Jan van Eyck and Portugal's "Illustrious Generation", Volume II 1904597661, 9781904597667

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JAN VAN EYCK AND PORTUGAL’S “ILLUSTRIOUS GENERATION” Vol. II

JAN VAN EYCK AND PORTUGAL’S “ILLUSTRIOUS GENERATION” Vol. II Barbara von Barghahn

The Pindar Press London 2014

Published by The Pindar Press 40 Narcissus Road London NW6 1TH · UK

Copyright © 2014 The Pindar Press All rights reserved

British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library

ISBN 978-1-904597-66-7

Obra publicada com o apoio do Instituto Camões — Portugal (Published with the support of Instituto Camões — Portugal).

Printed by Samper Impresores Carretera de San Vicente 13, 48510 Valle de Trápaga Vizcaya, Spain This book is printed on acid-free paper

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PLATES

P.1. Jan van Eyck, A Man in a Turban (Self-Portrait?), ca. 1433, oil on panel (25.5 x 19 cm: 10 x 7.5 in), London, National Gallery

 P.2. Jan van Eyck, The Virgin of Chancellor Nicolas Rolin (detail), ca. 1435, oil on panel (66 x 62 cm: 26 x 24.4 in), Paris, Musée du Louvre

2 P.3. After Jan van Eyck, Philip the Good wearing the Collar of the Order of the Golden Fleece (replica of an original work of ca. 1430), Madrid, Royal Palace 

P.4. Master of the History of Alexander the Great (Brussels), Dedicatory Page with Philip the Good receiving Jean Wauquelin’s “History of Alexander the Great” ca. 1448, from Le Livre des Conquêtes et Faits d’Alexandre le Grand, Paris, Bibliothèque Nationale de France, MS. Fr. 9342, f. 5

PLATES

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P.5. Francisco de Holanda, Selfportrait of the Artist presenting his book to the “Malitia Temporis” (Malice of the Ages), from De Aetatibus Mundi Imagines, f. 89, ca. 1543–73, Madrid, Biblioteca Nacional

P.6. Francisco de Holanda, Last Supper, Miniature, 16th Century, Rio de Janeiro, Museu Nacional de Belas Artes

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P.7. Peter Paul Rubens, after Titian’s lost 1548 Portrait of Charles V and Isabel of Portugal,  ca.  1628–29, Madrid, Liria Palace

P.8. Francisco de Holanda, Portrait of Michelangelo, ca. 1538–47, As Antigualhas, f. 2, Library, from As Antigualhas, 1548, Palace-Monastery of San Lorenzo de El Escorial

P.9. Michelangelo, Portrait of Vittoria Colonna, drawing, chalk, ca. 1540s, London, British Library

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PLATES

P.10. Anthonis Mor, King João III of Portugal (1502–1557), ca. 1552, Madrid, Fundación Lázaro Galdiano

P.11. Anthonis Mor, Queen Catherine of Austria (1507–1578), ca. 1552, Madrid, Museo del Prado

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P.12. Pierre-François De Noter, Historical Rendition of Abrecht Dürer’s Visit to the Chapel of Jodocus Vijd in 1521, ca. 1830, Enschede,  Rijksmuseum Twenthe 

P.13. Jan van Eyck, Ghent Altarpiece, Sint Baafskathedraal, 1432   (Joop Schilperoord)

PLATES

P.14. Jan van Eyck, The Ghent Altarpiece (open), 1432 (3.5 x 4.6 m: 11´ 6˝ x 15´ 1˝)

P.15. Attributed to João Eanes, King João I of Portugal (1384–1433), after lost Jan van Eyck portrait, tempera on wood (41 x 32 cm), ca. 1435-40, Lisbon, Museu Nacional de Arte Antiga (Frame carries the Latin legend: Haec est vera dignae ac venerabilis memorie Domini Ioannis defuncti quond(am) Portugalie nobilissimi et ilustrissimi regis ymago quippe qui dvviver eet de juberot victoria potitus est potentissima)

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P.16. Portuguese School, after Jan van Eyck, Fountain of Life, ca. 1429, oak panel (181 x 119 cm), Madrid, Museo del Prado

P.17. Jan van Eyck, Holy Knights, 1432, Ghent Altarpiece, Ghent, Sint Baafskathedraal

PLATES

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P.18. Ruins of the Castle of St. George, Lisbon (António Dias dos Reis)

P.19. Jan van Eyck, Diptych of Calvary and the Last Judgment, ca. 1429, oil on canvas, transferred from wood (56.5 x 19.7 cm: 22 ¼ x 7 2/3 in), New York, Metropolitan Museum of Art

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P.20. After Jan van Eyck, The Hunting Festivity of Duke Philip the Good of Burgundy (ca. 1431), 16th-century replica, Versailles (Musées Nacionaux de France) P.22. French School, Apparition of the Holy Grail before Sir Galahad and King Arthur’s Round Table, Quête du saint Graal, 15th Century, Bibliothèque National de France,  Paris, Richelieu, Côte Français 120, f. 524v

P.21. Portuguese School, A Demanda do Santo Graal (Quest for the Holy Grail), 15th-Century, Vienna, Hofbibliothek, Österreiche Nationalbibliothek, Cod. MS. 2594, 202 f. (While Merlin is lost, a 16th-century Livro de José de Arimatheia survives in Évora, Convento da Cartuxa, MS. 643) 

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PLATES

P.23. Jan van Eyck, Detail of the Adoration of the Lamb, 1432, Ghent Altarpiece 

P.24. Portuguese School, Funerary Estoque, from the Tomb of King João I at Batalha Abbey, 13th–14th Century, Lisbon, Museu Militar. (The weapon reflects innovations in arms that occurred due to the Lancastrian presence in Spain when John of Gaunt wed Pedro of Castile’s daughter Costanza. Edward, Duke of Cambridge, married Costanza’s sister Isabella and also commanded English troops in Portugal)

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P.25. Jan van Eyck, St. Barbara with her Tower, brush drawing on chalk ground laid on an oak panel, signed and dated 1437 ( 41.4 × 27.8 cm), Antwerp, Koninklijk Museum voor Schone Kunsten

P.26. Jan van Eyck, The Dresden Triptych (reverse wing panels in grisaille present the Annunciation), 1437, oil on oak panel (center: 33.1 x 27.5 cm; wings 33.1 cm x 13.6 cm), Dresden, Staatliche Kunstsammlungen

PLATES

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P.27.  School of Lorrain, Virgin of Mercy, mid 15th Century, polychrome stone (59 x 45.5 cm), Paris, Musée du Louvre

P.28. Jan van Eyck, The Madonna in the Church, oil on oak panel (31 × 14 cm: 12.25 × 5.5 in), Berlin, Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz

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P.29. Jan van Eyck, St. Francis receiving the Stigmata, ca. 1436, oil on panel (29.2 x 33.4 cm) Turin, Galleria Sabauda

P.30. Luso-Flemish School, St. Francis receiving the Stigmata, 1450–1500, polychrome wood (92 cm), Lisbon, Museu Nacional de Arte Antiga

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PLATES

P.31. Pere Nisart (fl. June 21, 1468– June 3, 1470) and Rafael Moger, St. George slaying the Dragon, ca. 1468–70 (after Jan van Eyck), Mallorca, Museo Diocesano de Palma (from the Church of St. Antoni de Padua, Palma, Mallorca, acquired by the Confraternity of St. George)

P.32. After Jan van Eyck, St. Christopher with the Christ Child and a Holy Hermit, drawing, ca. 1437, Paris, Musée du Louvre

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P.33. Beguinage in Bruges and Minnewater with Swans and the Church of Our Lady in the Distance, 13th Century, rebuilt 1605 (Marc Willems)

P.34. Sintra Palace (António Dias dos Reis)

PLATES

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1.1. Jan van Eyck, A Man in a Turban (Self-Portrait?), ca. 1433, London, National Gallery

1.2. Map of Flanders, Holland, Hainaut and Zeeland (After Richard Vaughn)

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1.3. Binnenhof Castle, detail, engraving, after Frans Hogenberg and Georg Braun, Den Haag, 1611, The Hague, Municipal Archives

1.4. Binnenhof Castle, The Hague

PLATES

1.5. Hans Bol, Water Tournament on the Hofvijver in The Hague, 1586, parchment on panel (12.5 x 58 cm), Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister (Left side above; right side below)

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1.6. The Hague Hifvijver (Court Pond) The Grafelijke (Counts Residence) from the Northeast after Restoration

PLATES

1.7. Gerrit Berckheyde, Ridderzaal (Knights Hall begun 1248 by Count Willem II) (51.5 x 61 cm), Private Collection 

1.8. Courtyard and Gate to the Ridderzaal, The Hague

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1.9. Ridderzaal, Binnenhof Castle, The Hague 1.10. Court, Binnenhof Castle, The Hague

PLATES

1.11. Hand G, Voyage of St. Julian, Turin Hours, ca. 1420–24,   destroyed 1904, f. 55v

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1.12. Hand G, Prayer of a Prince with Cavaliers on the Shore, Turin Hours, ca. 1420–24, destroyed 1904, f. 59v,

PLATES

1.13. Flemish School (After Jan Van Eyck, 1420–24), Man with a Carnation and Order of St. Anthony (John of Bavaria), ca. 1475, Berlin, Staatliches Museum, Kupferstichkabinett

1.14. Flemish School, The Hunting and Fishing Party, 16th Century copy after a lost original by Jan van Eyck? (ca. 1440), unfinished composition, Paris, Louvre, Cabinet des Dessins

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1.15. After Jan van Eyck or Lambert van Eyck, Jacoba of Bavaria, 16th Century, Vienna Kunsthistorishces (formerly in Schoss Ambras)

1.16. After Jan van Eyck or Lambert van Eyck, Jacoba of Bavaria, ca. 1455–1460, silverpoint drawing, Frankfurt am Main, Städelsches Kunstinstitut and Städtische Galerie

PLATES

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1.17. Jan van de Velde, View of Coudenberg Palace, 1649,   color engraving, Leuven (Louvain), Katholieke Universiteit

1.18. Coudenberg Palace, Brussels (After Jean-Baptiste Aimé, 1725, Brussels, A.G.R., Cartes et plans, inventaire manuscrit, 1324 and Krista De Jonge): A Entrance; B Courtyard; C Chapel of Jean of Brabant (1375); D Archers Hall; E Logis of Philip the Good (1431–1436): Room and Sallete; F Retraite of Philip the Good (1431-1436); G Audience Hall (1431–1436); H Grande Salle of Philip the Good (1451–1461); I Hall of Charles the Bold (1468–1469); J Tower Staircase of Charles the Bold (1468–1469); K Passage to the Parkland; L Chapel of Emperor Charles V (1522– 1538; 1548–1553); M Sacristy (1554–1555); N Apartment of Mary of Hungary (1533–1537); O Grande Galerie of Mary of Hungary (1533–1537); P Staircase of Mary of Hungary (1533–1539); Q New Staircase (1598–1603); R Archducal Galleries (1598–1603); S Oratory of Archduchess Isabel Clara Eugenia (1598– 1603); T Parkland

