, 188Marvilla, Jachetto di, 189,

205–6Mary of Burgundy, 57, 58,

59, 64, 92, 95, 96, 120,135, 140, 161, 247

Mary of Guelders, 100, 248Masaccio, 9Mass of St. Gregory tapestry,

176, 178Massingham, John, 256Master of Moulin, 263Master of St. Lucy Legend,

244Master of St. Ursula Legend,

243, 246Maximilian I Hapsburg, 57,

58, 59, 64, 73, 95, 96,161, 167, 177, 191

Mechelen, Jan van, 260medals and coins

Alfonso V of Aragon andNaples, medals com-missioned by, 181, 183


Medea, story of, 71Medici family, 201–8

Alfonso of Naples’ musi-cians sent to performfor, 189

Burgundian Dukes, rela-tionship with, 61

Cosimo, 11, 14, 81, 106,204, 239

Enlightenment view of,20

gemstones, 201–2Giovanni, 201, 202Giuliano, 208Huizinga on, 42Lamentation (van der Wey-

den), likely patrons of,238

Lorenzo, 67, 142, 188,204–6, 207, 220

magnificence, politicalideology of, 201, 203,208

metalwork, precious,201–2

mirrors imported by, 201music and Netherlandish

musicians, 132, 203–7paintings of, 80, 202,

238–39palace of, 82Piero, 201, 202, 206, 216,

239reliquary for finger of St.

Catherine, 201studietto, Palazzo Medici,

216tapestries, 197, 201, 202–3tapestry trade, role in,

114tournaments, 207–8Vasari, patronage of, 11, 14

index

370 •






medieval culture/middle agesdisparagement of, 3, 8, 10,

33, 41–44Huizinga on, 41–44rehabilitation of, 24–26, 29

Meijer, B.W., 264Melion,Walter, 16Memling, Hans

Bruges exposition of1902, 39

Bruges, working in, 263Christ as the Man of Sor-

rows, 264, 265Last Judgment triptych,

239, 242, 243nineteenth-century schol-

arship’s interest in, 29,30

Passion of Christ triptych,242–43, 245

Raphael’s imitation of,266–68, 270

St. John Altarpiece, 124, 125St. John the Baptist, 267,

268, 268–69St.Veronica, 266–67, 269Schlegel on, 29Virgin and Child with

Saints, 246, 251workshop of, 226

Mendoza family, 161merchants and trade, 5–6,

76–77, 114, 178carved altarpieces pur-

chased for resale, 236–37fairs and markets, see fairs

and marketsmass marketing of Bur-

gundian/Netherlandishartifacts, 226–38

paintings purchased forresale, 250

Merchinot, Jean, 42Merode Altarpiece (Campin),

227, 228Messina,Antonello da, 197metalwork

altarpieces of wood imi-tating, 236

armor and weaponry, seearmor and weaponry

copper effigies, tomb ofRichard Beauchamp,Earl of Warwick,255–56, 258, 259, 261

donations to churches,249–50

fairs and markets, sold at,228, 230

gold, see goldworksilver and silver-gilt, 84,

96, 99, 102, 107, 124,139, 201–2, 237

Meurs, Frederick, Count of,113

Meyere, Jan de, 222Michelangelo Buonarrotti, 7,

11, 14, 17, 18, 27, 40, 44,238, 241

Michelet, Jules, 26, 32–34, 35,36

Michiel, Marcantonio, 15middle ages, see medieval

culture/middle agesmiddle classes, Burgundian

arts for, 5–6, 221–54Brabantine altarpieces as

case study of, 232–38donations to churches,

249–50fairs and markets, artifacts

sold at, 226–32imitation of dress and

accoutrements of Bur-gundian nobility, 243

marketing of arts to,226–38painting, 221–25, 238–54salary comparisons, 222–23sculpture, 223–25, 237–38social climbing, arts as

means of, 222–26Miélot, Jean, 74, 148, 158Mies van der Rohe, Ludwig,

80migration of artists and arti-

sans, see immigration/emigration of artists andartisans

Milanarmorers, 128, 129Dukes of, see Sforza familyFlorence and Venice, tour-

nament celebratingalliance with, 208

Savoy and Burgundy,alliance with, 53

Milecto, Jeronomo (“Pio-vano”), 205

Millefleur tapestries, 112–13,113

Minerva, 208“minor” arts, see “decorative”

or “minor” artsminstrels, 130, 136Miracles of the Virgin, Eton

College, 255, 257Miraculous Draft of Fish tapes-

try, Vatican, 177, 179Miraflores monastery, Bur-

gos, Spain, 162, 163, 165,171

mirrorsAlfonso V of Aragon and

Naples, gilded mirrorsimported by, 182

importation of Burgun-dian/Netherlandishgoods, 259

Medici family, 201Missaglia, Francesco, 62, 129,

194Modena, Marquises of, see

Este familyModernism, 79, 80Molder, Jan de, 236Molinet, Jean, 157Mona Lisa (Leonardo da

Vinci), 263monkeys as decorative ele-

ment, 141, 143, 201–2Montauban, Histoire of Renaud

de (Liédet), 130Montefeltro, Federigo da,

Duke of Urbino, 72,189, 196, 197, 208–18,214, 220, 250, 263, 264,269

index

• 371






Montemagno, Buonaccorso’da, 74

Monthureux, Charles theBold’s campaignsagainst, 56

Moresque (dance), 138, 141Morigia, 15Morras, Felipe, 171Mount Alba Siege tapestries,

