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Journal articles on the topic 'Burgundy court'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Prochno, Renate, and Kathleen Morand. "Claus Sluter. Artist at the Court of Burgundy." Zeitschrift für Kunstgeschichte 55, no. 4 (1992): 595. http://dx.doi.org/10.2307/1482630.

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2

Small, G. "For a Long Century of Burgundy. The Court, Female Power and Ideology." BMGN - Low Countries Historical Review 126, no. 1 (2011): 54. http://dx.doi.org/10.18352/bmgn-lchr.7219.

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3

Planchart, Alejandro Enrique. "Guillaume Du Fay's benefices and his relationship to the court of Burgundy." Early Music History 8 (October 1988): 117–71. http://dx.doi.org/10.1017/s0261127900000917.

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In the years since Craig Wright published his study of Du Fay at Cambrai interest in the composer has grown apace. In his recent study of the composer David Fallows has given us a ‘rich harvest of “adjusted” information’ concerning Du Fay's life as well as valuable insights into the music. This study is a continuation of the process of adjusting details in our view of Du Fay's life and his work. It presents new documents and some hypotheses based upon them and upon consideration of the cultural and liturgical traditions that shaped Du Fay's life and his work. I shall start with what is perhaps

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4

CAMBRIDGE, MATT. "THE MOURNERS: TOMB SCULPTURES FROM THE COURT OF BURGUNDY BY SOPHIE JUGIE." Art Book 17, no. 4 (2010): 55–56. http://dx.doi.org/10.1111/j.1467-8357.2010.01137_8.x.

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5

Macey, Patrick. "Galeazzo Maria Sforza and musical patronage in Milan: Compère, Weerbeke and Josquin." Early Music History 15 (October 1996): 147–212. http://dx.doi.org/10.1017/s0261127900001546.

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Galeazzo Maria Sforza (1444–76), fifth Duke of Milan, set out when he acceded to power in 1466 to style himself as one of the most glorious of rulers and to make his court (in the words of the contemporary chronicler Bernardino Corio) one of ‘the most splendid in the universe’. Galeazzo, a contemporary of King Louis XI of France and Duke Charles the Bold of Burgundy, entertained grand designs of turning his ducal coronet into a king's crown and transforming Lombardy into a royal realm, just as Charles the Bold sought to elevate the duchy of Burgundy to a kingdom. The two dukes, as vassals of t

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6

Arblaster, Paul, Gerard Nijsten, and Tanis Guest. "In the Shadow of Burgundy: The Court of Guelders in the Late Middle Ages." Sixteenth Century Journal 36, no. 4 (2005): 1129. http://dx.doi.org/10.2307/20477614.

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7

Wilson, Katherine Anne. "Commerce and Consumers: The Ubiquitous Chest of the Late Middle Ages." Journal of Interdisciplinary History 51, no. 3 (2020): 377–404. http://dx.doi.org/10.1162/jinh_a_01591.

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Contrary to their ubiquity within written, visual, and material sources, chests have largely remained overlooked in studies of the late Middle Ages. Bill Brown’s “thing theory” helps to explicate the ways in which chests can transform from unnoticed “things” in the background to meaningful “objects” when viewed through their entanglements with commercial, consumer, political, and moral concerns. The interdisciplinary study of chests in the late Middle Ages brings together a range of evidence including inventories, guild accounts, court pleas, contemporary writings, images, and material culture

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8

Eörsi, Anna. "“Imaige A La Vierge Marie” The Hours of Mary Of Burgundy, Her Marriage, and Her Painter, Hugo Van Der Goes." Acta Historiae Artium 61, no. 1 (2020): 19–53. http://dx.doi.org/10.1556/170.2020.00002.

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AbstractThe Vienna Hours, illuminated by the artist known as the “Master of Mary of Burgundy”, was originally commissioned by Margaret of York. The later parts of the manuscript commemorate the love and marriage between Mary of Burgundy and Maximilian of Habsburg, and their (newborn or expected) child.The miniatures and texts in question convey the same idea expressed on several occasions by the official historian, Jean Molinet: in the Burgundian court, the duchess was venerated as the Virgin Mary (and in consequence of this, Maximilian – and Philip – came to be revered as the Saviour, and Fre

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9

Hayhoe, J. D. "Neighbours before the Court: Crime, Village Communities and Seigneurial Justice in Northern Burgundy, 1750-1790." French History 17, no. 2 (2003): 127–48. http://dx.doi.org/10.1093/fh/17.2.127.