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1.19. Georg Braun and Frans Hogenberg, Site of the Coudenberg Palace (No. 36), Map of Brussels, from the Civitatis Orbis Terrarum, Cologne, I, ca. 1575, Brussels, Bibliothèque Royale Albert I

1.20. Bartholomeus de Momper (ca. 1535–1589), View of the Hof van Brussels (Coudenberg Palace), 1558–1560. colored engraving, Brussels, Koninklijke Bibliotheek Albert I, Prentenkabinet, S, II 11445, plano C (To the Northwest, the Great Hall, 42 x 17 meters, was built by Philip the Good about 1451–1461 and had access to the two primary courts of the Imperial Palace. The view from Warande Park shows the 16th-Century additions: Charles V’s Chapel of St. James adjoining the Great Hall on the right; and Mary of Hungary’s Loggia in the foreground)

PLATES

1.21. Coudenberg Palace, 1659, Atlas Jean Blaeu, Madrid, Biblioteca Nacional (Western Façade and Main Entrance with a View of the Warande Parkland)

1.22. Rogier van der Weyden, Jean Wauquelin presents his Chroniques de Hainaut to Duke Philip the Good, frontispiece, Chroniques de Hainaut, ca. 1447–48, Brussels, Bibliothèque Royale Albert I, MS. 9242, f. 1  (Jean Chevrot († 1460), Bishop of Tournai (1438) and Chancellor Nicolas Rolin (1376–1461) stand to the right of the Duke; the young Charles the Bold (age 14) is left of his father)

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1.23. E. Nyon Rauch, Palais du Rihour at Lille, engraving, 1834  (Washington, DC, Private Collection)

1.24. F. Butkens, Rihour Palace, Lille, engraving, Trophées tant sacrés que profanes du duché de Brabant… (The Hague, 1726, III), Brussels, Bibliothèque Royale Albert Ie)

1.25. Lille, Rihour Palace Plan, (1829; plan published by M. Bruchet, 1922) Suggested Layout:  A Entrance; B Courtyard; C Grand Staircase; D Hall of Archers; E Apartments of Philip the Good; F Staircase of Philip the Good; G Aile des Dames; Apartments of Duchess Isabel; H Staircase of Duchess Isabel; I Staircase; J Great Hall; K Chapel; L Oratory of the Duke; M Oratory of the Duchess; N Sacristy; O Staircase to the Chapel; P Gallery; Q Courtyard Entrance

PLATES

1.26. Rihour Palace Remnant (Present Tourist Office, Lille) Entrance and Hall

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1.27. Rihour Palace Remnant with Chapel to the left   (Nicolas Delerue)

1.28. Interior of Old Chapel (Sébastien Impe)

PLATES

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1.29. Antonius Sanderus, Prisenhof Castle, Bruges, engraving, 1641, from Flandria Illustrata, Ghent, Universiteitsbibliotheek 1.30. Map of Renaissance Paris: A Palais de la Cité; B Sainte-Chapelle; C NotreDame; D Pont SaintMichel (Pont Neuf ); E Grand Pont; F Petit Pont; G Châtelet; H Louvre Castle; I Hôtel d’Alençon; J Hôtel de Bourbon; K Hôtel Royale (Hôtel de Tournelles; Duke of Orléans & later Bedford House; L Tour de Nesle; M Hôtel Nesle (Duke of Berry); N Orléans House; O Les Franciscains; P Hôtel de Bourgogne (Hôtel d’Artois: Duke of Burgundy) & Tower of Jean the Fearless; Q Saint-Martin des Champs; R Le Temple; S Hôtel Barbette; T Hôtel de Savoisy; U Couvent Sainte-Catherine; V Hôtel Royal de Saint-Pol; W Couvent des Célestines; X Abbaye de Saint-Victor; Y Les Dominicains; Z Abbey Saint Germaine-de-Prés

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1.31. Tower of Jean Sans Peur, Hôtel de Bourgogne, 14th Century, Paris

1.32. Ducal Palace, Dijon (Jean Poncelet’s Tower of Philip the Good and his Logis, 1450–1455)

PLATES

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1.33. Map of the Netherlands and Burgundy

1.34. Jules Hardouin-Mansart, The Burgundian Hôtel de Dijon and the Ducal Church of SainteChapelle (Looking East: Ducal Palace to the left and center: Sainte-Chapelle to the right, Chartreuse de Champmol is to the North: Ducal Palace to the left and center: Sainte-Chapelle to the right, Chartreuse de Champmol is in the distance) pen and watercolor, 1688, Paris, Bibliothèque de la Sorbonne, MS. 1501 1.35. Étienne Martellange (1569– 1641), Dijon Palace (The former Logis of Margaret of Flanders and Bar Tower (1365) of her husband Philip the Bold, 1469–1541, Paris, Bibliothèque Nationale de France

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1.36. Flemish School, Allegorical Wedding Feast at Cana, ca. 1495, right panel of the Triptych of The Miracles of Christ, Melbourne, National Gallery of Victoria (Clockwise around the table are: Bonne d’Artois, Michelle of France, Duchess Isabel of Burgundy, Duke Philip the Good, Margaret of York, Charles the Bold, Mary of Burgundy, Maximilian I and Philip the Fair)

PLATES

1.37. Boucicaut Master, Hayton presents his Book to John the Fearless, from the Livre des Merveilles, ca. 1410, Paris, Bibliothèque Nationale de France, MS. Fr. 2810, f. 226

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1.38. Loyset Liédet, Battle of Nicopolis, from Jean Froissart, Chroniques de France, 1470s, Paris, Bibliothèque Nationale de France, Ms Fr 2646, f. 220 1.39. After Albrecht Dürer, Emperor Sigismund (1368– 1437), Budapest, Hungarian National Museum (original panel, ca. 1511–13 is in Nuremberg, Germanisches Nationalmuseum)

PLATES

1.40. Map of England & Map of the Major Land Routes after 1000 (According to Angus Konstam’s Atlas of Medieval Europe: after Map by Roger Keane)

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1.41. Jean Le Tavernier, Philip the Good receives the Qur’an, from Bertrand de La Broquière, Voyage d’Outremer, Paris, Bibliothèque Nationale, MS. Fr. 9087, f. 1 (Monastery of Pothières depicted during the 1433 siege of Mussyl’Éveque)

1.42. Jean Le Tavernier, View of Jerusalem, from Bertrand de La Broquière, Voyage d’Outremer, Paris, Bibliothèque Nationale, MS. Fr. 9087, f. 85v.

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PLATES

1.43. Map of Italy

1.44. Jan van Eyck, Ghent Altarpiece, 1434, Ghent, SintBaafskathedraal (Exterior Panels)

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1.45. Gentile da Fabriano, Adoration of the Magi, 1423, Florence, Uffizi (Dmitry Rozhkov)

1.46. Gentile da Fabriano, Adoration of the Magi, Detail of the Prophet Ezekiel, 1423

PLATES

1.47. Francesco Borromini, drawing after Gentile da Fabriano and Pisanello Frescoes on the North Nave Wall of San Giovanni Laterano, Rome, dated 1427, Berlin, Kupferstichkabinett (Jörg Anders and Charles Sterling)

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1.48. Leon Battista Alberti, Santa Maria Novella, 1470, Florence (Georges Jansoone) and Chiostro Verde, 1343– 1355 (Sailko)

1.49. The Cloister’s North Side contains the Spanish Chapel (Carlo Brogi). The former Dominican Chapterhouse Guidaloletti Chapel was transformed into the Cappellone degli Spagnoli in 1566. The fresco program perhaps was devised by Fra Jacopo Passavanti

PLATES

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1.50. Andrea Bonaiuti, Christian Wisdom in the Spirit of St. Thomas Aquinas (West Wall) and Allegory of the Active and Triumphant Church and the Dominican Order, (East Wall), 1366–68, the Spanish Chapel, Florence, Santa Maria Novella (Sailko)

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1.51. Masolino, Adam and Eve (left) and Masaccio, Adam and Eve (right), Florence, Santa Maria del Carmine, Brancacci Chapel (Sailko)

1.52. Jan van Eyck, Adam and Eve, 1432, Ghent Altarpiece

PLATES

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1.53. Masaccio, Virgin and Child with Musicplaying Angels, 1426, Pisa Altarpiece, London, National Gallery

1.54. Jan van Eyck, The Lucca Madonna, (65.5 x 149.5 cm; 25.8 x 58.9 in), 1434–35 Frankfurt, Städelsches Kunstinstitut

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1.55. Taddeo Gaddi, Cappella Baroncelli, decorated with frescoes of the Life of the Virgin Mary (below: Presentation and Marriage to St. Joseph), 1337–38, Florence, Santa Croce (Sailko)

PLATES

1.56. Taddeo Gaddi, Still Life, fresco, 1337–38, Cappella Baroncelli, Florence, Santa Croce (Sailko)

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1.57. Masaccio, The Crucifixion, 1426, Pisa Altarpiece, Naples, Capodimonte Museum

1.58. Hand H, Calvary, Turin-Milan Hours, ca. 1435–1440, MS. 47, f. 48v, Museo Civico d’Arte Antica, Turin

PLATES

1.59. Jan van Eyck Workshop, Calvary, ca. 1435, Venice, Galleria Giorgio Franchetti alla Cá d’Oro and Detail of the Hand H, Calvary, Turin-Milan Hours, ca. 1435–1440 MS. 47, f. 48v, Museo Civico d’Arte Antica, Turin

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1.60. Basilica of St. Antonio, Padua (Stefan Lew)

1.61. Altichiero da Zevio, Crucifixion, 1376–79, fresco, Padua, St. Antonio, Chapel of St. James (Sailko)

PLATES

1.62. Altichiero da Zevio, Crucifixion, 1376–79, fresco, Padua, St. Antonio, Chapel of St. James (Sailko)

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1.63. After Jan van Eyck’s, Way to Calvary of ca. 1427–28, 16th-century replica, Budapest, Szépmüvészti Múzeum

1.64. Bernhard von Breydenbach, Civitas Iherusalem (Mainz, 1486), Jerusalem, The Hebrew University, Department of Geography, The Jewish National University Library

PLATES

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1.65. Bernhard von Breydenbach, Civitas Iherusalem (Mainz, 1486): Left, Pilgrimage Sites near the Mount of Olives; Below, Tower of David situated to the left of the Temple of Solomon. Jerusalem, The Hebrew University, Department of Georgraphy, The Jewish National University Library

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1.66. Assisi  Town at Dusk 

Piazza Inferiore di San Francesco and Entrance to the Lower Church 

Basilica di Santa Chiara, Façade

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PLATES

1.67. Jan van Eyck, The Stigmatization of St. Francis with Brother Leo, ca. 1436–37, Turin, Galleria Sabauda

1.68. Photograph of the Cliffs of La Verna, Site of the Stigmatization of St. Francis (Charles Sterling)

1.69. Santuario della Verna and Cappella della Penna (Francesco Gabrielli)

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1.70. Rocky Terrain of the Santuario della Verna, Mount Penna (Francesco Gabrielli)

1.71. Jan van Eyck, The Madonna of Chancellor Rolin, ca. 1435, Paris, Louvre

PLATES

1.72. Filippo Calendario, Adam and Eve and The Drunkeness of Noah, 1340–55, Venice, Doge’s Palace

1.73. Altichiero da Zevio, The Dream of King Ramirez and the Battle of Clavijo, 1376–79, fresco, Padua, St. Antonio, Chapel of St. James (Sailko)