156Munich Pinakothek, 30Müntz, Eugene, 37Musée de Cluny, Paris, 39Musée des Monuments

Français (Lenoir), 26, 33Musée Napoleon, 29, 31museums and collections in

the nineteenth century,29, 30–31, 32, see alsospecific museums andcollections

music, 5, 6, 45, 67, 130–34,272, see also specificinstruments and singers

Alfonso V of Aragon andNaples, 187–89

benefices and singers,206–7

careers of musicians, his-torical value of, 191–94

Charles the Bold, 187–88distinctive nature of

Netherlandish music,132, 188

Ferrante I of Naples, 188,189–91, 204, 205, 206

Italian pursuit of northernsingers, 132, 188,189–91, 197–200

Leonardo (da Vinci) asmusician, 193–94

loans of musiciansbetween nobles, 187

Margaret of York’s mar-riage to Charles theBold, 140, 141

Medici family, 203–7Montefeltro, Federigo da,

Duke of Urbino, 218

polyphony, 133–34, 174,188, 203, 206, 207

raids on musiciansemployed by othernobles, 191, 199–200

Savoy, Dukes of, 198Sforza family, 191, 197–200Spanish royal court, at,

172–76Mussy-l’Eveque, siege of, 52,

Plate III

Nancy, campaigns against, 7,56

Nani,Alexander, Bishop ofForlï, 69

Naples, Kingdom ofAlfonso V of Aragon, 61,

65, 120, 179–89, 210, 218Beatrice of Naples, 190Burgundian relationships

with, 60, 63, 65, 69Castelnuovo, arch at, 181,

182, 189, 210Ferrante I, see Ferrante I

King of NaplesNetherlandish musicians,

employment of, 132Sala dei Baroni, 181, 189Spain and, 160

Napoleonic invasions, 23–24,25, 29

Narcissus tapestries, 203narwhal tusks (unicorn

horns), 96, 99Nasi, Lorenzo, 270National Gallery, London, 31National Gallery,Washington,

DC,39nationalism, 25–26, 28, 29,

30, 32, 37–38, 40Nativity, Portinari Altarpiece

(van der Goes), 242Navarre, 65, 124, 260Nazarenes, 25Nebuchadnezzar tapestries,

149, 163, 187“needle-painting” embroi-

dery technique, 118

nefs, 54, 84, 85, 95, 124Negroli, Filippo and

Francesco, 128neoplatonism, 18Netherlands, see Burgundian

court and dukedom;Burgundian/Nether-landish/Northern art

Neuss, campaigns against, 56,131

New Year’s Day celebrationsand gifts, 85

Nicholas V (Pope), 209, 216Noah tapestries, 150nobility

tracts on nature of, 158Northern art, see Burgun-

dian/Netherlandish/Northern art

Nottingham, Edward IV’sbuilding at, 150

Obrecht, Jacob, 188Onser Liever Vrouwen Pand,

228–29Opere, Francesco delle, 263or nué embroidery technique,

117–18, 119Oratorio (Michel Sittow and

Juan de Flandes), 166,171, 172

Order of the Ermine, 209Order of the Garter, 209Order of the Golden Fleece,

49, 65–66, 67, 69, 122Alfonso V of Aragon and

Naples, 182Camogli’s description of

meeting of chapter of,110–11

Charles the Bold’s firstchapter of, 135, 144

clothing of members, 66,120

clothing of singers duringchapters of, 198

Edward IV’s admission to,148

embroidered vestments

index

372 •






and altar hangings of,118, 118–120, 119

Exposition de la Toison d’or,Bruges, 1907, 41

Feast of the Pheasant,57–58, 70, 88, 110, 134,136, 138

Ferrante I of Naples, 190Hercules linked with, 70,

110Histoire de la Toison d’or

(Fillastre), 65–66, 151,Plate IV

Jason, importance of storyof, 57–58, 70–71, 73, 77,82, 110

origins and significanceof, 65–66

swearing-in cross of, 89, 89Tinctoris and, 190Utrecht, use in conflict

with, 100Oresme, Nicole, 228organs and organ builders,

189, 203Orléans, Dukes of, 63, 65, 85ornateness, importance of,

78–84Orosius, 67Orsini, Clarice, 142, 207Ortie, Jean de l’, 110Ospedale degli Innocenti,

Florence, 210Otto III Bishop of

Hachberg, tomb of, 221Our Lady of Boulogne-sur-

Mer, 103Ovexe, Guillem (Guillaume

au Vaissel?), 180, 186Ovid, 69

pageants and banquets,135–45

Feast of the Pheasant,57–58, 70, 88, 110, 134,136, 138

Field of Cloth of Gold,156, 157

magnificence, political

ideology of, 135,136–37, 139, 142

multiple resources, layer-ing of, 135, 142–44

music accompanyingmeals, 130

weddings and engage-ments, see weddings andengagements, princely

painting, 2, 3, 272, see alsotriad of painting, archi-tecture, and sculpture

Alfonso V of Aragon,179–87

altars and altarpieces, seealtars and altarpieces

Bruges exposition, segre-gation of art media at,39

Burgundian Dukes, 49, 75,78, 184

Burgundian/Netherlandsregion, artists and arti-sans studying in,179–80,189,215,262–70