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10

Planchart, Alejandro Enrique. "Connecting the dots: Guillaume Du Fay and Savoy during the schism." Plainsong and Medieval Music 18, no. 1 (2009): 11–32. http://dx.doi.org/10.1017/s0961137109000941.

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ABSTRACTFollowing the Council of Basel in 1439, which initiated the papal schism between Eugenius IV and Felix V (Duke Amadeus VIII of Savoy), Guillaume Du Fay appears to have resumed his northern connections, leaving the court of Savoy and returning to the patronage of the Duke of Burgundy. This article sheds new light on the timing of the composer's move, and on his continued contact with the court of Savoy during the schism of the 1440s. Examination of liturgical sources from the cathedral of Cambrai and elsewhere brings to light a liturgical and musical anomaly in Du Fay's polyphonic setti

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11

Clark, Gregory T. "Blockmans, Wim, Till-Holger Borchert, Nele Gabriëls, Johan Oosterman, and Anne van Oosterwijk, eds. Staging the Court of Burgundy: Proceedings of the Conference “The Splendour of Burgundy”." Manuscripta 60, no. 1 (2016): 102–7. http://dx.doi.org/10.1484/j.mss.5.111030.

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12

Sjursen, Katrin E. "In the Shadow of Burgundy: The Court of Guelders in the Late Middle Ages by Gerard Nijsten." Comitatus: A Journal of Medieval and Renaissance Studies 36, no. 1 (2005): 271–74. http://dx.doi.org/10.1353/cjm.2005.0007.

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13

Nicholas, David, Graeme Small, and George Chastelain. "George Chastelain and the Shaping of Valois Burgundy: Political and Historical Culture at Court in the Fifteenth Century." American Historical Review 104, no. 5 (1999): 1736. http://dx.doi.org/10.2307/2649475.

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14

Van Bruaene, Anne-Laure. "In the Shadow of Burgundy: The Court of Guelders in the Late Middle Ages. Gerard Nijsten , Tanis Guest." Speculum 81, no. 2 (2006): 572–73. http://dx.doi.org/10.1017/s0038713400003298.

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15

Gittings, Clare. "The mourners: tomb sculpture from the Court of Burgundy Arthur Tudor Prince of Wales: life, death and commemoration." Mortality 16, no. 3 (2011): 279–81. http://dx.doi.org/10.1080/13576275.2011.586167.

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16

Kelley, Donald R. "George Chastelain and the Shaping of Valois Burgundy: Political and Historical Culture at Court in the Fifteenth Century.Graeme Small." Speculum 74, no. 2 (1999): 508–10. http://dx.doi.org/10.2307/2887131.

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17

Prevenier, Walter. "Reviews of Books:In the Shadow of Burgundy: The Court of Guelders in the Late Middle Ages Gerard Nijsten, Tanis Guest." American Historical Review 110, no. 2 (2005): 542–43. http://dx.doi.org/10.1086/531441.

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18

Pavanello, Agnese. "A FLEMISH VENUS IN MILAN: GASPAR VAN WEERBEKE’S MISSA O VENUS BANT." Early Music History 38 (September 11, 2019): 107–39. http://dx.doi.org/10.1017/s0261127919000020.

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AbstractThe mass O Venus bant by Gaspar van Weerbeke enjoyed notable fame and diffusion, as shown by the considerable number of surviving copies. This study formulates a new hypothesis about the origin of the mass. An examination of the transmission of the mass suggests a new scenario for its composition in Milan in connection with a major political event: the alliance of the Duchy of Milan and the Duchy of Savoy with Charles the Bold in 1475. The choice of a Flemish cantus firmus is thus linked to a specific occasion related to the region in which the melody originated. Since some composition

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19

Isler-De Jongh, Ariane. "Patronage at the Court of Burgundy around 1500: A Note on the Death of St Nicholas Window in the Royal Ontario Museum." RACAR : Revue d'art canadienne 29, no. 1-2 (2004): 75. http://dx.doi.org/10.7202/1069679ar.

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20

Ferrand, Mathieu. "La farse d’Amphitrion (Anvers, 1504), première traduction française d’une comédie plautinienne." Renaissance and Reformation 40, no. 3 (2017): 157–86. http://dx.doi.org/10.33137/rr.v40i3.28740.