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1.74 Ruins of Visegrád Castle, Pest, Hungary, 1350–1408 (Mihály Barosi) and View of the Angevin Stronghold overlooking the Danube River (Béla Horváth)

PLATES

1.75. Santa Maria de Naranco, Oviedo, ca. 842–850, view from the Northeast and Great Hall facing West (Agustín Herrero de Miguel)

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1.76. Santa Maria de Naranco, Oviedo, ca. 842–850, view from the Northeast and Great Hall facing West  (Agustín Herrero de Miguel)

PLATES

1.77. San Miguel de Liño (Lillo) on Monte Naranco, Oviedo, founded 857 by Ordoño I, view from the southwest  (Agustín Herrero de Miguel)

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1.78. After Jan van Eyck, The Hunting Festivity of Duke Philip the Good of Burgundy, ca. 1433–34, Versailles (Musées Nacionaux de France)

1.79, Bohemian School, June, from a Cycle of the Months of the Year, ca. 1400–1407, Trent, Castello del Buonconsiglio, Eagle Tower

PLATES

1.80. Castello del Buonconsiglio, Trent, ca. 1400 and Detail of a Northern Italian Town and the Alps in Jan van Eyck’s St. Francis of Assisi, Turin

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1.81. Bohemian School, Cycle of the Months of the Year, ca. 1400–1407, Trent, Castello del Buonconsiglio, Eagle Tower

1.82. Bohemian School, January and October, from a Cycle of the Months of the Year, ca. 1400–1407, Trent, Castello del Buonconsiglio, Eagle Tower

PLATES

1.83. Medallion of King Alfonso V, 1449, London, Victoria and Albert Museum

1.84. Sepulchre with Avis-Aragonese Escutcheons, probably the original tomb of Isabel de Urguell (1409–17 September 1459), after 1450, Coimbra, Mosteiro Novo de Santa Clara (Academia Nacional de Belas Artes, Lisbon)

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1.85. Map of Spain and Portugal (after George Kubler)

1.86. School of Valencia, Adoration of the Magi, from the Altarpiece of the Virgin of Pobla Llarga, ca. 1440–1450, Valencia, Museo de Bellas Artes

PLATES

1.87. School of Valencia, Adoration of the Magi (detail), from the Altarpiece of the Virgin of Pobla Llarga, ca. 1440–1450, Valencia, Museo de Bellas Artes, Detail

1.88. Crown of King Martin (†1410), 15th Century. (The twisted tubular silver gilt diadem was the traditional crown of the Counts of Barcelona. The upper section, two additional coronets of Martin, was created in the 19th Century), Treasury, Cathedral of Barcelona (Archivo Mas)

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1.89. School of Valencia, Adoration of the Magi, Altarpiece of the Virgin of Pobla Llarga, ca. 1440–1450, detail of the landscape

1.90. Aragonese School, The Alcázar of Valencia and the Entry of Jaime I of Aragon after the Battle of El Puig (August 15, 1237), mural, 12th–13th Century, Castle of Alcañiz, Aragon

PLATES

1.91. Anton van den Wyngaerde, View of Valencia and Alcázar (1562), Villes d’Espagne, Vienna, Österreichische Nationalbibliothek Medieval City Gate, Valencia (The 15th-century city had twelve gates)

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1.92. Anton van den Wyngaerde, View of Valencia and Alcázar (1562), Detail of Alcázar Spanish School, Plan of the Alcázar Valencia, 1560, Madrid, Biblioteca Nacional, MS. 18.225, f. 313

PLATES

2.1. Jan van Eyck, Baudouin de Lannoy, ca. 1436–38, Berlin, Gemäldegalerie, Staatliche Museum

2.2. Flemish School, Château d’Anvaing, Lannoy Residence Northwest of Hainaut, 12th–16th Century (Jean-Pol Grandmont)

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2.3. Flemish School, color engraving after Georg Braun and Frans Hogenberg, View of Lisbon, from Civitates Orbis Terrarum, I, 1572, Ghent, University Library

2.4. Estremos (António Dias dos Reis)

PLATES

2.5. Map of Portugal (After A. H. de Oliveira Marques Map by the University of Wisconsin Cartographic Laboratory)

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2.6. Estremos, Entrance Portal

2.7. Estremos, Castle Keep of King Dinis (António Dias dos Reis)

PLATES

2.8. Estremos, Audience Hall and Vaulted Ceiling of King Dinis (António Dias dos Reis)

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2.9. Arraiolos, Paço de Sempre Nova (Vitor Oliveira)

PLATES

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2.10. Albert Haupt, Paço de Sempre Nova, Arraiolos, drawings, 1886 (Portualense Editora, Porto, 1948

2.11. Avis (António Dias dos Reis)

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2.12. Convento de S. Benito de Avis: Ruins and Plan of the Avis Castle A Church; B Palace of the Prior-Mór; C Bell Tower; D Old Refectory; E Casa do Capituló; F Sacristy; G School; H Misericórdia; I Private Habitations; J Dormitory of Novices; K Old Cloister; L Cisterns; M Cloister Garden; N Angel Gate; O Wall Gate; P Tower; Q Terrace; R Ruins of the Lateral Façade

PLATES

2.13. Convento de S. Benito de Avis: Entrance and Tower of S. António (António Dias dos Reis)

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2.14. After Jan van Eyck, Princess Isabel of Portugal, 17th Century, drawing, Southern Germany, Private Collection (Charles Sterling)

2.15. Jan van Eyck, Erythraean Sibyl, detail of Exterior Panel, The Ghent Altarpiece, 1432, Sint-Baafskathedraal, Ghent

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PLATES

2.16. After Jan van Eyck (Lambert van Eyck or João Eanes?), Princess Isabel of Portugal, ca. 1430, Dijon, Musée des Beaux-Arts

2.17. Escutcheon of King João I

2.18. Flemish School, Isabel of Portugal, detaill of a drawing from the Brabants Wapenboek, 1560, Brussels, Koninklijke Bibliotheek Albert I, hs III 878, folio 17

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2.19. Flemish School, Isabel of Portugal and Philip the Good, 16th-century replica, Ghent, Museum voor Schone Kunsten

2.20. Flemish School, Isabel of Portugal, ca. 1445, 16th-century replica, Lille, Musée des Beaux-Arts; Christopher Butkens (1590–1650), La Motte-aux-Bois near Morbecque, engraving from Trophées tant sacrés que profanes du duché de Brabant, 1724–26, Brussels, Koninklijke Bibliotheek Albert I

PLATES

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2.21. The Boucicaut Master (Jacques Coene), St. Nicholas (detail of the folio), The Hours of Jean Le Maingre II, Maréchal de Boucicaut, ca. 1410–12, Paris, Institut de France, Musée Jacquemart-André, MS. 2, f. 33v

2.22. Master of the St. Ursula Legend, St. Nicholas, ca. 1490, Bruges, Groeningemuseum (The landscape shows walls and monuments of Bruges)

86

2.23 Anthon van den Wyngaerde, Montserrat, watercolour with crayon and brown ink, 1563, Vienna, Österreichische National-Bibliothek, Cod. Min. 41, f. 5 (Detail) Santa Cova, where the Statue of the Virgin of Montserrat (La Moreneta) was discovered

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PLATES

2.24. Bartolomé Bermejo (Códoba 1405–1498), the Virgin of Montserrat vernerated by the Merchant Francesco della Chiesa before the Santa Cova, Centerpiece of a Triptych created in Valencia (wings by Rodrigo de Osuna), ca. 1470, Cathedral, Acqui Terme

2.25. Virgin of Montserrat (La Moreneta), Pilgrimage Shrine of Our Lady of Montserrat (feast day April 27)

88

2.26. Nicolas de Chanterene, Tomb of King Afonso Henriques I, ca. 1522, Coimbra, Augustinian Monastery of Santa Cruz (António Dias dos Reis) The Herald of King Afonso Henriques (Guimarães: Barroso da Fonte, photo by José Bastos; The arms of the blue cross contain silver white coins, an allusion to the monarch’s charitable largesse in the tradition of Constantine and St. Nicholas)

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PLATES

2.27. Bartolomé Bermejo, St. Engracia, ca. 1475 (64 ¼ x 28 ½”), Boston, Isabella Stewart Gardner Museum

2.28. Bartolomé Bermejo, The Capture of St. Engracia, ca. 1475, San Diego Museum of Art, Gift of Misses Anne R. and Amy Putnam

90

2.29. Georg Braun and Frans Hogenberg, View of Lisbon and the Alcáçova Palace, detail, engraving from Civitates urbis terrarum, 1598, Cologne

2.30. Map of Portugal (After A. H. de Oliveira Marques Map by the University of Wisconsin Cartographic Laboratory)

PLATES

2.31. Crato, Santa Maria de Flor da Rosa, ca. 1350–15th Century (José Elias)

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2.32. Castle of Ourém, 1450–1460 (António Dias dos Reis)

PLATES

2.33. Castle of Ourém, 1450–1460 (António Dias dos Reis)

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2.34. Alcáçova of Leiria from the Town (António Dias dos Reis)

2.35. Alcáçova of Leiria Exterior Walls and Towers (António Dias dos Reis)

PLATES

2.36. Leiria Façade and the Torre dos Sinos (António Dias dos Reis)

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2.37. Afonso Domingues (1388–1402) and Master Huguet (1402–1438), Leiria Church of Nossa Senhora da Penha (António Dias dos Reis)

PLATES

2.38. Afonso Domingues (1388–1402) and Master Huguet (1402–1438), Leiria Church of Nossa Senhora da Penha, Bell Tower and Apse (António Dias dos Reis)

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2.39. Leiria Castle Mudéjar Hall and View through Three Archs (António Dias dos Reis) Balcony and Arches (Raul Grande Revilla)

PLATES

2.40. Alcobaça Monastery from the Ruins of the Medieval Residence of King Dinis, 1308–1311 (António Dias dos Reis)

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2.41. The Castle of Portodo-Mós, District of Leiria, Medieval Fortress of Constable Nuno Álvares Pereira after the Battle of Aljubarrota (1385), inherited by Afonso, 4th Duke of Ourém and 1st Duke of Bragança (António Dias dos Reis)

PLATES

2.42. Alcobaça Monastery, Cloister of Silence and Gallery with Lavarium, 1308–1311 (António Dias dos Reis)

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2.43. Alcobaça Monastery, early 14th Century, Chapter House (António Dias dos Reis)

PLATES

2.44. Alcobaça Monastery, early 14th Century, Church, Nave, 1223–1252 (António Dias dos Reis)

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2.45. Alcobaça Monastery, early 14th Century, Church, Transept and Apse, 1223–1252 (António Dias dos Reis)

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PLATES

2.46. Alcobaça Church, Sepulchre of King Pedro ca. 1361–67 (António Dias dos Reis)

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2.47. Alcobaça Church, Sepulchre of Inês de Castro, ca. 1360 (António Dias dos Reis)