classical authors’ praise for,184–85

copying and deliberateborrowing of Nether-landish works, 264–65

domestic settings,intended for, 250

English patronage ofNetherlandish artists,158–59


Ferrante I King of Naples,189, 215

fifteenth-century valuationof, 49, 75, 78, 80, 82–83,105–6, 184–86

frescoes compared totapestries, 105–6

importation of Netherlan-dish/Burgundian artists,255

Italian praise and patron-age of painters and

painting, 184–86,223–24

Margaret of York’s mar-riage to Charles theBold, 143–44

Medici family, 80, 202,238–39

middle classes, Burgun-dian arts for, 221–25,238–54

Montefeltro, Federigo da,Duke of Urbino,214–18

Netherlandish painting,esteem for, 185–86, 215

patron’s likeness, inclusionof, 239, 242–43, 246–49

portraits, see portraitsresale, 250sculptors and painters col-

laborating on altar-pieces, 234–35

Sforza family, 194–97,215

Spain, 163–72, 179Vasari’s interests in, 13

Palazzo Altemps, Rome, 106Palazzo Vecchio,Venice,

tapestries for, 106Palmieri, Matteo, 8Palomar, Johanne, 52–53Pamplona Cathedral, 260Panden, 227–30, 233Panigarola,

Giovanni/JohannePietro, 52–53, 64, 65, 69,131, 191, 198

Panofsky, Erwin, 44Paños de Oro/Triumph of the

Mother of God tapestries,176, 201, Plate XVII

Panzano, Fruosino da, 202–3,204

Papacy, see alsoVatican; indi-vidual Popes

Tornabuoni, papal tapes-tries supplied by, 201

paragons, depictions of,216–18

index

• 373






Paris exposition of 1904, 38,40

Paris, Louis XI’s entry into,53–54

Parr, Catherine, 159Pas de l’Arbre d’or (tournament

of the Golden tree),135,140,141–42,155

Passavant, Johann David, 31Passion of Christ

Brabantine altarpieces,232, 233, 234, 234, 235

Memling triptych, 242–43,245

tapestries, 113, 114, 150, 156Paston, John, the Younger, 66Paul II (Pope), 113Pausanias, 21Pavia, Battle of, 106pelicans, symbolism of, 136periodization

Enlightenment historicalwriting, 21–22

Musée des MonumentsFrançais (Lenoir), 33

nationalism and, 25–26origins of, 9–10

Perkins, Leeman L., 132, 208Perugino, 263Petit, Johannes (“Baltazar”),

206Petrarch, 8, 9Peutin, Jean, 87Phidias, 22Philip II of Spain, parade

armor of, 126–28, 127Philip the Bold, 49, 71, 77, 88Philip the Fair, 112

Aelst, Pieter van, 177death of, 168, 170Henry VII of England’s

meeting with, 155, 156Juana de Loca, marriage

to, 161, 176portrait of, 171, 175Sittow, employment of,

166, 167, 168, 170Philip the Good, 41, 77

Alfonso V of Aragon and

Naples, ties with, 182,183–84

bastard sons of, 68, 69, 84,88, 99–100, 130, 141, 155

crusading ambitions, 57,61–62

increase in number ofartisans working inBruges linked to, 224

international politics and,58–59, 61–62, 63, 64

magnificence, politicalideology of, 49–58, 84

marriage to Isabella ofPortugal, 65, 120

Order of the GoldenFleece and, 65–66

portrait of, 50Tetzel’s account of treasures

of,50–52transportation of goods of,

104votives dedicated by, 103

Piccolomini, Enea Silvio, 170Pigli, Gierozzo de, 201“Piovano” (Jeronomo

Milecto), 205pirates, attacks on ships by,

239Pirotta, Nino, 192Pisan, Christine de, 148, 158Pisanello,Antonio, 105–6,

108, 181, 183, 186, 189Pitratto (Medici singer and

retainer), 204Pius II (Pope), 81, 170, 201plate, see table vessels and

platePlato, 185, 222Pleine, Jean de, 57, 70Pliny, 13, 15, 21, 184Plutarch, 21, 184Poggio a Caiano, Medici villa

at, 202poison detectors, 96–98, Plate

Xpolitical issues, 19, 21, 32, 146

artists, political missionsof, 192–93

international politics, roleof Burgundian court in,58–65

magnificence, political ide-ology of, see magnifi-cence, political ideologyof

Margaret of York’s mar-riage to Charles theBold,135,136–37,139–40

tapestries, political ideolo-gies expressed in, 106,107–8, 109–10, 113, 138

textile decorations, use of,122–25

Poliziano,Angelo, 208Pollaiuolo,Antonio, 261polychromy used on carved

wooden altarpieces,236

Polygnotus, 184polyphony, 133–34, 174, 188,

203, 206, 207Pompey, 69, 70Pontano, Giovanni, 185–86Ponzo,Raynero and Antonio,

191Porta, Roberto della, 148Porthi, Miguel de, 172Portinari Altarpiece (van der

Goes), 242, 244Portinari, Folco, 242Portinari, Ludovico, 242, 246Portinari,Tommaso, 61, 198,

