manuel cohen

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  • Tombs of Jean sans Peur, or John the Fearless, 1371-1419, Duke of Burgundy, and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta and Antoine le Moiturier, and behind, tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, Duke of Burgundy, 1381-1410, by Jean de Marville, Claus Sluter et Claus de Werve, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The Guardroom, a large ceremonial and banquet hall, was built 1450-55 by Philippe le Bon, or Philip the Good, 1396-1467, Duke of Burgundy, in Flamboyant Gothic style. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0504.jpg
  • Angel sculpture from the weeper facade of the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0528.jpg
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0480.JPG
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0478.jpg
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0466.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0520.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0470.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0473.jpg
  • Sculptures of hooded weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0512.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0515.jpg
  • Tombs of Jean sans Peur, or John the Fearless, 1371-1419, Duke of Burgundy, and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta and Antoine le Moiturier, and behind, tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, Duke of Burgundy, 1381-1410, by Jean de Marville, Claus Sluter et Claus de Werve, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The Guardroom, a large ceremonial and banquet hall, was built 1450-55 by Philippe le Bon, or Philip the Good, 1396-1467, Duke of Burgundy, in Flamboyant Gothic style. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0505.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0456.jpg
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0495.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0508.jpg
  • Effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0461.jpg
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0481.jpg
  • Lion at the feet of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0487.jpg
  • Sculptures of weepers including a bishop, under Gothic canopies, by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0518.jpg
  • Statues of hooded weeper under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0524.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0500.jpg
  • Lion at the feet of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0471.jpg
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0497.jpg
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0498.jpg
  • Lion at the feet of John the Fearless, from the tomb of Jean sans Peur, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0208.jpg
  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0486.jpg
  • Effigies above and weepers below on the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0506.jpg
  • Lion at the feet of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0479.JPG
  • Effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0467.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0475.jpg
  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0457.jpg
  • Effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0464.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0523.jpg
  • Statues of weepers under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0525.jpg
  • Statues of weepers under Gothic canopies under effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0507.jpg
  • Sculptures of weepers, including a man drying his eyes with a handkerchief, by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0526.jpg
  • Effigy of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0469.jpg
  • Lion at the feet of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0463.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0510.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0458.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0453.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0454.jpg
  • Effigies above and weepers below on the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0503.jpg
  • Tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0501.jpg
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0482.jpg
  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0483.jpg
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0459.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0511.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0514.jpg
  • Effigy from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0494.jpg
  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0484.jpg
  • Tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0517.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0519.JPG
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0499.jpg
  • Effigies above and weepers below on the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0502.jpg
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0492.jpg
  • Angel from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0491.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0474.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0477.jpg
  • Tombs of Jean sans Peur, or John the Fearless, 1371-1419, Duke of Burgundy, and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta and Antoine le Moiturier, and behind, tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, Duke of Burgundy, 1381-1410, by Jean de Marville, Claus Sluter et Claus de Werve, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The Guardroom, a large ceremonial and banquet hall, was built 1450-55 by Philippe le Bon, or Philip the Good, 1396-1467, Duke of Burgundy, in Flamboyant Gothic style. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0455.jpg
  • Effigy of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0462.jpg
  • Effigy of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0465.jpg
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0493.jpg
  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0485.jpg
  • Angels with helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0468.jpg
  • Angel from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. In the background is the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, by Jean de Marville, Claus Sluter, and Claus de Werve. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. This tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0488.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0460.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0521.jpg
  • Angel sculpture from the weeper facade of the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0527.jpg
  • Lion at the feet of John the Fearless, from the tomb of Jean sans Peur, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0489.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0513.jpg
  • Effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0490.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0522.jpg
  • Effigy and angels, from the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0496.jpg
  • Tombs of Jean sans Peur, or John the Fearless, 1371-1419, Duke of Burgundy, and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta and Antoine le Moiturier, and behind, tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, Duke of Burgundy, 1381-1410, by Jean de Marville, Claus Sluter et Claus de Werve, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The Guardroom, a large ceremonial and banquet hall, was built 1450-55 by Philippe le Bon, or Philip the Good, 1396-1467, Duke of Burgundy, in Flamboyant Gothic style. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0452.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0472.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0476.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0516.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0509.jpg
  • The Presentation in the Temple and the Flight to Egypt, painted and gilded by Melchior Broederlam, 1350-1409, on the back of the wings of the Crucifixion Altarpiece, 1390-99, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0178.jpg
  • St Catherine with her wheel, from the left wing of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The figures are set in niches and are topped by intricately carved Gothic architectural elements. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0168.jpg
  • The Entombment, from the right central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. This section depicts Christ being lowered into his tomb with grieving mourners in attendance, topped by intricate Gothic architectural carvings. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0174.jpg
  • Coats of arms of the Dukes of Burgundy, from the Altarpiece of Saints and Martyrs, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapterhouse at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0193.jpg
  • The Presentation in the Temple and the Flight to Egypt, painted and gilded by Melchior Broederlam, 1350-1409, on the back of the wings of the Crucifixion Altarpiece, 1390-99, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0210.jpg
  • St Barbara with her tower, from the right wing of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The figures are set in niches and are topped by intricately carved Gothic architectural elements. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0171.jpg
  • St George killing the dragon, from the left wing of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. St George has his sword raised, and wears a helmet with chainmail protecting his neck. The figures are set in niches and are topped by intricately carved Gothic architectural elements. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0165.jpg
  • Crucifixion, from the central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. This section depicts the Crucifixion, topped by intricate Gothic architectural elements and angels. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0155.jpg
  • The Presentation in the Temple and the Flight to Egypt, painted and gilded by Melchior Broederlam, 1350-1409, on the back of the wings of the Crucifixion Altarpiece, 1390-99, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0207.jpg
  • Detail of the Presentation in the Temple, with the Virgin Mary presenting the infant Christ to a temple elder, painted and gilded by Melchior Broederlam, 1350-1409, on the back of the wings of the Crucifixion Altarpiece, 1390-99, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0196.jpg
  • Detail of St Anthony being tempted by a devil, from the right central section of the Altarpiece of Saints and Martyrs, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapterhouse at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0185.jpg
  • The Martyrdom of St Catherine, from the central section of the Altarpiece of Saints and Martyrs, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The Emperor Maxentius tries to execute Catherine on a spiked wheel and eventually has her beheaded (right). The altarpiece was commissioned in 1390 and installed in 1399 in the Chapterhouse at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0188.jpg
  • The Presentation in the Temple, with the Virgin Mary presenting the infant Christ to a temple elder, painted and gilded by Melchior Broederlam, 1350-1409, on the back of the wings of the Crucifixion Altarpiece, 1390-99, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0180.jpg
  • The Presentation in the Temple and the Flight to Egypt, painted and gilded by Melchior Broederlam, 1350-1409, on the back of the wings of the Crucifixion Altarpiece, 1390-99, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0179.jpg
  • The Entombment, from the right central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. This section depicts Christ being lowered into his tomb with grieving mourners in attendance. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0161.jpg
  • Figures beneath the cross from the crucifixion scene in the central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0159.jpg
  • Grieving Virgin Mary from the crucifixion scene, in the central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0158.jpg
  • The Temptation of St Anthony, from the right central section of the Altarpiece of Saints and Martyrs, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. Anthony is depicted with his pig, tempted by devils. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapterhouse at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0189.jpg
  • St Anthony and his pigs, holding a crosier and prayer beads, from the right wing of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The figures are set in niches and are topped by intricately carved Gothic architectural elements. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0169.jpg
  • Adoration of the Magi, from the left central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. This section depicts the Virgin Mary with the baby Jesus being presented with gifts from the wise men. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0162.jpg
  • St Augustin with the heart of divine love, St Martha and the tarasque, St Vincent with grapes, a holy martyr and a deacon, from the right wing of the Altarpiece of Saints and Martyrs, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapterhouse at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0191.jpg
  • Adoration of the Magi, from the left central section of the Crucifixion Altarpiece, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. This section depicts the Virgin Mary with the baby Jesus being presented with gifts from the wise men. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapel of the Duc de Berry at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0177.jpg
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