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La farse d’Amphitrion paraît à Anvers en 1504, dans un recueil de vers anonymes. Il s’agit de la première traduction française d’une comédie plautinienne. L’analyse du texte et du paratexte permet d’abord de reconstituer le portrait intellectuel de l’auteur — un poète de la cour de Bourgogne — et de proposer une identification. L’analyse de la traduction permet ensuite d’apprécier comment le poète comprend la langue plautinienne, souvent difficile, et comment il tente de traduire sa vis comica. Une attention toute particulière est portée à la façon dont il rend l’agilité verbale de Plaute (jeu

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21

Arnade, Peter. "City, State, and Public Ritual in the Late-Medieval Burgundian Netherlands." Comparative Studies in Society and History 39, no. 2 (1997): 300–318. http://dx.doi.org/10.1017/s0010417500020636.

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At the end of a distinguished career as chronicler of the Burgundian court, Georges Chastellain (1404–75) penned a quick sketch of the outstanding accomplishments of his duke, Charles the Bold. Accustomed to expositions awash in chivalric pomp, Chastellain employed a different tack to commemorate this sovereign: He sketched eleven “magnificences” performed by the duke of Burgundy, all reconstructed images of this prince's engagement with ceremony. Foremost among this snapshot collection of state ritual was neither a tournament, nor a wedding ceremony, nor even a processional entry. What stood

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22

Brown, Elizabeth A. R. "Philip the Fair of France and His Family’s Disgrace: The Adultery Scandal of 1314 Revealed, Recounted, Reimagined, and Redated." Mediaevistik 32, no. 1 (2020): 71–103. http://dx.doi.org/10.3726/med.2019.01.03.

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In the spring of 1314, the three daughters-in-law of King Philip the Fair of France were seized as adulteresses, and two young knights, their alleged lovers, were brutally put to death at Pontoise, their property confiscated.1 The knights in question were brothers, Philippe and Gautier d’Aulnay, whose actions brought singular dishonor to their line and to their father Gautier, a faithful vassal and supporter of Count Charles of Valois, Philip the Fair’s brother and close confidant.2 Two of the king’s disgraced daughters-in-law were sent to the Norman fortress of Château-Gaillard. The oldest, M

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23

M. Scollen-Jimack, C. "George Chastelain and the Shaping of Valois Burgundy: Political and Historical Culture at Court in the Fifteenth Century. By Graeme Small. (Royal Historical Society, Studies in History, new series). Woodbridge, Suffolk-Rochester, NY, Royal Historical Society, 1997. x+302 pp. Hb 39.50; $71.00." French Studies 54, no. 2 (2000): 202–3. http://dx.doi.org/10.1093/fs/54.2.202.

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24

Hoppenbrouwers, Peter. "Heren die parlementeren." Tijdschrift voor geschiedenis 127, no. 4 (2014): 553–78. http://dx.doi.org/10.5117/tvgesch2014.4.hopp.

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Abstract A passion for palaver. Brabantine diplomatic activity, c. 1400Long before the Italian Renaissance laid the foundations of the modern diplomatic system, states maintained well-structured diplomatic relations. This article describes how these worked in practice between medium-sized territorial principalities. Its basis is the diplomatic paper trail left by two political issues c.1400 that caused much ado in the Low Countries: the attempts of Anthony of Burgundy, duke of Brabant and Limburg, to obtain the ducal title of Luxembourg, and the war between Albert I, duke of Bavaria, count of

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25

Simonson, Anne. "Gerard Nijsten. In the Shadow of Burgundy: The Court of Guelders in the Late Middle Ages. Trans. Tanis Guest. Cambridge Sudies in Medieval Life and Thought, Fourth Series. Cambridge and New York : Cambridge University Press, 2004. xxii + 470 pp. index. illus. tbls. map. chron. bibl. $95. ISBN: 0-521-82075-8." Renaissance Quarterly 58, no. 2 (2005): 658–59. http://dx.doi.org/10.1353/ren.2008.0768.

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26

Vaillancourt, Luc. "L'humanisme dissident des rhétoriqueurs: le cas de Guillaume Cretin." Renaissance and Reformation 39, no. 2 (2003): 77–86. http://dx.doi.org/10.33137/rr.v39i2.8870.

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It is not because he was unacquainted with Italian humanism that Guillaume Cretin, one of the “grands Rhétoriqueurs,” a group of late-fifteenth and early-sixteenth century writers associated with the courts of France and Burgundy, chose to cultivate traditional genres and themes. His epistles reveal an excellent knowledge of the new rhetorical values, most of which he exploits himself, in rather a contrast with his usual style. Of course, Cretin is a courtier and, as such, he has a political role to play — defending his king, praising his people and cultural heritage — but this is not only a m

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27

Kirkman, Andrew. "The Style of Walter Frye and an anonymous mass in Brussels, Koninklijke Bibliotheek, manuscript 5557." Early Music History 11 (October 1992): 191–221. http://dx.doi.org/10.1017/s0261127900001224.