201, 202, 223, 239–42,245, 249, 250

Portrait of a Lady (Christus),201, 250

Portrait of Francesco delle Opere(Perugino), 263

portraitsindividual portraits,

middle-class commis-sioning of, 250

Netherlandish artists’influence on Italianportraiture, 263–64

patron’s likenessesincluded altarpieces

index

374 •






etc., 239, 242–43,246–49

Spanish royal court,163–72

PortugalBurgundian/Netherlan-


Henry IV, 162Isabella of, 65, 69, 87, 92,

94, 104, 120, 143, 144,162, Plate XV

Manuel I, 161Post, C. R., 3Pot, Philippe, 69Poulet, Quentin, 158Poussin, Nicholas, 18Praxiteles, 22precious gems, see gemstonespreservation/survival prob-

lemsarchitectural projects of

Burgundian Dukes, 134armor and weaponry, 126Famous Men (Joos van

Ghent), 218goldwork, dismember-

ment and meltingdown of, 84–85, 86–87

tapestries, 114–16, 212–13Prevost, Jehan, 106Les Primitifs flamands et l’art

ancien (Bruges exposi-tion, 1902), 38–40

Les Primitifs français (Parisexposition, 1902), 38,40

“primitives,” 25Princehof, Bruges, 150, 153print-making, 16Procession of the Magi (Goz-

zoli), 215Proportionale musices (Tinc-

toris), 133Protocol at court, 94Provost, Jan, 32Puerta de los Leones,Toledo,

162, 260Pulgar, Fernando de, 160

Puritanism, 79, 80Quatremaire de Quincy, 26Quintilian, 13, 21, 158Quintus Curtius, 49, 70, 72,

100, 148

Raimondi, Marcantonio, 19Raphael, 7, 14, 18, 19, 22–23,

26, 29, 35, 40, 44, 156,177, 263, 265–70

recorders, 130Recueil des histoires de Troie

(Lefèvre), 110, 147–48,149

religionaltars and altarpieces, see

altars and altarpiecesaltar hangings, see altar

hangingsbenefices and singers,

206–7Catholicism, role of, 25,

30, 32clothing of religious fig-

ures, 118, 123–24donations to churches by

middle-class patrons,249–50

embroidered textiles,118–21

Enlightenment views oninfluence of, 19, 21, 32

goldwork pieces, 84–85,87, 89, 101–3

middle ages, rehabilitationof, 25, 28, 29

music, 130–34Northern Renaissance,

primacy in, 37precious objects, spiritual

value attached to, 83–84,94

reliquaries, 101, 126, 201,223, Plate XI, PlateXVIII

Schlegel’s theories on, 29,30

tapestries, 110–12, 113, 114,116

textiles and, 118, 123–24vestments, see vestmentsvotives, 101–3, 103

reliquaries, 101, 126, 201, 223,Plate XI, Plate XVIII

Renaissancearts, attitude toward,

184–86classicism, associated with,

see classicism, Renais-sance associated with

contemporary awarenessof northern role in,1–7, 45–46

defining, 3expanded notion and des-

ignation of, 24, 33fifteenth century used in

place of, 3Florentine/Tuscan phe-

nomenon, as, see Flo-rentine/Tuscanphenomenon, Renais-sance as

Italy, identified with, 1,2–3, 4, 8, 11, 20, see alsoItaly and Italian history,dominance of

medieval culture, as conti-nuity/disruption of, 3

nineteenth-/early twentieth-century conceptions of,32–44

origins and early concep-tions of, 8–10

Vasari’s term la rinascita,derived from, 10

retables, see altars and altar-pieces

RevalBlackheads Fraternity

altarpiece at, 244Sittow, Michel, 163–71

Revelation, use of luxuryobjects in, 83

rhetorical treatises of antiq-uity, use of, 13, 21, 22

Riario, Girolamo, 106Richard II of England, 95

index

• 375






Richmond Palace, 152–54,157, 158

Rigon, Edmund, 150Rinck family, 238Rinck, Herman, 154, 167Robbia, Luca della, 9, 216Rodrigo of Burgundy, 189Rogge, Conrad, Bishop of

Strängnäs, 233Rojas, Francisco de, 176Rolin, Nicolas, 123, 249–50Roman antiquity, see classi-

cism, Renaissance asso-ciated with

Le roman de Girard de Roussil-lon, 49, 122, Plate I

Roman de Troie (Sainte-Maure), 73

Romanticism, 26, 28, 29, 35Romuleon (della Porta, transl.

Miélot), 148Rondel, Martin, 128Room of the Months (del

Cossa), 215Roosebeke, Battle of, 112rosaries and prayer beads,

232, 237–38Roscoe,W. 37Roussillon, Le roman de Girard

de, 49, 122, Plate IRoussy, Anthony of Luxem-

bourg, Count of, 142Rovere, Giovanni della, 209Rozmital, Leo of, 50–52, 98,

123Rubin, Patricia, 11, 12Rucellai, Giovanni, 86–87Rumohr, Karl Friedrich von,

26, 30Ruskin, John, 24

sacred polyphony, 133–34St.Andrew, 136St. Barbara, 124, 261St. Barbara Altarpiece (van der

Cleyen), 236St. Bertin, abbey of, 110–11St. Catherine, 124St. Catherine, reliquary for

finger of, 201, PlateXVIII

St. Columba, altarpiece forChurch of, 238

St. Denis, Paris, 83St. Donatian, 116St. Donatian’s, Bruges, 191St. Edward the Confessor, St.

George’s Chapel,Wind-sor, 151

St. Francis, 262St. George, 101, 126, 136St. George (van Eyck), 184St. George and the Dragon, St.