PLATES

2.48. Alcobaça Church, Sepulchre of Inês de Castro, ca. 1360 (António Dias dos Reis)

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2.49. The Castle of Montemor-o-Velho between the Douro and Mondego Rivers, ca. 1109, Fortress of Prince Pedro, Duke of Coimbra, in 1416 (Cida Garcia) and Plan of the Site (Academia Nacional de Belas Artes, Lisbon)

PLATES

2.50. Conímbriga (environs of Coimbra), Roman Ruins of Villa Garden and Mosaics, 3rd Century (António Dias dos Reis)

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2.51. Mosteiro de Santa Cruz, Coimbra (Façade early 16th-Century: António Dias dos Reis) and Plan (Academia Nacional de Belas Artes, Lisbon)

PLATES

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2.52 . Workshop of Jan van Eyck, Hand H, St. Helen and the Discovery of the True Cross, TurinMilan Hours, ca. 1435–40, Museo Civico d’Arte Antica, Turin, MS. 47, f. 118

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2.53. Alessio Baldovinetti (1425-1499), Portrait of Abbot Gomes Eannes, fresco pendentive, 1466–1473, in Antonio Rossellino’s (1427–1479) Chapel of Cardinal Jaime of Portugal (1434–1479: son of Prince Pedro and nephew of Duchess Isabel of Burgundy), Church of San Miniato, Florence (Orso Battaglini)

2.54. Bernardo Rosselino (1409–1464), The Orange Cloister, 1429–1436, La Badia, Florence (Orso Battaglini)

PLATES

2.55. Portuguese School, Tomb Effigy of Sancho I, son of Afonso Henriques, 16th Century, Coimbra, Mosteiro de Santa Cruz (António Dias dos Reis)

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2.56. Coimbra, Mosteiro de Santa Cruz, Interior Church (António Dias dos Reis)

2.57. Romanesque Stone Arca, Franciscan Martyrs of Morocco before Sultan Miramolin (40 x 112 x 51 cm), ca. 1290–1320, from the Augustinian Monastery of Santa Cruz, Coimbra, Museu de Machado de Castro (Alberto Totxo)

PLATES

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2.58. Portuguese School, Milagres feitos pelos Cinco Mártires de Marrocos, 15th Century, from the Mosteiro de Santa Cruz, Coimbra (Porto: Biblioteca Pública Municipal de Porto, Santa Cruz, 38, MS. 770) Portuguese School, Folio, Passio Sanctorum Martirum Quinque Fratrum Minorum, 15th Century, Mosteiro de Santa Cruz, Coimbra (Porto: Biblioteca Pública Municipal de Porto, Santa Cruz, 29, MS. 52)

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2.59. Cathedral of Coimbra, 1218–50: Façade (António Reis do Dias) Cloister of the Sé Velha; Plan (Academia Nacional de Belas Artes, Lisbon)

PLATES

2.60. Cathedral of Coimbra, 1218–50: Nave (António Dias dos Reis)

2.61. Mestre Pêro (Aragon), Tomb of Dona Vataça, early 14th Century, Coimbra, Cathedral (displays the doubleheaded eagle of Byzantium) (Academia Nacional de Belas Artes, Lisbon)

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2.62. Domingo Domingues (1316– 1325) and Estêvão Domingues (1331), Coimbra Ruins of Santa Clara-a-Velha (João Gomes Mota)

PLATES

119

2.63. Tombs once in Santa Clara-aVelha, Coimbra and moved to Santa Clara-a-Nova Mestre Pêro, Tomb of St. Isabel of Portugal (1271–1336), ca. 1330, (ANBA, Lisbon: end view, José Manuel Oliveira) Mestre Pêro Workshop, Tomb of Dona Isabel, St. Isabel of Portugal’s Niece (Her parents were Pedro of Aragon (1275–1296) and Constança Mendes de Silva, daughter of Soeiro Mendes Petite, governor of Santarém) (António Dias dos Reis)

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2.64. Santa Clara-a-Velha Exterior (IPPAR) and Interior (João Gomes Mota) and Plan (Academia Nacional de Belas Artes, Lisbon)

PLATES

2.65. Domingo Domingues (1316–1325) and Estêvão Domingues (1331), Coimbra Santa Clara-aVelha (Academia Nactional de Belas Artes, Lisbon)

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2.66. Ruins of the Residence of St. Elizabeth in Santa Clara-a-Velha (Alberto Totxo)

2.67. School of Coimbra, Virgin and Child, from the Treasury of Queen St. Isabel, ca. 1400–1425, MNMC, Coimbra (ANF/Instituto Português de Museus: José Pessoa)

PLATES

123

2.68. University of Coimbra from the Mondego River (António Dias dos Reis)

2.69. Plan of the Castle of Coimbra on the Site of the Universidade de Coimbra, Detail, 18th Century, Coimbra, Museu Municipale (left: Castello Velho with Picadeiro; right Castello Novo with Gardens (Academia Nacional de Belas Artes, Lisbon)

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2.70. Map of Portugal (After A. H. de Oliveira Marques Map by the University of Wisconsin Cartographic Laboratory) and Birthplace of Prince Henrique the Navigator at Porto (Georges Jansoone)

PLATES

125

2.71. Porto and the Douro River (António Dias dos Reis)

2.72. Teodoro de Sousa Maldonado Godinho, Porto, 1789, engraving, Porto, Arquivo Histórico Municipal

126

2.73. Porto, Cathedral, 12th-14th Centuries and Cloister, 14th Century (left: António Dias dos Reis; right Entrance)

PLATES

2.74. Porto, Cathedral, 14th Century Cloister (António Dias dos Reis)

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2.75. Porto, Cloister, 14th Century Porto, Cathedral Interior, 12th Century (António Dias dos Reis)

PLATES

2.76. São Francisco, Porto, Western Portal with the Gothic Rose Window, the only part of the façade to surive a fire of 1833, which destroyed the old cloisters

2.77. Southern Façade and Detail of its Portal facing the River

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2.78. São Francisco Plan: “X” is the Gospel Altar of the Madonna of the Rose

PLATES

2.79. Master Giacome/Antonio (Jacques Coene?), Madonna of the Rose, ca. 1425, Porto, São Francisco (After Restoration and repainting of the Virgin): Altarpiece was completed by Manuel da Costa ca. 1743-1744

2.80. Guimarães: Ducal Palace (left) and Old Castle (right) (António Dias dos Reis)

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2.81. São Miguel de Castelo at Guimarães, (Interior: Luzes de Ribalta)

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PLATES

2.82. Guimarães Castle, North Façade (António Dias dos Reis) Interior Ramparts (Nuno Tavares)

2.83. Plan (Luisa de Pina, 1912)

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2.84 Old Castle Fortress Interior Keep, Guimarães (Brian Boru)

2.85. Ducal Palace of Guimarães from the Old Castle Walls (to the right is the Church of São Miguel (Nuno Tavares)

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PLATES

2.86. Left: Ducal Palace of Guimarães, Entrance (left) and Rusticated Wing (António Dias dos Reis) Below: Views of the Main Entrance; Rusticated Wing with Staircase (Feliciano Guimarães)

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2.87. Juan Garcia de Toledo, Colegiada de Nossa Senhora da Oliveira and Shrine with Cross, 1397–1401 (António Dias dos Reis)

PLATES

2.88. San Tiago Square, Guimarães and Late Gothic Houses (António Dias dos Reis)

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2.89. Guimarães; Ducal Palace from the City (Júlio Reis); Detail of the Chapel Exterior with Arched Windows

2.90. Main Entrance, Ducal Palace, Guimarães (Jim Lago)

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PLATES

2.91. Boucicaut Master (Jacques Coene), The Annunciation, from the Boucicaut Hours for Jean II le Meingre, Maréchal de Boucicaut, ca. 1405–10, Paris, Musée JacquemartAndré, MS 2, f. 53v

2.92. Jacques Coene?, The Annunciation, Livro de Horas de D. Duarte, ca. 1428, Lisbon, Instituto dos Arquivos Nacionais, Torre do Tombo, Mf. 1089P

140

2.93. Jacques Coene, Archangel Gabriel and the Annunciate Virgin, drawings, ca. 1400– 1410, Florence, Uffizi

141

PLATES

2.94. Attributed to Jacques Coene, The Coronation of the Virgin, from Légende Dorée ca. 1402–1403, Paris, Bibliothèque Nationale, MS. Fr. 242, f. A

2.95. Jacques Coene?, The Virgin and Child with St. Anne, Livro de Horas de D. Duarte, ca. 1428, Lisbon, Instituto dos Arquivos Nacionais, Torre do Tombo, Mf. 1089P

142

2.96. The Lands of Nuno Álvares Pereira: Black Areas: Temporary Jurisdiction; Striped Areas: Definite Jurisdiction (Barroso da Fonte)

2.97. Tomb of Afonso, First Duke of Bragança, Chaves (Barroso da Fonte)

PLATES

2.98. Sepulchre of Dona Brites, daughter of Nuno Álvarez Pereira, Mosteiro de Santa Clara, Vila do Conde (Marques Abreu)

2.99. Tomb Effigy of Constança de Noronha, S. Francisco de Guimarães (Barroso da Fonte)

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144

2.100. Guimarães Ducal Palace Courtyard; Colonnaded Second Storey Corridor with Cruciform Windows; Brick Chimneys of the Tiled Roof

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PLATES

2.101. Ducal Palace of Guimarães: Plan of the Principal Level; Bedchamber; and Hall of Wasted Steps (Salão dos Passos Perdidos, a Hall of Bodyguards) (Luzes da Ribalta: Barrosa da Fonte)

146

2.102. Hall of Scipio Africanus (Salão Nobre: Noble Hall) and Banqueting Room (Salão de Banquetes; ceiling vaulted in wood like the keel of a galleon) (Luzes da Ribalta: Barrosa da Fonte)

PLATES

2.103. Guimarães Castle Chapel (Luzes da Ribalta) and View of the Main Altar and Windows

2.104. Chapel Reconstruction by Rogério de Azevedo (Barroso da Fonte)

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2.105. Courtyard (Josep Renalias) and Entrance to the Ducal Chapel, Guimarães Courtyard Staircase Reconstruction of Rogério de Azevedo and Plan of the Ground Floor Level (Luzes da Ribalta: Barroso da Fonte)

149

PLATES

2.106. São Salvador de Bravães, Entrance Portal, 12th Century

150

2.107. São Salvador de Bravães, South Façade Typanum of the Lamb of God; 12th-Century Interior Views (Manueline frescoes, ca. 1500, flank the altar, St. Sebastian and the Apocalyptic Planet Woman)

PLATES

2.108. Cathedral of Braga Western Entrance with Late Gothic Archs (Galilee) and Baroque Upper Storeys and Towers (João Miranda) Interior Nave blending Gothic, Manueline Renaissance and Baroque Styles (António Dias dos Reis)

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152

2.109. Pilgrimage Church of Sainte-Foy, Apse, Conques (Marc Figueras)

2.110. Jean-Baptiste Lallemand, West Façade of Cluny, 18th Century, drawing, Cluny, Musée d’Art et d’Archéologie-Musée Ochier