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The Brussels manuscript 5557 is one of the most important sources of the later fifteenth century. Not only is it the one northern manuscript from the period to have survived largely intact, but it was apparently compiled for the chapel of no less a magnate than Charles the Bold, Duke of Burgundy. Presiding over one of the most opulent courts of Europe, Charles was more than just a great patron of the arts: he was an active composer himself. The sophisticated taste of his establishment is reflected in the extraordinary quality of the music in the Brussels manuscript: great masses by Dufay and R

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28

Sand, Alexa, Stephen N. Fliegel, Sophie Jugie, and Virginie Barthélémy. "Art from the Courts of Burgundy: The Patronage of Philip the Bold and John the Fearless 1364-1419." Sixteenth Century Journal 37, no. 4 (2006): 1227. http://dx.doi.org/10.2307/20478229.

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29

Carey, Hilary M. "Magic and Divination at the Courts of Burgundy and France: Text and Context of Laurens Pignon's "Contre les devineurs" (1411). Jan R. Veenstra." Speculum 76, no. 4 (2001): 1117–18. http://dx.doi.org/10.2307/2903693.

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30

Shank, Michael H. "Magic and Divination at the Courts of Burgundy and France: Text and Context of Laurens Pignon's Contre les devineurs (1411). Jan R. Veenstra." Isis 90, no. 3 (1999): 592–93. http://dx.doi.org/10.1086/384446.

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31

Degrigny, Christian, Francesca Piqué, Nutsa Papiashvili, et al. "Technical study of Germolles’ wall paintings: the inputof imaging technique." Virtual Archaeology Review 7, no. 15 (2016): 1. http://dx.doi.org/10.4995/var.2016.5831.

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<p class="VARAbstract">The <em>Château de Germolles</em> is one of the rare palace in France dating from the 14<sup>th</sup> century. The noble floor is decorated with wall paintings that are a unique example of courtly love spirit that infused the princely courts of the time. After being concealed sometime in the 19<sup>th</sup> century, the paintings were rediscovered and uncovered in the middle of the 20<sup>th</sup> century and partly restored at the end of the 1990s. No scientific documentation accompanied these interventions and impor

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32

Rodríguez-Salgado, M. J. "Christians, Civilised and Spanish: Multiple Identities in Sixteenth-Century Spain." Transactions of the Royal Historical Society 8 (December 1998): 233–51. http://dx.doi.org/10.2307/3679296.

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In January 1556 Charles V renounced his rights to the Iberian kingdoms and passed them on to his son, Philip, who at once assumed the title of King of Spain. To his surprise and consternation, the English council refused to endorse it and pertly reminded him that the Kingdom of Spain did not exist. While the title had long been used, and almost every language had an equivalent for Spain and Spanish, the truth was that legally there was no such entity. Philip II's will reflected this judicial reality. He was, ‘by the grace of God, king of Castile, Leon, Aragon, the Two Sicilies, Jerusalem, Port

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33

Hamilton, A. "J. R. Veenstra, Magic and Divination at the Courts of Burgundy and France. Text and Context of Laurens Pignon's Contre les devineurs (1411). E. J. Brill, Leiden, 1998, xiii-433 pp." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 79, no. 2 (1999): 254–55. http://dx.doi.org/10.1163/002820399x00098.

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34

Maynadié, Marc, Martine Courtois, Morgane Mounier, et al. "Incidence and Prognostic Value of FLT-3 and NPM1 Genes Abnormalities in Acute Myeloid Leukemia in the Côte D’or Population, France." Blood 112, no. 11 (2008): 4873. http://dx.doi.org/10.1182/blood.v112.11.4873.4873.

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Abstract Context: In acute myeloid leukemia (AML), the recently described FLT-3 and NPM1 genes abnormalities were found to have a prognostic value in AML with normal karyotype and a specific therapeutic strategy was proposed according to these abnormalities. We look for the incidence and prognostic value of these abnormalities in cases diagnosed on a well defined population. Material and Methods: AML diagnosed according to WHO classification between 01/01/2001 and 31/12/2006 in the population of the Côte d’Or department, were included. Karyotype analyses were performed in 81% of the cases. Th

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35

Burnett, Charles. "Magic and divination at the courts of Burgundy and France. Text and context of Laurens Pignon's Contre les devineurs (1411). By J. R. Veenstra. (Brill's Studies in Intellectual History, 83.) Pp. xiii+433. Leiden–New York–Cologne: Brill, 1998. Nlg 224. 90 04 10925 0; 0920 8607." Journal of Ecclesiastical History 51, no. 3 (2000): 592–651. http://dx.doi.org/10.1017/s0022046900494996.

