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were working on the monument before July 1493 when Renier van
Thienen was contracted to oversee the initial build, however he may have been involved in its planning since 1491. He hired masons and stonecutters to begin work on the base. Although the historical record is scant as to the sequence and
335:
Barradot had difficulty raising funds due to political and legal complications around the distribution of Mary's wealth to her two surviving children. He first had to pay off substantial debts to her creditors, which he funded via rent and taxes from her estates. Eventually, he was able to purchase
307:
on 3 April 1482. Bruges was then at the height of its commercial and cultural importance and was the birthplace of her son, while it was important to Mary that the church bore her own namesake. Although the court was near bankrupt at the time, Maximilian threw a lavish ceremony, partly funded by
295:
that outlined her wishes for a monument which she requested that she would be buried—according to an 1844 reproduction of the will—"honourably according to her station" and that a "large and beautiful" image of the Virgin was placed "before this sepulchre or sarcophagus."
259:
in 1476. They married the following year when they were both in their early teens. Although their marriage was arranged, the two developed a romantic bond and were faithful to each other. As
Charles had planned, their union allowed his family to retain parts of the
328:(d. 1506). Although the circumstances of the build are not well documented, it known from archives dated 1488 that the project was overseen by the executor of her will, Thibault Barradot (d. 1503), a high ranking financier who had been her
232:(which she had significant input into Isabella's tomb; it was still incomplete by the time of her own early death). She oversaw and approved many elements of its design—as she later did with the tomb for her uncle Jacques de Bourbon.
291:
when her horse tripped and threw her in a ditch before landing on top of her. Having sustained massive internal injures and a broken back, she died several weeks later on 27 March, having dictated a
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placed over a hollow rectangular tomb made of black stone. The tomb's long sides are heavily decorated with gilt-bronze branches of her family tree and hanging enamelled shields displaying the
472:
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Her head rests on a pillow, and her hands are joined and raised in prayer. The epitaph appears in a long scroll that has angels on either side. It is written in
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melting down and selling off their cutlery and silverware. Due to these financial constraints, work of Mary's tomb did not begin until at least
September 1488.
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in
January 1477 while fighting against Louis XI, making her, at 19 years, the sole inheritor of the Duchy of Burgundy and the last of the
157:
and painters, perhaps headed by the
Flemish sculptor Renier van Thienen, were involved in its creation; records suggest contributions by
228:(1434–1465). Mary was eight years old when her mother died. She was a well-recognised patron of the arts, and, aged 18, commissioned a
340:
from the stone merchant Martin de Bouge for 30 pounds and hire a number of well-known designers and sculptors. Records indicate that
707:
Arnade, Peter (ed). "Rereading
Huizinga: Autumn of the Middle Ages, a Century Later". Amsterdam: Amsterdam University Press, 2019.
410:(Gothic script) and reads "Marie de Bourgongne Archiduchesse daustrice fille Charles duc de Bourgongne et de Ysabeau de Bourbon."
385:") found on the sides of most Burgundian tombs, a deliberate choice made instead to honour both sides of her family via heraldry.
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255:'s attempts to bring Burgundy under his control, Charles (who had spent most of his life battling Louis) betrothed Mary to
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349:, Pieter de Backere and Jehan Hervy, although the chronology and the extent of their individual contributions is unknown.
161:, Pieter de Backere and Jehan Hervy, although the chronology and the extent of their individual contributions is unknown.
592:
De strijd om het regentschap over Filips de Schone : opstand, facties en geweld in Brugge, Gent en Ieper (1482-1488)
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115:. She died in March 1482, aged 25, following injuries sustained during a hunting accident a number of weeks earlier.
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142:
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Armstrong, Charles Arthur John. "The
Burgundian Netherlands, 1477-1521", in: Potter, George Richard (ed),
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specific attributions of individual artists, art historians generally attribute a group that includes
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Mary's dying wishes were carried out under the patronage of her husband
Maximilian and her eldest son
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215:
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131:
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786:. "Isabella’s Weepers: Ten Statues from a Burgundian Tomb"'. Amsterdam: Rijksmuseum, 2007.
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Roberts, Ann. "The
Chronology and Political Significance of the Tomb of Mary of Burgundy".
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332:(Master of Coins), and was appointed to the project almost immediately after her death.
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of her ancestors. The short-side below her head contains her own coats of arms.
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Position in the Church of Our Lady, resting alongside the tomb of her father
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Portrait of
Maximilian I (1459-1519), Joos van Cleve (workshop of), c. 1530
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on a hunt with Maximilian and knights of the court in a forest outside
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721:" (exhibition catalogue). Cleveland, OH: Cleveland Museum of Art, 2017
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Revisiting the Monument: Fifty Years Since Panofsky’s Tomb Sculpture
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New Technical Research on the Tomb of Mary of Burgundy (Audio doc)
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Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
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and lacks the characteristic mourners ("weepers" or "
365:Unlike the tombs of her ancestors reaching back to
798:Charles the Bold: The Last Valois Duke of Burgundy
299:As per her dying wishes, she was buried under the
373:(d. 1419), Mary's is made from metal rather than
264:, although the inheritance line changed from the
813:
697:. Cambridge: Cambridge University Press, 1957.