PLATES

2.111. Cathedral of Braga, South Entrance, Romanesque 12–13th Century

153

2.112. Torre de Menagem of the Romanesque Castle of Braga (António Dias dos Reis)

2.113. Medieval Chapels built adjacent to the Cathedral of Braga, including the Capela dos Reis (Chapel of the Three Kings) which housed the tombs of the Burgundian Count Henrique and Countess Theresa, the parents of Portugal’s first king, Dom Afonso Henriques (António Dias dos Reis)

154

2.114. Portuguese School, Sepulchers of Count Henrique and Dona Teresa, 16th Century, Chapel of the Kings, Cathedral of Braga (José Bastos)

PLATES

2.115. Church of S. Pedro de Rates, West Façade, 11th–13th Century

2.116.Typanum of the Agnus Dei, granite, 12th Century, from the Church of Paradela, Barcelos-Braga, Museu Arqueológico de Barcelos

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2.117. Perspective of Bom Jesus do Monte (13th–19th Century); Staircase (116 meters) begun in 1722 under Bishop Rodrigo de Moura Telles with an Allegorical Program of the Via Crucis and Five Senses; View of the Surrounding Landscape, Braga (Antonio Dias dos Reis)

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PLATES

2.118. Carlos Amarante, General Perspective of Bom Jesus do Monte, Braga, 1789 (Braga, Arquivo da Confraria do Bom Jesus)

2.119. Simone Martini, The Investiture of St. Martin of Tours as Knight, ca. 1312–1317, Assisi, Lower Basilica of San Francesco, Chapel of St. Martin

158

2.120. José de Madrazo y Agudo, The Death of Viriatus, ca. 1807, Madrid, Museo del Prado

2.121. Portuguese School, St. Anthony of Padua, 15th Century, polychrome wood, Church of Cantanhede, District of Coimbra (Academia Nacional de Belas Artes, Lisbon)

159

PLATES

2.122. Catalan School, Sarcophagus of St. Eulalia, 1326–39, marble, Barcelona, Cathedral Crypt

2.123. Portuguese School, St. John the Baptist, Church of Cantanhede, Coimbra, 15th Century; St. Mary Magdalene, Church of Figueira da Foz, Coimbra 15th Century (Academia Nacional de Belas Artes, Lisbon)

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2.124. Carlos Amarante’s 1789 Plan: Summit of Bom Jesus do Monte with the rotunda of the Holy Sepulcher, which was demolished for the present church. The hermitage of St. John the Baptist is marked. Hermitages of Saints Eulalia and Mary Magdalene were situated nearby.

2.125 Plan of Mount Espinho, Braga (Arquivo da Confraria do Bom Jesus, Braga)

PLATES

2.126. San Fructuoso de Montelios, ca. 665, near Braga, Minho

2.127. Duarte d’Armas, Ducal Town of Barcelos from the South, ca. 1509–1510, Lisbon, Archivo Círculo de Leitores

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2.128. Ruins of the Paço Condal and Igreja de Santa Maria Maior from the West, Barcelos (João Carvalho)

PLATES

1.29. Portuguese School, Santa Maria Maior, Barcelos, begun in the 14th–15th Century, Manueline Capela Mor, ca. 1504 financed by the local Jew Dom Gil da Costa, as attested by the Star Window (IPPAR, Lisbon, Ajuda Palace)

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2.130. A. Augusto Pereira, View of Barcelos from the Southwest, ca. 1856 after a drawing by his father (Paço Ducal de Vila Viçosa: Carlos Alberto Ferreira de Almeida)

2.131. Plan of the Paço Condal, Barcelos (Clara Pimenta) and Present Ruins of the Castle (João Carvalho)

PLATES

165

2.132. Azulejo, after Manuel Luis Pereira, View of the Ducal Castle at Barcelos, 1786, Azulejo attached to the Wall, Barcelos

2.133. Present Ruins of the Castle, Barcelos (João Carvalho)

166

2.134. Nave of the Basilica of Santiago de Compostela (Judith Hancock Sandoval)

2.135. Santiago de Compostela (Reconstruction K. Conant) Plan of Santiago de Compostela Basilica A Puerta de las Azbachería; B Puerta de las Platerías; C Plaza de la Quintana; D Puerta Santa; E Torre de la Trinidad; F Obradoiro Façade; G Pórtico de la Gloria; H Main Chapel of St. James; I Sacristy; J Treasury; K Reliquary Chapel; L Cloister; M Gelmiréz Palace; N Old Choir; O Corticela Chapel (After David Gitlitz & Linda Kay Davidson)

PLATES

2.136. Master Mateo, Romanesque Porta da Gloria, 1170–1188, Galicia, Santiago de Compostela

2.137. Master Mateo, The Prophets Jeremiah, Daniel, Isaiah, Moses, Porta da Gloria, Santiago de Compostela, Galicia (Michael Krier, Confraternity of Saint James, Great Britain)

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2.138. Master Mateo, Typanum of Christ in Majesty with the Tetramorphs, Angels bearing Instruments of the Passion and the Twenty-Four Elders of the Apocalpypse with Musical Instruments, 1170–1188, Porta da Gloria, Santiago de Compostela (Michael Krier: Confraternity of Saint James, United Kingdom)

2.139. Jan van Eyck, Last Judgment, 1429, New York, Metropolitan Museum of Art

PLATES

2.140. Master Mateo, Portico of Glory with Christ in Majesty displaying the Wounds of Calvary, surrounded by Patriarchs with Musical Instruments and Angels bearing Emblems of the Passion, 1170– 1188 (Michael Krier: Confraternity of Saint James, United Kingdom)

2.141. Jan van Eyck, Last Judgment, ca. 1429, detail, New York, Metropolitan Museum of Art

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2.142. Jan van Eyck, Hell, detail, Last Judgment, 1429, New York, Metropolitan Museum of Art

2.143. Master Mateo, Portico of Glory, 1170– 1188: Bases with Demons (Judith Hancock Sandoval)

PLATES

171

2.144 Puerta de Platerías, Romanesque, 12th Century, Galicia, Basílica of Santiago de Compostela

2.145 Puerta de Platerías, Door Figures from Top to Bottom: Christ the Pantocrator, Creation of Adam; King David with his Harp composing the Penitential Psalms; Detail of the Tympanum Reliefs with the Expulsion of Adam and Eve (Judith Hancock Sandoval)

172

2.146 Jan van Eyck, Adam and Eve, 1432, Ghent Altarpiece, SintBaafskathedraal; Puerta de Platerías Door Figures: Christ the Pantocrator and Creation of Adam (above); The Creation of Eve and Archangel St. Michael standing over Lucifer (below)

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PLATES

2.147. Horses from a lost Adoration of the Magi, from the old choir stall, now in the Museum of Santiago de Compostela, formerly in the RomanesqueGothic choir (Judith Hancock Sandoval)

2.148. Jan van Eyck, Holy Knights, 1432, Ghent Altarpiece, Ghent, Sint Baafskathedraal

174

2.149. Map of Maritime Routes in the Fifteenth Century (Julio Valdeón)

2.150. Gil de Silöe, Gisant of Juan II of Castile, late 15th Century, Burgos, Cartuja de Miraflores (Julio Valdeón)

PLATES

2.151. View of the Alhambra from the Albaicin of Granada

2.152. Dar Qumārish (Comares Palace), 14th Century, Northern Façade of the Court of Myrtles and Entrance to the Audience Hall, the Alhambra, Granada

175

176

2.153. Georg Braun and Frans Hogenberg, Ceuta, from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. I (1572), London: The British Library

2.154. Map of Morocco and the Iberian Peninsula

2.155. Map of Portugal (After A. H. de Oliveira Marques Map by the University of Wisconsin Cartographic Laboratory)

177

PLATES

2.156. Lagos Harbor and Walls, Algarve

2.157. Governor’s Castle, Lagos, Algarve (Lagos: António Dias dos Reis)

2.158. The Cape Sagres near the east of Cape St. Vincent (António Dias dos Reis)

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3.1. Antonio de Holanda, View of Lisbon, from the Livro de Horas de D. Manuel, ca. 1517–26, Lisbon, Museu Nacional de Arte Antiga (The Paço da Ribeira is by the shore on the lower left. The Castle of St. George looms on the right)

179

PLATES

3.2. Portuguese School, after Jan van Eyck, Fountain of Life, 1429, oak panel (181 x 119 cm), Madrid, Museo del Prado

3.3. Portuguese School (monogram BASCO upper left), after Jan van Eyck, Fountain of Life, 1429, pine pane (185.5 x 115.5 cm: 73 x 45 ½”), Oberlin, Allen Memorial Art Museum

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3.4. Prado Fons Vitae: From Left to Right: Dom Afonso (Count of Barcelos) in black; Prince Duarte in green; Prince Pedro (Duke of Coimbra) in red; Prince Henrique (Duke of Viseu) in Black; King João I with a gold crown and azure ermine cape) Right: Oberlin Fons Vitae Royals

3.5. Loyset Liédet, Merchants selling Luxury Wares including Cloth, from Nicolas Oresme, L’Éthique, la Politique et l’Économie d’Aristotle, ca. 1454, Rouen, Bibliothèque Municipale MS I 2(927), f. 145r

PLATES

3.6. Late Gothic Trade Routes: Portugal & Spain; Flanders; Hanseatic League (After a Map of Commerce during the Late Middle Ages by Julio Valdeón, Valladolid)

3.7. Trading Privilege accorded by Philip the Bold to Portugal at Bruges, 1387 (Bruges, Archives de la Ville: Jacques Paviot)

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3.8. Oberlin Fons Vitae: From Left to Right: Dom Afonso (Count of Barcelos) in black; Prince Duarte in green; Prince Pedro (Duke of Coimbra) in red; Prince Henrique (Duke of Viseu) in Black; King João I with a gold crown and azure ermine cape)

3.9. Afonso Domingues and Master Huguet, Batalha Abbey, Western Façade, ca. 1402–29 (António Dias dos Reis)

PLATES

3.10. Afonso Domingues and Master Huguet, Royal Pantheon, Batalha Monastery, ca. 1402–1429 (António Dias dos Reis) and Tomb of João I and Queen Philippa, Batalha (London, Conway Library, Courtauld Institute)

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3.11. Eanes Workshop, Gisants of King João I and Queen Philippa, ca. 1426–33, Royal Pantheon, Batalha Abbey, London, Conway Library, Courtauld Institute

3.12. Detail of the Fountain of Life: King João I of Portugal (Left: Prado; Right Oberlin)

PLATES

185

3.13. Fountain of Life: Prince Duarte (Left: Prado; Right: Oberlin)

3.14. João Gonçalves, Proposed portrait of King Duarte, from Gomes Eanes de Zurara (1410–1474), Crónica das Feitos da Guiné (João Gonçalves signature: February, 1453), Paris, Bibliothèque Nationale de France

186

3.15. Tomb of King Duarte and Queen Leonor, ca. 1433–1445, Batalha Abbey, Capelas Imperfeitas (António Dias dos Reis) Gisant of King Duarte

PLATES

3.16. Fountain of Life: Prince Pedro (Left: Prado; Right: Oberlin)

3.17. Luso-Flemish School, Proposed Portrait of Prince Pedro, Duke of Coimbra, after a lost Van Eyck Portrait of ca. 1429, Berlin, Gemäldegalerie Staatliche Museen