George’s Chapel,Wind-sor, 151

St. George with the Dragon(Raphael), 268–69, 270

St. George’s Chapel,Wind-sor, 150, 255

St. Gregory Mass tapestry,176, 178

St. Jerome, Lomellini triptych(van Eyck), 183

St. Jerome in his Study (vanEyck), 201

St. John Altarpiece (Memling),124, 125

St. John the Baptist, 118, 120,138, 261

St. John the Baptist (Memling),267, 268, 268–69

St. Joseph as artisan, MerodeAltarpiece (Campin),227, 228

St. Lambert’s Cathedral,Liège, 101

St. Mary’s Church,Warwick,255–56, 258, 259, 261

St. Peter’s, Lille, 103, 104, 134,135, 138

St. Philip, votive with, 103,103

St. Pol, Louis of Luxembourg,Count of,108–9

St.Thomas Aquinas, 48St.Vernonica (Memling),

266–67, 269Ste. Chapelle, Dijon, 134

Sainte-Maure, Benoît de, 73SS Justo y Pastor,Toledo, 163Sala dei Baroni, Naples, 181,

189Salamanca, University

Chapel, 171salaries

middle classes of fifteenthcentury, 222–23

Spanish courtiers, 171Salins, Guigone de, 250Sallust, 69saltcellars, 84–85, 92, 95, 124,

Plate XSamson tapestries, 201, 203San Giovanni, Florence,

musical chapel of Bap-tistery, 203–6

San Juan de los Reyes,Toledo, 162

San Lorenzo, Florence, 81San Matteo, pirate attack on,

239Sansovino, Francesco, 15Santa Barbara, Netherlandish

confraternity of, 206Santa Maria di Castello,

Genoa, Annunciation(Justus de Allemagna)fresco in, 221, PlateXXII

Santi, Giovanni, 269Santisima Annunziata,

Church of, 206saqueboutes (bagpipes), 130,

134Saumur (château), 210Savoy

Bona of, 196–97, 207Burgundy and Milan,

alliance with, 53Dukes of, 63, 65, 72, 198

Scalkin, Jean, 138, 143Schilling, Diebold, 88Schlegel, Friedrich, 25, 26,

29–30Schoengauer, Martin, 263Scotland

James II, 100

index

376 •






James III, 248–49James IV, 156, 158, 249Margaret Tudor, 156, 158Mary of Guelders, 100,

248Scrope, Roger, 237–38sculpture, see also triad of

painting, architecture,and sculpture

Alfonso V of Aragon, 181altars and altarpieces, see

altars and altarpiecesfairs and markets, sold at,

227, 228, 232gemstones, carvings from,

93–94importation of Netherlan-

dish/Burgundian artists,255, 260

Margaret of York’s marriageto Charles the Bold,136,141,144

middle-class art patronage,223–25, 237–38

painters and sculptors col-laborating on altar-pieces, 234–35

Seneca, 69Sens Cathedral, 115–16“serpent tongues” (fossilized

sharks’ teeth), 96–98,Plate X

Sestola, Girolamo da(“Coglia”), 193

Seznec, Jean, 73Sforza family, 189, 193,

194–200Alessandro of Pesaro, 209Battista, 263, 264Bianca Maria, 195, 197Burgundian court, rela-

tionship with, 194Caterina, 106Ferrante I of Naples, rela-

tionship with, 189, 191Francesco, 62, 72, 108, 194,

197Galeazzo Maria, 52–53,

60, 64, 67, 81, 82, 111,

188, 191, 197–200, 201,207, 220

Gian Galeazzo, 196–97Isabella, 196Ludovico, 64, 73, 187, 194magnificence, political

ideology of, 194Medici clients in purchase

of tapestries, 201music, 191, 197–200musicians employed by

other nobles, raids on,191, 199–200

painting, 194–97, 215tapestries, 197, 201tennis, 154

Sheen manor and palace,152, 256

s’Hertogenbosch, cloth mar-ket of, 227, Plate XXIII

Sicily, Kingdoms of, 65Sigman, Jörg, 126silk cloth and thread, 106,

107, 117, 118, 120, 121,122, 123

Siloe, Gil de, 162, 164, 165silver and silver-gilt, 84, 96,

99, 102, 107, 124, 139,201–2, 237

Simonetta, Cicco, 195Simonetta, Giovanni, 198singers and singing, see

musicSittow, Michel, 153, 163–71,

244, 262Sixtus IV (Pope), 198, 209,

262Skelton, John, 158Snyder, J., 236Sobré, J. B., 260social climbing for middle

classes, arts as means of,222–26

social diffusion of Burgun-dian arts, see middleclasses, Burgundian artsfor

social distinction of painters,186

Solomon, 116, 219Somerset, Edmund Beaufort,

Earl and Duke of, 63“Southwark School” of

Netherlandish stainedglass, 157

Spain, 160–78, 220, see alsoindividual cities

Alfonso, Prince of Castille,162, 164

Alfonso V of Aragon(King of Naples), 61, 65,120, 179–89, 210, 218

Burgundian influence on,160–61

Burgundian/Netherlan-dish artisans immigrat-ing to, 161, 163–72,260–61

diplomacy, methodologyof, 160–61

Ferdinand II of Aragon,65, 160–78, 189

France, relationship with,160–61

funerary monuments,161–63

Granada Madonna, 237illuminated manuscripts,

176, 179immigration/emigration

of artisans, 161, 163–72,177–78, 180

Isabella of Castille, 72, 108,160–78, 173, 260

Isabella of Portugal, 65, 69,87, 92, 94, 104, 120, 143,144, 162, Plate XV

Joan II of Aragon, 61, 65Juan II of Castille, 161, 162,

Plate XVJuan, son of Ferdinand and

Isabella, 161, 174Juana de Loca, 161, 167,

175, 176Katharine of Aragon, see

Katharine of Aragonlibraries, 163, 174, 178magnificence, political

index

• 377






Spain (cont.)ideology of, 160, 161,162, 163, 174

music at royal court,172–76

Navarre, 65, 124, 260paintings, 163–72, 179Philip II, parade armor of,

126–28, 127salaries of courtiers, 171tapestries, 163, 176–77,

179, 186–87tournaments, 172

spectacle, see entremets ordivertissements; magnif-icence, political ideol-ogy of; multipleresources, layering of;pageants and banquets;tournaments