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36

Harrie, Jeanne. "Pierre Béhar, Les Langues occultes de la Renaissance: Essai sur la crise intellectuelle de I'Europe au XVIème siècle Paris: Editions Desjonqueres, 1996. 44 illus. + 352 pp. FF 220. ISBN: 2-904227-97-0. - Jan R. Veenstra, Magic and Divination at the Courts of Burgundy and France: Text and Context of Laurens Pignon's Contre les devineurs (1411) Leiden and New York: Brill, 1998. xii + 433 pp. n.p. ISBN: 90-04-10925-0." Renaissance Quarterly 52, no. 2 (1999): 541–43. http://dx.doi.org/10.2307/2902084.

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37

"Claus Sluter: artist at the Court of Burgundy." Choice Reviews Online 28, no. 11 (1991): 28–6077. http://dx.doi.org/10.5860/choice.28-6077.

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38

"The mourners: tomb sculptures from the court of Burgundy." Choice Reviews Online 47, no. 12 (2010): 47–6672. http://dx.doi.org/10.5860/choice.47-6672.

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39

Punyi, Matthew J. "A New Crusade: Johannes Tinctor's Sect of Witches." Constellations 6, no. 1 (2015). http://dx.doi.org/10.29173/cons24113.

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The witch-hunt of the Burgundian town of Arras in 1459-1460 was the first large- scale, state-sponsored witch-hunt of Western Europe. However, immediately following this witch-hunt we still find evidence of a reluctance to accept the realities of witchcraft among the populace, made plain in the official appeal record of the accused Seigneur Colard de Beaufort at the parlement de Paris. Scepticism of this kind stirred the Dominican cleric Johannes Tinctor out of retirement to write a vicious demonological treatise to convince the courts of Burgundy and France of the existence and dangers of a s

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40

Nosova, Ekaterina. "The Mechanisms of Family Patronage at the Court of the Dukes of Burgundy." ISTORIYA 6, no. 4 (2015). http://dx.doi.org/10.18254/s0001010-0-1.

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41

Nosova, Ekaterina. "Searching for Individuality: the Court of Dukes of Burgundy and It's French Example." ISTORIYA 7, no. 6 (2016). http://dx.doi.org/10.18254/s0001525-6-1.

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42

Maekelberg, Sanne, and Krista De Jonge. "The Prince’s Court at Bruges: A Reconstruction of the Lost Residence of the Dukes of Burgundy." Architectural Histories 6, no. 1 (2018). http://dx.doi.org/10.5334/ah.227.

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43

Gent, M. J. van. "G. Nijsten, In the Shadow of Burgundy. The Court of Guelders in the Late Middle Ages." BMGN - Low Countries Historical Review 124, no. 1 (2009). http://dx.doi.org/10.18352/bmgn-lchr.6950.

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44

Acres, Alfred. "Alfred Acres. Review of "The Mourners: Tomb Sculpture from the Court of Burgundy" by Sophie Jugie." caa.reviews, October 9, 2012. http://dx.doi.org/10.3202/caa.reviews.2012.111.

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45

"George Chastelain and the shaping of Valois Burgundy: political and historical culture at court in the fifteenth century." Choice Reviews Online 35, no. 09 (1998): 35–5299. http://dx.doi.org/10.5860/choice.35-5299.

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46

"Graeme Small. George Chastelain and the Shaping of Valois Burgundy: Political and Historical Culture at Court in the Fifteenth Century. (Studies in History, new series.) Rochester, N.Y.: Boydell Press, for the Royal Historical Society. 1997. Pp. viii, 301." American Historical Review, December 1999. http://dx.doi.org/10.1086/ahr/104.5.1736.

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47

"Gerard Nijsten. In the Shadow of Burgundy: The Court of Guelders in the Late Middle Ages. Translated by (Cambridge Studies in Medieval Life and Thought, Fourth Series, number 58.) New York: Cambridge University Press. 2004. Pp. xxii, 470. $95.00." American Historical Review, April 2005. http://dx.doi.org/10.1086/ahr/110.2.542.

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