149:, based on a rough design specified during her
138:, making her the then-richest woman in Europe.
311:
164:
220:Mary was born in 1457 as the only child of
118:Mary was born in 1457 as the only child of
16:Sculpted tomb dedicated to Mary of Burgundy
832:Tomb Sculptures from the Court of Burgundy
434:Heraldry on the monuments' right-hand side
731:. Oxford: Oxford University Press, 2008.
695:The New Cambridge Modern History volume I
141:The tomb was commissioned by her husband
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216:Mary of Burgundy § Death and legacy
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796:Vaughan, Richard; Paravicini, Werner.
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594:" Gent: Academia Press, 2014. p. 63.
800:. London: Barnes & Noble, 1973.
682:Adams, Ann; Barker, Jessica (eds). "
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251:In order to counter the French king
239:19th-century reproduction of a 1507
766:, 2018. Retrieved 13 February 2023.
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514:, 2018. Retrieved 14 February 2023
188:or South German, late 15th century
14:
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243:of Maximilian and Mary holding a
57:Length: 260 cm (100 in)
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427:
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388:The monument consists of Mary's
247:and the coat of arms of Burgundy
201:Portrait of Emperor Maximilian I
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61:Height: 135 cm (53 in)
27:
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632:
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477:Codarts University for the Arts
330:Maître de la Chambre des Denier
153:wishes. A number of sculptors,
126:. On her father's death at the
59:Width: 135 cm (53 in)
758:Pegues, Emily; Smith, Dylan. "
748:. London: Harry Abrams, 1964.
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422:Full-length view of the effigy
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1:
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130:, she became the last of the
638:Roberts (1989), pp. 376, 380
549:Roberts (1989), pp. 379, 390
531:. Retrieved 15 February 2023
508:Portrait of Mary of Burgundy
479:. Retrieved 13 February 2023
272:. Charles was killed at the
182:Portrait of Mary of Burgundy
7:
668:Roberts (1989), pp. 376–377
10:
848:
773:, volume 71, nr. 3, 1989.
688:Courtauld Institute of Art
675:
497:Pegues; Smith (2018), 0:30
312:Commission and attribution
305:Church of Our Lady, Bruges
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113:Church of Our Lady, Bruges
92:Church of Our Lady, Bruges
471:Briat-Philippe, Magali. "
165:Death of Mary of Burgundy
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73:
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729:Northern Renaissance art
558:Armstrong (1957), p. 228
473:Tomb of Mary of Burgundy
278:House of Valois-Burgundy
132:House of Valois-Burgundy
101:Tomb of Mary of Burgundy
22:Tomb of Mary of Burgundy
764:National Gallery of Art
367:that of Philip the Bold
145:and their eldest child
659:Roberts (1989), p. 377
650:Roberts (1989), p. 376
629:Roberts (1989), p. 381
617:Roberts (1989), p. 380
572:Roberts (1989), p. 378
369:(d. 1404) and his son
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107:completed in 1501 for
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257:Maximilian of Austria
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143:Maximilian of Austria
827:International Gothic
581:Roberts, pp. 378–379
540:Mikolic (2017), p. 4
488:Pegues; Smith (2018)
361:Detail of the effigy
82:Northern Renaissance
78:International Gothic
230:tomb for her mother
226:Isabella of Bourbon
124:Isabella of Bourbon
717:Mikolic, Amanda. "
363:
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293:will and testament
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134:and inherited the
806:978-0-0649-7171-3
754:978-0-8109-3870-0
737:978-0-1928-4269-5
713:978-9-0485-3409-8
703:978-0-5210-4541-4
600:978-9-0382-2400-8
590:Haemers, Jelle. "
371:John the Fearless
270:House of Habsburg
136:Duchy of Burgundy
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46:, copper, brass,
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822:1500s sculptures
792:978-9-07145-0822
771:The Art Bulletin
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224:(1433–1477) and
222:Charles the Bold
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120:Charles the Bold
111:'s grave in the
109:Mary of Burgundy
105:funeral monument
88:Present location
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725:Nash, Susie
686:". London:
529:Rijksmuseum
408:blackletter
353:Description
342:stonemasons
155:stonemasons
816:Categories
452:References
347:Jan Borman
214:See also:
159:Jan Borman
512:Sotheby's
383:pleurants
375:alabaster
285:falconing
283:Mary was
207:, c. 1530
253:Louis XI
151:deathbed
36:Material
779:3051135
676:Sources
303:of the
268:to the
66:Created
804:
790:
777:
752:
735:
711:
701:
690:, 2016
598:
446:Detail
397:effigy
394:bronze
379:marble
338:marble
289:Bruges
245:falcon
241:fresco
44:bronze
775:JSTOR
301:choir
103:is a
802:ISBN
788:ISBN
750:ISBN
733:ISBN
709:ISBN
699:ISBN
596:ISBN
390:gilt
377:and
336:the
122:and
99:The
54:Size
40:Gilt
762:".
527:".
510:".
818::
744:.
727:.
643:^
622:^
606:^
563:^
460:^
280:.
184:,
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392:-
42:-
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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