spices, service of, 90, 92spies, artists functioning as,

192–93splendor, political ideology

of, see magnificence,political ideology of

Städelsches Kunstinstitut,Frankfurt, 31

stagecraft, see also entremets ordivertissements

Burgundian court, 67–74,139–42

Spanish royal court, musicof, 173

tableaux vivants, 69–70, 71stained glass, 156–57, 250, 255,

256Stevyns,Thomas, 256Stilkritik, 30Straet (Strate), Jan van der

(Juan de Flandes?), 171Strängnäs Cathedral, Sweden,

Brabantine altarpiece,233, 234

Strawberry Hill, 24Strete, Cornelius van de,

156Strozzi family, 250

Alessandra, 250

Lorenzo, 250Palla, 225

studiolo, Urbino Palace, 216,Plate XIX

Suetonius, 158Suger (Abbot), 83Summonte, Pietro, 15, 187sumptuary laws, 121, 246survival of artifacts, see pres-

ervation/survival prob-lems

Swan Knight tapestries, 113Swedes, Brabantine altar-

pieces purchased by, 233Swiss, Burgundian booty

captured by, 87, 88, 88,94–95, 105, 126

swords, see armor andweaponry

Symonds, John Addington,37

table vessels and plateAgnès of Cleves’ marriage

to Charles Prince ofNavarre, gifts of Philipthe Good at, 124

cups and goblets, 92, 94,99, 139, 143, 201–2, PlateIX

gemstones, 93–94, 99, 124gifts, 100goldwork, 84–85, 90–93,

98–99Louis XI’s coronation,

54–55, 94Margaret of York’s marriage

to Charles the Bold,139political tool, 99–100spoons, goldwork, 92, 93

tableaux vivants, 69–70, 71Tafur, Pero, 227, 230, 231Tallander,Antonio, 188tambourines, 130, 134Tanagli, Caterina, 239Tani,Angelo, 204, 239, 243tapestries, 104–16, 272

Agnès of Cleves’ marriageto Charles Prince of

Navarre, gifts of Philipthe Good at, 124

Alexander the Great cycles,53, 54, 54–55, 71–72,108, 112, 149, 156, 163,197

Alfonso V of Aragon andNaples,179,181,186–87,189

Annunciation tapestries,212–13

Apocalypse, tapestry at St.Bertin depicting, 111,115

Arras as tapestry center,107, 114

arras as term for high-quality tapestries, 107

Bear Hunt, 113La Bonne Vie, 113Caesar, Story of, 108–9, 109,

247cartoons for, 114centers of production of,

114chivalric and courtly pas-

times, depicting,112–13, 114

classical themes in,107–10, 114

cost of, 222, 225craftsmanship in making

of, 107display, deterioration, and

preservation issues,114–16, 212–13

economy, role in, 114Edward IV of England,

purchased by, 149–50d’Este family, 197, 201Esther, History of, 113fairs and markets, sold at,

227, 228, 232Ferrante I of Naples, 189fifteenth-century reading

of, 114–16fifteenth-century valua-

tion placed on, 105–6,108

index

378 •






frescoes compared to,105–6

Gideon tapestries, 79, 100,110–12, 114, 222

gifts, 113Gonzaga family, 197Hannibal, Story of, 113haute-lice, 138Henry VII of England,

imported by, 154,155–56

Henrye the VII, Koming intoEngland of, 156

Hercules cycles, 70, 109–10,163

Hunt of the Duke of Bur-gundy, 201

importation of Burgun-dian/Netherlandishgoods, 257–59, 261


Jason weavings, 110Jerusalem, Siege of, 156Joseph and his brothers

cycle, Palazzo Vecchio,Venice, 106

Joys of the Virgin, 113Judgement weavings, 150Lady and the Unicorn

ensemble, 115Life of the Virgin, 113, 114Lucretia stories, 71, 138magnificence, political

ideology of, 109, 110,114

Margaret of York’s mar-riage to Charles theBold, 71, 111, 120,137–38, 139

Marriage of Prince Arthur,156, 157

Mass of St. Gregory, 176,178

materials used in, 107Medici family, 197, 201,

202–3Millefleur tapestries,

112–13, 113

Miraculous Draft of Fish,Vatican, 177, 179

Montefeltro, Federigo da,Duke of Urbino, 197,211–13

Mount Alba, Siege of, 156Narcissus, 203Nebuchadnezzar, History of,

149, 163, 187Noah, History of, 150Paños de Oro/Triumph of

the Mother of God, 176,201, Plate XVII

papal tapestries suppliedby Tornabuoni, 201

Passion of Christ, 113, 114,150, 156

political ideologiesexpressed in, 106,107–10, 113, 138

portability of, 104–5religious themes in,

110–12, 113, 114, 116Samson, Story of, 201, 203Sforza family, 197, 201Spain, 163, 176–77, 179,

186–87speculative production of,

114Swan Knight, History of,

113Thebes, History of, 150Three Coronations, 115–16,

Plate XII, Plate XIIITriumph of the Mother of

God/Paños de Oro, 176,201, Plate XVII

Trojan War cycles, 72–73,107, 156, 189, 212, 213,222, Plate V, Plate VI

Vatican, 177, 179verdure types, 112–13, 114Virgin and Child with the

Duke of Burgundy, 201Virgin Mary, depicting,

113, 114, 116, 176, 187,201, 212–13, Plate XVII

Taranto, Federico, Prince of,64

Tassinot, 188Tattershall Castle, 256Taverne,Antoine de la, 121Tavernier, Jean Le, 87,