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3.18. The Travels of Prince Pedro (After a Map of the Presidêcia do Conselho de Ministros, Lisbon, 1983)

3.19. Pisanello, Sigismund, King of Hungary and Holy Roman Emperor (1433– 1437), ca. 1435, Vienna, Kunsthistorisches Museum

PLATES

189

3.20. The Boucicaut Master (Jacques Coene), The Epiphany, The Hours of Jean Le Maingre II, Maréchal de Boucicaut, ca. 1410–12, Paris, Institut de France, Musée Jacquemart-André, MS. 2, f. 83v

3.21. Jean Malouel, Jean “Sans Peur”, ca. 1410, Paris, Louvre Museum

190

3.22. Boucicaut Master, Adoration of the Magi, Detail of Magus

3.23. Relief of the Tomb of Prince Pedro and Isabel of Urgel, 15th Century, Batalha Abbey

3.24. Prince Pedro displaying the Order of the Golden Tree, Detail of the Oberlin Fons Vitae

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PLATES

3.25. Fountain of Life: Prince Henrique the Navigator (Left: Prado; Right Oberlin)

3.26 Fountain of Life: Dom Afonso, the Count of Barcelos (Left: Prado; Right Oberlin)

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3.27. Loyset Liédet, Battle of Aljubarrota, from Jean Froissart, Chroniques de France et Angleterre, late 15th Century, London, The British Library, MS Harley, 4379

3.28. Portuguese School (proposed Master JácomeAntonio/Jacques Coene), Nuno Álvarez Pereira ca. 1430, Lisbon, Private Collection

PLATES

3.29. “Master Antom” (Jácome-Antonio/Jacques Coene, Guimarães Palace, ca. late 1420s

3.30. English School, Tomb of Thomas Fitzalan, Earl of Arundel, and Brites, 15th Century, Fitzalan Chapel, Arundel Castle; Effigy of Brites (London, Conway Library, Courtauld Institute of Arts)

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3.31. Holdings of Dom Afonso when Count of Barcelos Barcelos Castle Ruins by the River, 14th Century (António Dias dos Reis) Chaves Castle Keep, 14th Century, built by King Denis on the Roman Site of Aquae Flaviae, District of Vila Real, Northern Portugal (João Carvalho)

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195

3.32. Portuguese School, St. James (Santiago Matamoros) at Clavijo (23 May 844) aiding the Troops of Ramiro I of Asturias against the Emir of Córdoba, early 16th century, Lisbon, Museu Nacional de Arte Antiga

3.33. Castle of Beja, Alentejo (António Dias dos Reis)

196

3.34. Castle of Beja, Lower Alentejo Alentejo (António Dias dos Reis)

PLATES

3.35. Duarte d’Armas, Évora from the West, ca. 1501, Archivo Círculo de Leitores (retouched). At the summit is the Cathedral; northwest was João I’s residence destroyed in 1384. To the right, a banner near the church of São Francisco identifies the new palace begun by King Duarte (r. 1422–1438) and completed by the monarchs Afonso V (r. 1438– 1481), João II (r. 1481–1495) and Manuel I (r. 1495–1521) Below: The Temple of Diana near the original Avis residence of João I (Anónio Dias dos Reis)

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3.36. Cathedral of Évora (1186–1250) and Western Portal (António Dias dos Reis)

PLATES

3.37. Cathedral of Évora (1186–1250) Detail of Portal Statues and Nave

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3.38. Jan van Eyck, Crucifixion and Last Judgment, ca. 1429, New York, Metropolitan Museum

3.39. Attributed to Colijn de Coter, The Fons Vitae of Manuel I and Queen Maria, ca. 1515, Oporto Igreja de Misericordia (On the right are Princesses Isabel and Beatrice; and on the left is the heir, João III with his brothers)

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201

3.40. Georg Braun and Frans Hogenberg, Paço da Ribeira (Riverbank Palace: No. 65), from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. V)

3.41. Attributed to Francisco de Holanda, Infantas Isabel (1503–1539) and Beatriz (1504–1538), daughters of King Manuel I and Queen Maria of Portugal, oil on paper, affixed to panel (16 x 12.4 cm: 15.4 x 12.6 cm), ca. 1526, Parma, Museo Nazionale de Arte Jean Clouet, Charles III, Duke of Savoy (1486–1553; Duke 1504) with the Ordine Supremo della Santissima Anunziate Necklace Insigna (order founded in 1362)

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3.42. Simón de Colonia, Carthusian Monastic Church of Miraflores, Burgos, 1454–1488 (Agustín Herrero de Miguel)

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203

3.43. Gil de Siloé, Sepulchre of Juan II of Castile and Isabel of Portugal, Burgos, Cartuja de Miraflores, 1489–93 (gisants: Scala) (Interior: Agustín Herrero de Miguel)

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3.44. Gil de Siloé and Diego de la Cruz, Holy Trinity and the Passion Altarpiece, Burgos, Cartuja de Miraflores, 1489–93 (Agustín Herrero de Miguel)

PLATES

3.45. Gil de Siloé and Diego de la Cruz, Ferdinand of Aragon and Isabel of Castile, Passion Altarpiece, Burgos, Cartuja de Miraflores, 1489–93 (Agustín Herrero de Miguel)

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3.46. Jan van Eyck, Cumaean Sibyl in the Ghent Altarpiece 1434, Ghent, St. Bavo’s Church

3.47. Jan van Eyck, Holy Women and Cumaean Sibyl, Crucifixion, 1429, NY, Metropolitan Museum

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PLATES

3.48. Claus de Werve (1370-1439), Jean de la Huerta (Daroca/ Aragon † 1462), Pierre Antoine Le Moiturier (Avignon: 1425-Paris after 1495), Tomb of Jean the Fearless and Margaret of Bavaria, 1433–1469, Dijon, Musée de Beaux-Arts (Carved in 1466–70, Le Moiturier’s heads escaped destruction in 1793 and they were restored by Joseph Moreau in 1821–2)

3.49. Flemish School, Margaret of Bavaria, Duchess of Burgundy, 16th Century replica after lost original, Lille, Musée de Beaux-Arts

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3.50. Simon Bening (in collaboration with António de Holanda), Philippa of Lancaster, from the Genealogical Tree of John of Gaunt, Duke of Lancaster, f. 10 from The Genealogy of the Infante Dom Fernando of Portugal, 1530–1534, London, The British Library, Add. MS. 12531,

3.51. Master Giacome/Antonio (Jacques Coene?), Detail of the Portraits of Philippa of Lancaster of João I in the Madonna of the Rose fresco, ca. 1425, Porto, São Francisco

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PLATES

3.52. Detail of the Erythraean Sibyl in Jan van Eyck, Crucifixion, 1429, Metropolitan Museum (allegorical portrait of Beatrix Pereira de Alvim (1380–1414)

3.53. Detail of Mary Magdalene, proposed portrait of Infanta Isabel beside Cumaean Sibyl, suggested Queen Philippa of Lancaster (1359–July 19, 1415)

210

3.54. Aragonese Mestre Pero, Polychromed Gisant of St. Elizabeth of Portugal in the habit of the Franciscan Poor Clares (Cenotaph rests on six lions), 1330, Church of Santa Clara-aNova, Coimbra (Academia Nacional de Belas Artes, Lisbon)

3.55. Detail of a Mourning Woman, Jan van Eyck, Crucifixion, 1429, Metropolitan Museum (allegorical portrait of St. Isabel of Portugal)

PLATES

3.56. Details of Jan van Eyck’s Last Judgment, 1429, New York, Metropolitan Museum of Art

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3.57. Nuno Gonçalves and João Eanes, The St. Vincent Altarpiece, ca. 1470–1472, Lisbon, Museu Nacional de Arte Antiga

PLATES

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3.58. Nuno Gonçalves and João Eanes, St. Vincent Altarpiece, Panel of the Fishermen, ca. 1470-1472, Lisbon, Museu Nacional de Arte Antiga (The prostrate bald figure originally did not have a beard, but he must have been identified as the Holy Constable Nuno Álvares Pereira (1360–1431)

3.59. Proposed Portrait of Dom Afonso (1377–1461), Count of Barcelos and Duke of Bragança, Panel of the Fishermen

3.60. Proposed Portrait of Dom Afonso, Count of Barcelos and Duke of Bragança, Eyckian Oberlin Fons Vitae, original dated 1429

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3.61. Detail, Jan van Eyck’s Crucifixion, 1429, New York, Metropolitan Museum of Art

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215

3.62. Jan van Eyck, Crucifixion, 1429, Metropolitan Museum, Proposed Portrait of Afonso, (1400–1460), Count of Ourém and Marquis of Valença, and elder son of Afonso, Count of Barcelos and Duke of Bragança & Detail of the St. Vincent Altarpiece (reversed for contrast), 1471–1472, Proposed Portrait of Afonso, Count of Ourém and Marquis of Valença

3.63. Tomb of Afonso, Count of Ourém and Marquis of Valença, ca. early 1460s, six-columned crypt of the Church of Ourém Castle (Academia Nacional de Belas Artes, Lisbon)

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3.64. Detail of Jan van Eyck’s Crucifixion, 1429, St. John the Evangelist

3.65. Detail of proposed portrait of Prince João, Duke of Beja (1400–1442), reversed from Nuno Gonçalves and João Eanes, Panel of the Fishermen, St. Vincent Altarpiece, Lisbon

3.66. Courtly Figures, Jan van Eyck’s Crucifixion, Man in a Red Turban and Blue Velvet Houppelande, Fernando (1402–1443), Master of Avis

3.67. Courtly Figures, Jan van Eyck’s Crucifixion, Man in a Red Turban and Green Cloak, Fernando I (1403–1478), younger son of Dom Afonso, Count of Barcelos, and 2nd Duke of Bragança (1461)

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3.68. Proposed Portrait of Prince Pedro in 1429, Prado Fons Vitae and the Basilica of St. Anthony, Padua

3.69. Proposed Portrait of Prince Pedro holding the cranium of St. Anthony of Padua, Nuno Gonçalves’ St. Vincent Altarpiece, ca. 1470–1472, Lisbon, Museu Nacional de Arte Antiga

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3.70. Detail of King João I, Prado Fons Vitae

3.72. School of Rogier van der Weyden (Nuno Gonçalves?), Philip the Good, Duke of Burgundy, ca. 1445, Dijon Musée des Beaux Arts

3.71. Proposed Portrait of João I (The monarch was buried in a Cistercian habit), from Nuno Gonçalves’ St. Vincent Altarpiece, ca. 1471, Lisbon, Museu Nacional de Arte Antiga

3.73. Jan Peeters, Ceuta, Antwerp engraving, 1664, Jerusalem, Hebrew University

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219

3.74. Sebastian Münster, The Taking of Ceuta by Infante D. Henrique in 1415, engraving, Basileia, 1550 (Lisbon: Livraria Bertrand, Frederic P. Marjay)

3.75. Plan of 1415 Ceuta Expedition (Frederico Mendez Paula)

3.76. Francis Carter, Plan of Ceuta, A Voyage from Gibraltar to Málaga, 1777, London, Society of Antiquaries

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3.77. Portuguese School, Sepulchre of King Dinis, 14th Century, Igreja de Odivelas, Lisbon (above: Bernardo d’Oliveira)