133–34, 227, 229Teerlinc, Levina, 159Templeuve, Jacques de, 192Temptation of Christ panel,

Oratorio (Michel Sittowand Juan de Flandes),172

tennis, 154Tetzel, Gabriel, 50–52Tewskesbury Abbey, 150textiles, 104–25

altar hangings, see altarhangings

brocade, 121, 122clothing, see clothingeconomic problems of

cloth industry, 114embroideries, 116–21fairs and markets, sold at,

227, 232gold cloth and thread, 106,

107, 117–21, 121–24household, decoration of,

122–23magnificence, political

ideology of, 122–25Margaret of York’s mar-

riage to Charles theBold, 136–38, 140, 142,144

political uses of, 122–25religious themes, use in

depictions of, 118,123–24

s’Hertogenbosch, clothmarket of, 227, PlateXXIII

silk cloth and thread, 106,107, 117, 118, 120, 121,122, 123

social relations, depicting,121, 123–24

tapestries, see tapestriesvestments, see vestmentswool trade between

index

• 379






textiles (cont.)Netherlands and Spain,160

Thebes tapestries, 150theology, see religionThomas Aquinas, 48Three Coronations tapestry,

115–16, Plate XII, PlateXIII

Throne of Grace, 96, 98Tieck, Ludwig, 30Tigranes, King of the Arme-

nians, 70Tinctoris, Johannes, 132, 133,

188, 190la Toison d’or, see Order of the

Golden FleeceToledo

Cathedral, 161, 163Escalona Castle, 161Puerta de los Leones, 162,

260San Juan de los Reyes, 162SS Justo y Pastor, 163

tombs, monumental, 134–35,159, 161–63, 221, 222,255–56, 260

Tornabuoni, papal tapestriessupplied by, 201

Toro, Battle of, 162Torrigiano, Pietro, 159Tournai as tapestry center,

114tournaments, 42, 46, 142

armor and weaponry, 126Arthur son of Henry VII,

Katharine of Aragon’smarriage to, 155

Golden Tree, tournamentof (Pas de l’Arbre d’or),135, 140, 141–42, 155

Medici family, 207–8music at, 130Spain, 172

Tractatus de architectura(Filarete), 194

trade, see economics; fairsand markets; merchantsand trade

Traité sur l’Oraison Dominicale(Tavernier), 87, 133–34,Plate VIII

Très Riches Heures de Duc deBerry, 210, 213

triad of painting, architec-ture, and sculpture, 4,13, 16, 78

academic tradition, 19Bruges exposition, segre-

gation of art media at,39

modern taste and, 79Northern European alter-

native to, 16Triptych of the Virgin (van der

Weyden), 163Triumph of the Mother of

God/Paños de Orotapestries, 176, 201, PlateXVII

Trojan War epic, popularityof, 59, 72–73

Trojan War tapestry cycles,72–73, 107, 109, 156,189, 212, 213, 222, PlateV, Plate VI

trumpets, 130, 134, 136, 139,173

Tullius, 67Tunis, siege of, 106Tuscan phenomenon,

Renaissance treated as,see Florentine/Tuscanphenomenon, Renais-sance treated as

Uccello, Paolo, 215unicorn horns (narwhal

tusks), 96, 99university education, Bur-

gundian promotion of,68–69

Urbinodella Carda, Ottaviano

Ubaldini, nephew ofFederigo da Montefel-tro, 209, 250

Giovanna, daughter of

Federigo da Montefel-tro, 209

Guidobaldo, son of Fed-erigo da Montefeltro,209, 211, 214

Montefeltro, Federigo da,72, 189, 196, 197,208–18, 214, 220, 250,263, 264, 269

Palace, 210, 211, 212studiolo, Palace, 216, Plate

XIXthrone-room, Palace, 216,

Plate XXUrrede, Juan de, 172Utrecht

Chambre d’Utrecht weav-ings, 120

Philip the Good’s conflictwith, 99–100

vaiselle, see table vessels andplate

Vaissel, Guillaume au(Guillem Ovexe?), 180,186

Valenciennes (château), 141Valerius Maximus, 67, 69,

148, 158Valkendorf, Erik, 169Valla, Lorenzo, 8, 158Valperga,Ameo di, 56Vandelf (Van Delft?), John,

154Vanderjagt,A. J., 74Vangrove, Dierke, 150, 255Vasari, Giorgio, 1, 2, 7, 10–15,

44, 133, 185, 264, 271academic tradition and, 19analysis of Lives of the

Artists, 10–15Burckhardt, influence on,

35Hegel, influence on, 29pan-European response to

writings of, 15–17terminological origins of

Renaissance (larinascita), 10

index

380 •






Winckelmann’s debt to,20, 22

Vashti, story of, 71Västeras Cathedral, Sweden,

Brabantine altarpiece,233, 233

Vaticanlibrary, 74studiolo of Nicholas V,

216tapestries, 177, 179

Vegetius, 69Velasco, Alonso de, 260Venice

Barbarigo, Marco, 250Florence and Milan, tour-

nament celebratingalliance with, 208

Tafur on markets of, 231verdure tapestries, 112–13, 114Verino, Ugolino, 108Verrocchio,Andrea del 238Verona, Guarino da, 8, 108Vespasiano (da Bisticci), 211,

215Vespucci, Simonetta, 208vessels, see table vessels and

platevestments

Agnès of Cleves’ marriageto Charles Prince ofNavarre, gifts of Philipthe Good at, 124

Florentine Baptistry vest-ments depicting life ofSt. John the Baptist,261, 262

Order of the GoldenFleece, 118, 118–20, 119

Lambert cathedral, Liège,101

Victoria and AlbertMuseum, London, 39

Vigneulles, Philippe de, 56Villa, Claudio de, 234Villa family, 221Villani, Filippo, 8–9Villani, Giovanni, 9Villers, Jaques de, 143

Vimercato, Count Gasparede, 201

Vincent of Beauvais, 255Vinci, Leonardo, da 7, 14, 40,

44, 185, 193–94, 238,263

viols and violas, 130, 134, 173Virgil, 23Virgin and Child in a Land-

scape (Master of St.Lucy Legend), 244, 248

Virgin and Child with Saints(Master of St. LucyLegend), 244, 249

Virgin and Child with Saints(Memling), 246, 251

Virgin and Child with theDuke of Burgundy tapes-try, 201

Virgin Maryclothing and textiles used

in depiction of, 124embroideries depicting,

118, 120, 121sculptures of, 237tapestries depicting, 113,

114, 116, 176, 187, 201,212–13, Plate XVII

Virgin with Canon van derPaele (van Eyck), 116,117, 126

Vischi, Giacomo dei, countof San Martino, 194

Visconti,Valentine, 85Vitruvius, 133Volksgeist, 25, 28, 32, 34Voltaire, 2, 19–20, 21, 34, 37Voragine, Jacopo da, 255votives, 101–3, 103

Waagen, Gustav Friedrich,26, 30–31, 32

Wackenroder,WilhelmHeinrich, 25

Walpole, Horace, 24Walsh, R., 62War of the Common Weale,

103Warburg, Aby, 35, 44

Warwick Chapel,Tewskes-bury Abbey, 150

Warwick, Church of St.Mary, 255–56, 258, 259,261

Warwick, RichardBeauchamp, Earl of, 63,255–56, 258, 259, 261

Wassenhove, Joos van (Giustoda Guanto, Joos vanGhent), 215–19, 264

Wauquelin, Jean, 49wax workers, 144Weale, James, 32, 39weaponry, see armor and

weaponryweddings and engagements,

princelyAgnès of Cleves’ marriage

to Charles Prince ofNavarre, 124

Arthur, son of Henry VII,Katharine of Aragon’smarriage to, 58, 72, 142,152, 155, 156, 157, 161

Borgia, Lucretia, andAlfonso d’Este, 193

Elizabeth of York, HenryVII of England’s mar-riage to, 157

Ferdinand and Isabella ofSpain, marriages ofchildren of, 161

Henry VIII, Katharine ofAragon’s marriage to,161

international interchange,leading to, 144–45

Isabella of Portugal’s mar-riage to Philip theGood, 65, 120

Joanna of Aragon’s mar-riage to Philip the Fair,155

Juan and Juana, children ofFerdinand and Isabellaof Spain, double mar-riage of, 161, 176

Manuel I of Portugal and

index

• 381






weddings and engagements(cont.)daughters of Ferdinandand Isabella of Spain,161

Margaret of York’s mar-riage to Charles theBold, see Margaret ofYork’s marriage toCharles the Bold

Margaret Tudor’s marriageto James IV King ofScots, 156, 158


Mary of Burgundy’s mar-riage to Maximilian IHapsburg, 57, 58, 59, 64,95, 96

Mary of Guelder’s wed-ding to James II Kingof Scots, 100

Montefeltro, Giovanna da,and Giovanni dellaRovere, 209

Philip the Fair and Juanade Loca, 161, 176

Weerbeke, Gaspar van, 188,200

Welch, E. S., 187Werner collection at Luton

Hoo, 39Westminster Hall, London,

155

Wewyck, Meynnart/May-nard, 159

Weyden, Rogier van der,Alfonso V of Aragon and

Naples, 182, 187, 189Annunciation, 221, 222Bruges exposition of 1902,

39Charles the Bold (van der

Weyden’s workshop), 51clientele of, 238Columba Altarpiece, 238,

239Crucifixion triptych, 209,

210eulogy by Giovanni Santi,

269Italian rulers’ appreciation

of, 184Lamentation, 238, 240,

271–72Last Judgment Altarpiece,

249–50Philip the Good (van der

Weyden’s workshop), 50social distinction, noted

for, 186tapestries after, 187, 189,

212Triptych of the Virgin, 163Zanetto Bugatto appren-

ticed to, 194–95Widener collection, 39Wielant, Philippe, 69

Willem II of Oranje-Nassau,30

William the Conqueror,112

Wilson, J. C., 225Wilton Diptych, 95Winckelmann, Johann

Joachim, 2, 20–23, 25,33

analysis of theories of,20–23

Burckhardt, influence on,34, 36

Hegel, influence on, 27,28, 29

historical treatment of art,development of, 26

taste, concept of, 80Windsor, Edward IV’s build-

ing at, 150wine, fountains spouting,

136Wohl, H., 81Woodville, Elizabeth, 148wool trade between Nether-

lands and Spain, 160Württemberg, Count Eber-

hard the Younger of, 63Wytsman, Paul, 38

Xenophon, 70, 148

Zanetto (Bugatto), 194–97Zeitgeist, 28, 34

index

382 •




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