3.78. School of Portugal, Côrte Imperial, ca. 1410, Coimbra, Mosteiro de Santa Cruz, Porto BNMP, S. Cruz MS. 803, f. 132

PLATES

3.79. After Jan van Eyck, Prado Fountain of Life, Detail of the “Synagogue”

3.80. After Jan van Eyck Oberlin Fountain of Life, Detail of the “Synagogue”

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3.81. After Jan van Eyck, Prado Fountain of Life, Details of the “Celestal Choir”

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PLATES

3.82. After Jan van Eyck, Prado Fountain of Life, Detail of “Christ Enthroned as the Apocalyptic Bridegroom”

3.83. Above: After Jan van Eyck, Prado Fountain of Life, Tower beside the Virgin Mary with roundels containing crosses 3.84. Portuguese Red Cross of the Order of Christ

224

3.85. After Jan van Eyck, Prado Fons Vitae and Ecclesia with King João I and Charlemagne (Above) After Jan van Eyck, Oberlin Fons Vitae and Ecclesia with King João I and Charlemagne (Below)

PLATES

3.86. After Jan van Eyck Oberlin Fons Vitae, Detail of Christ in Majesty whose Throne is sculpted with Tetramorphs signifying the Gospels After Jan van Eyck, Prado Fons Vitae, Detail of the Stone Fountain with its Channel of “Living Waters” and carvings of scroll-bearing angels, as well as a Pelican and a Phoenix

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3.87. Mathijs de Layens, Tabernacle Tower, hexagonal stone structure with wrought iron grillwork, ca. 1450, Sint-Pieterskerk, Leuven (Paul van den Bossche)

3.88. Gold Clock of Philip the Good, ca. 1430, Nuremberg, Germanisches Nationalmuseum

3.89. Gil Vicente, Custódia de Belém, Gold with Enamel Apostles attending the “Last Supper,” 1506, Lisbon, Museu Nacional de Arte Antiga

PLATES

227

3.90. Al-Ziza Palace, Palermo, ca. 1187 Main Gallery and Fountain Cascade with Muquarna (Bernhard J. Scheuvens)

228

3.91. Batalha, Portugal, Western Portal with Christ in Majesty and the Tetramorphs (António Dias dos Reis)

3.92. Anonymous, Panorama of Lisbon, ca. 1560–1570, Leyden, Rijksuniversiteit, Bibliotheek

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229

4.1 School of Portugal, View of Lisbon, from Duarte Galvão, Crónica de D. Afonso Henriques, early 16th Century, Cascais, Museu-Biblioteca Conde Castro Guimarães 4.2. Portuguese School, Walls of Lisbon circa 1147, engraving, from El Alphonso del cavallero Don Francisco Botello de Moraes y Vasconcelos, 1716, Lisbon, Gabinet de Estudos Olisiponenses

4.3. M. Guiherme, Joaquim Pais de Meneses and Elias Sebastião Poppe, Fernardine and Moorish Walls, Map of Lisbon, 1761 (based on a plan before the 1755 earthquake)

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4.4. Castelo of St. George (António Dias dos Reis) A St. George’s Gate; B St. Andrew’s Gate; C Southern Gate; D Holy Spirit Gate; E Holyrood Gate; F North Gate; G Martim Moniz Gate; H Entrance Gate to the Castelejo; I Main Gate; J Ogival Gate; K Joining Gate; L Treason Gate; M Antiga Praça (Old Square); N Casa Ogival; O Espalanada 1 Ulysses Tower (Treasure); 2 Observatory Tower; 3 Tower; 4 Tower of the Cistern; 5-9 Towers; 10 Torre do Tombo (Chancery); 11 Central Tower; 12 St. Lawrence Tower; 13-14 Towers; 15 Holyrood Tower; 16-18 Towers; 19 Two Cubic Turrets; 20 Cubic Turret (After Adérito Tavares Plan of St. George Castle, Lisbon: Edições Margrape)

PLATES

231

4.5. Walls of St. George Castle (António Dias dos Reis)

232

4.6. Central Keep and Bridge of the Castelo of St. George (António Dias dos Reis)

PLATES

233

4.7.The Barbican on the East and the North Gate in the Distance North Gate (Lisbon: Edições Margrape, Adérito Tavares)

234

4.8. The Martim Moniz Gate named for a Defender of the Citadel in 1147, St. George Castle (Lisbon: Edições Margrape, Adérito Tavares)

4.9. Arches of the St.George Castle (António Dias dos Reis)

PLATES

235

4.10. Late Gothic St. George Gate (António Dias dos Reis)

4.11. Gothic Arch, Ogival House (Lisbon: Edições Margrape, Adérito Tavares)

236

4.12. Georg Braun and Frans Hogenberg, Map of Lisbon, from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. V (Lisbon, Museu da Cidade)

4.13. Panorama of Lisbon, ca. 1560–1570, Leyden, Rijksuniversiteit, Bibliotheek, Detail of the Riverbank, Cathedral, Alcaçova Palace

PLATES

237

4.14 Walls, Castelo São Jorge (Osvaldo Gago)

4.15. Comparison of Views Georg Braun and Frans Hogenberg, Lisbon Map of Civitates Orbis Terrarum, Detail of the Paço da Alcaçova (Old Castle and Castle of St. George, the King’s Castle) Panorama of Lisbon, ca. 1560–1570, Leyden, Rijksuniversiteit, Bibliotheek (Old Castle and Palace of the King identified in script)

238

4.16. Georg Braun and Frans Hogenberg, Paço de São Martinho, (No. 16), from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. V (Lisbon: Museu da Cidade)

4.17. Salão de Banquetes, early 15th Century, Guimarães Palace

PLATES

4.18. Georg Braun and Frans Hogenberg, Rua dos Mercadores near the Riverfront and Cathedral of Lisbon, from Civitates Orbis Terrarum

4.19. Antonio de Holanda, Rua Nova dos Mercadores, from the Livro de Horas de D. Manuel, ca. 1517–34, Lisbon, Museu Nacional de Arte Antiga Widened View of the Rua Nova de Mercadores with the old Bourse demarcated by an iron railing (computer generated)

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4.20. Waterfront Views Cathedral of Lisbon, begun in 1150 (António Dias dos Reis) Portuguese School, View of the Praça do Comércio (southwest of the Cathedral of Lisbon) from the Crónica de D. João, Part I, ca. 1500–1510, Lisbon, Instituto dos Archivos Nacionais, Torre do Tombo (The background Paço da Ribeira, or Riverbank Palace, was built by King Manuel I about 1505–10)

PLATES

241

4.21. View of Lisbon, Detail, Duarte Galvão, Crónica de D. Afonso Henriques (left, Estaus Palace & Rossio Square; Center top, Castle of St. George with Twin Towers before the Rua Chão da Feira; bottom, the Cathedral of Lisbon facing the birthplace of St. Anthony of Padua; and far right, the Great Tower of St. Martin’s Palace), 16th Century, Cascais, Museu-Biblioteca Conde Castro Guimarães

4.22. Georg Braun and Frans Hogenberg, The Houses of Prince Henrique on the Rua Escolas Gerais, (No. 23) from Civitates Orbis Terrarum (near Monastery of St. Vincent, No. 30)

4.23. Portuguese School, The Houses of Prince Henrique the Navigator, engraving, 1862 (A.H. de Oliveira Marques, O Livro de Lisboa, 1994)

242

4.24. Georg Braun and Frans Hogenberg, The Paço de Estaus (No. 3) and Church of St. Dominic (No. 28) on Rossio Square, from Civitates Orbis Terrarum, 1598; and below, 1572 edition

4.25. Duarte Galvão, Crónica de D. Afonso Henriques, Detail, Paço de Estaus on Rossio Square

PLATES

4.26. Georg Braun and Frans Hogenberg, Carmelite Church of the Convento do Carmo, (No. 26) from Civitates Orbis Terrarum

4.27. Carmelite Church of the Convento do Carmo after the 1755 Earthquake, 1389–1423, Lisbon (António Dias dos Reis)

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4.28. Nave of the Carmelite Church of the Convento do Carmo after the 1755 Earthquake, 1389–1423, Lisbon (António Dias dos Reis) 4.29. Santos-o-Velho (middle), between King Manuel I’s Riverbank Palace and Lisbon’s Monastery of São Jeronimos, View of Lisbon (66’), ceramic tiles, ca. 1725, Museu Nacional do Azulejos, Lisbon (Afonso Henriques I built the first Church of Santos-o-Velho in 1147 on the site of a 4th-century temple and dedicated the structure to the martyrs Veríssimo, Máxima and Júlia. By 1218 a female monastery of the Order of St. James occupied several houses at Santos-o-Velho)

4.30. Simon Bening and Antonio de Holanda, detail from a View of Lisbon in the Geneaologia do Infante D. Fernando, 1530–1584 (London, British Library), perhaps Todos-osSantos London, British Library, MS. 12531, f. 7

PLATES

245

4.31. São Martinho Palace (No. 16) and Neighboring Buildings, Braun-Hogenberg Civitates Orbis Terrarum Portuguese School, Walls of Lisbon circa 1147, 1716, Lisbon, Gabinet de Estudos Olisiponenses

4.32. Conjectural Plan Localizing The Palaces Of St. Bartholmew And St. Eligius in the 16th Century 1 Palaces of Santo Elói; 2 Palace of S. Bartolomeu; 3 Hospital of Santo Eutrópio; 4 Houses of Simão da Fonseca, later João da Fonseca; 5 Houses of Pero da Alcáçova, later Francisco Carneiro; 6 Houses of Antão de Faria; 7 Convento de Santo Elói; 8 Houses removed by King Manuel I; 9 Presumed House of Gil Vicente a: Half Street which later ran from the entrance of Lóios to the Portas da Alfofa and then to the Rua de Jerusalém; b: Street which ran from the Porta da Alfofa to the Houses of Antão de Faria or the Street which went from the House of João da Fonseca, then the Rua das Portas da Alfofa

246

4.33. Georg Braun & Frans Hogenberg, São Bartholomeu Church, Civitates Orbis Terrarum (No. 92)

4.34. Georg Braun & Frans Hogenberg, Monastery of Santo Elói dos Lóios (No. 25) and the Paço de Santo Elói (No. 4), Civitates Orbis Terrarum

4.35. Anonymous, Suggested Paço de Galé (Galley Palace) with Tower Banners, Panorama of Lisbon, ca. 1560–1570, Leyden, Rijksuniversiteit, Bibliotheek

4.36. Georg Braun and Frans Hogenberg, Paço de São Cristóvão (No. 134), from the Map of Lisbon, Civitates Orbis Terrarum (Artist Sector was northeast of the Brangaça Palace)

247

PLATES

4.37. Georg Braun and Frans Hogenberg, Paço de São Cristóvão (No. 134) and Franciscan Monastery (No. 25), St. Catherine’s Gate (No. 59) of Artists’ Sector, Civitates Orbis Terrarum

4.38. The Alfama’s Rua da Judiaria with Moorish Walls in the Distance (Lisbon: Edições Margrape, Adérito Tavares)

248

4.39. Aerial View of the Romanesque Cathedral of Lisbon and 18th-Century Church of St. Anthony Western Façade of the Cathedral and Church of St. Anthony of Padua (1195– 1231) opposite the Cathedral (built on the original site of the Gothic Church marking the birthplace of the Franciscan Saint) (Antonio Dias dos Reis)

PLATES

249

4.40 Romanesque Cathedral of Lisbon and Cathedral’s Baptismal Font of St. Anthony of Padua, 1195, Lisbon (Georges Jansoone)

250

4.41. Duarte de Armas, View of Sintra Palace from the South, 1507–9, Lisbon, Arquivo Nacional da Torre do Tombo

4.42 Sintra Palace (António Dias dos Reis) Plan of the Site (IPPAR, Ajuda Palace, Lisbon)

PLATES

4.43. Views of Sintra’s Castelo dos Mouros (António Dias dos Reis)

251

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4.44. Entrance to Sintra Palace and Town Square (Nuno Tavares)

4.45. Plan of Sintra 1850 (After Francisco Costa) A Post Office (Antiga Cadeia da Vila); B House of the Templars; C João Gonçalves House (lost 1755); D Public Road; E House; F Templar House, Hotel Central; G João Gonçalves House (Café Paris); H Public road Calçada da Pendoa 1 Town Square (Praça da Vila); 2 Misericordia; 3 S. Martinho; 4 Inner Patio (outer walls demolished 1910); 5 Royal Palace (Paço Real)

PLATES

253

4.46. Sintra Palace, Southern Façade (António Dias dos Reis)

4.47. Plan of Sintra 1 Archers Hall; 2 Kitchen; 3 Bedchamber of Honor; 4 Arabs Hall; 5 Chapel; 6 Swan Hall; 7 Magpie Room; 8 Golden Hall; 9 Mermaid Room; 10 Caesar’s Room; 11 Crown Room; 12 Oratory (courtyard to right); 13 Antechamber; 14 Hall of Blazons; 15 Hall of Columns below Hall of Blazons; 16 Chinese Room; 17 Afonso VI Room (former Prince Duarte) A Present Entrance; B Swan Courtyard; C Audience Courtyard; D Guard Tower; E Mecca Terrace; F Water Spout Courtyard; G chambers of Princes; H Basin Courtyard; I Princes Garden; J Apartments of the Queen/Princess converted to the Long Galleys Room; K Lion Courtyard; L Diana Courtyard; M Apartments of Manuel I; N Apartments of Queen Maria

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4.48. Conical Tower of Sintra’s Kitchen opposite the Royal Chapel on the left Kitchen Interior

255

PLATES

4.49. Sintra Palace from the Northeast Royal Chapel and Mudéjar Ceiling

4.50. Main Altar (Jean McConochie)

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4.51. Sintra Palace and Exterior Bipartite Windows of the Swan Hall

4.52. Present Main Entrance (beyond the arches is a staircase which rises on the right)

PLATES

4.53. Sintra Palace, Hall of Princes (Swan Hall) Fireplace (Galen R. Frysinger) The Avis Green Tiles of the Banqueting Room date to the early 16th-Century Manueline Period

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4.54. Sintra Palace, The Swan Hall and Detail of its Ceiling

PLATES

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4.55 Entrance to the Hall of Princes from the Swan Courtyard Mudéjar Water Basin, Swan Courtyard, Sintra

260

4.56. Attributed to André Beauneveu & Nicolas Bataille, Arthur from the Nine Worthies Tapestries, ca.1390–1400, New York, The Cloisters, Metropolitan Museum of Art

PLATES

4.57. Attributed to André Beauneveu & Nicolas Bataille, Julius Caesar, from the Nine Worthies Tapestries, ca.1390–1400, New York, The Cloisters, Metropolitan Museum of Art

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4.58. Attributed to André Beauneveu & Nicolas Bataille, Hector, from the Nine Worthies Tapestries, ca.1390-1400, New York, The Cloisters, Metropolitan Museum of Art

PLATES

4.59. Limbourg Brothers (Hernan, Pol, Jean), January (Banquet at the Hôtel Nesle, Paris), Très Riches Heures of the Duke of Berry, 1413–16, Chantilly, Musée Condé, MS. 65, f. 2r

4.60. Théodore Hoffbauer, Hôtel Nesle in 1380, watercolor ca. 1870, Paris, Musée Carnavalet (Photothèque des Musées de la Ville de Paris: Photo Briant; Florian Meunier)

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4.61. Portuguese School, after Jan van Eyck, Fountain of Life (1429), Oberlin, Allen Memorial Art Museum

4.62. Georg Braun and Frans Hogenberg, Paço de São Martinho, from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. V (Lisbon: Museu da Cidade: No. 4 is the St. Elói Palace and No. 16 is Prince Duarte’s St. Martin Palace)

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PLATES

4.63. Sintra Palace, The Magpie Hall

4.64. Detail of the Ceiling Panels (Galen R. Frysinger)

266

4.65. The Golden Hall (later the Room of King Sebastian: the grapevine tiles are Manueline)

267

PLATES

4.66. Caesar Room (Hall of Lions) which enters to the Golden Hall

268

4.67. Ceiling of the Sirens’ Room (Odysseus Room)

PLATES

269

4.68. Chinese Room and Hallway (Manueline Tiles) & Afonso VI’s Room (proposed former chamber of Prince Duarte)

270

4.69. Limbourg Brothers (Hernan, Pol, Jean), February and October (Paris Louvre Castle from the Southeast), Très Riches Heures of the Duke of Berry, 1413–16, Chantilly, Musée Condé, MS. 65, folios 2v and 10v

PLATES

271

4.70. Jacquemart de Hesdin, Flight into Egypt, from Les Très Belles Heures de Notre Dame of Jean, Duc de Berry, ca. 1400, Brussels, Bibliothèque Royale Albert Ier, Ms. 11060–11061, f. 106

4.71. Great Seal of Jean, Duke of Berry, ca. 1370, Paris, Archives Nationales J185 No. 45 (Paris: Réunion des Musées Nationaux)

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4.72. Swan Courtyard looking to the Arab Room and Kitchen Chimneys

4.73. Court of the Lions as seen from the Caesar’s Room

PLATES

273

4.74. Magpie Room, Detail of the Ceiling

4.75. Garden Room ad Gallinas in the Villa of Livia at Prima Porta (Winged Victory stuccoes were above the garden panels)

274

4.76. Jan van Eyck, Detail of the Panel of the Holy Knights, 1432, Ghent Altarpiece , Ghent, Sint-Baafskathedraal

4.77. Jan van Eyck, Detail of the Birds in the Panel of the Holy Pilgrims,1432, Ghent Altarpiece, Ghent, SintBaafskathedraal

PLATES

4.78. Sintra Palace, Lateral Altar and Detail of the Pentecostal Doves

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276

4.79. Mosaic “Carpet” in the Capela-Mor

4.80. Altarpiece of Sintra Chapel with a View of Jerusalem, 15th Century

PLATES

277

4.81. The Bedford Master, The Building of Noah’s Ark, The Bedford Hours, ca. 1423, London, British Library, Add. MS. 18850, f. 16

4.82. North Italian, Goldsmiths Bezalehel & Aholiab making Gold Objects for the Tabernacle, Book of Exodus, ca. 1400 (Padua), London, British Library, Add. MS. 15277

278

4.83. Windrose: Rosa de Vento Sagres, Igreja de Nossa Sra. da Graça and Windrose , a stone circle measuring 43 meters (1401) with 48 lines radiating from the center (Susanna Morais) Afonso Domingues and Master Huguet, Batalha Abbey, ca. 1402–29 (The square Pantheon of João I is to the right of the Western Entrance. Begun in 1436, the “Unfinished Chapel” of King Duarte is directly east of the Choir with seven radiating smaller chapels)

PLATES

279

4.84. Simon Bening and Antonio de Holanda, detail of the Constantinian Vision of Afonso Henriques I from a View of Lisbon in the Geneaologia do Infante D. Fernando, 1530–1584 London, British Library, MS. 12531, f. 7 Ourique, District of Beja, Region of Alentejo (Vitor Oliveira)

280

4.85. Portuguese School, A Demanda do Santo Graal (Quest for the Holy Grail), 15th-Century, Vienna, Hofbibliothek, Österreiche Nationalbibliothek, Cod. MS. 2594, 202 f. (While Merlin is lost, a 16th-century Livro de José de Arimatheia survives in Évora, Convento da Cartuxa, MS. 643

4.86. Francisco de Holanda, Ship of St. Peter (Navis Petri), from De Aetatibus Mundi Imagines, 1545–1573, Madrid, Biblioteca Nacional, f. 66r

PLATES

281

4.87. Variety of Siglas (Mason Marks) found in at Sintra Palace (Conde de Sabugosa, Paço de Cintra, Lisbon, 1903)

282

4.88. Sintra, Mecca Terrace, the former main entrance to the Palace

PLATES

4.89. Sintra, Mecca Terrace Mecca Terrace, Drawing (Conde de Sabugosa, Paço de Cintra, Lisbon, 1903)

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4.90. Vasco Fernandes, Pentecost, ca. 1534–35, created for the Coimbra Monastery of Santa Cruz, signed Velasco, Coimbra, Museu de Belas Artes

4.91. Hieronymus Wierix after Marten de Vos, The Wounds of Christ, engraving, ca. 1590–1610, Brussels, Bibllothèque Royale Albert I Detail of the Magpie Room Ceiling

PLATES

4.92. Tribunal of the Royal Chapel (Galen R. Frysinger)

4.93. Hieronymus Wierix, St. Longivinus at Golgotha, engraving, ca. 1590–1610, Brussels, Bibliothèque Royale Albert I

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4.94. Pieter Huys, The Ark of Noah, in Benito Arias Montano, Exemplar sive De Sacris Fabricis Liber, Biblia Sacra, VIII (Antwerp: Christopher Plantin Press, 1572), Madrid, Biblioteca Nacional, R 15710

4.95. Shrine of the Magi, by Nicolas of Verdun, ca. 1180–1230; main façade 1198-1206. Silver, bronze, enamel and gemstones. (5’ 8” x 6’ x 3’ 8”) Cathedral Treasury, Cologne Cathedral, Cologne, Germany (Paul Hermans) Right: Exposed relics of the purported crowned heads of Caspar, Melchior and Baltasar

PLATES

287

4.96. Order of the Dragon Embroidered Insignia of the Order of the Dragon, 1408, Munich, Bayerisches Nationalmuseum (back of the beast shows the Cross wound inflicted by the spear of St. George) Parade Saddle, ca. 1430s, Budapest, Hungarian National Museum (Decoration includes St. George of Cappadocia spearing the Dragon and the Unicorn. The pommel carries the emblematic dragon of Sigismund’s order)

288

4.97. View of Buda, woodcut, from the Liber Chronicarum Nuremberg, CXXXIX (Antwerp, 1483)

4.98. French School, Ivory Casket, Perceval meets a Group of Knights, ca. 1325, Paris, Louvre

4.99. Royal Chapel, Sintra and Main Altar Mural of Calvary (Galen R. Frysinger)

PLATES

289

4.100. Sintra Palace, Bedchamber of Honor opening to Arab Hall Arab Hall with Manueline Tiles (former Chamber of King João I) and Fount (Galen R. Frysinger)

290

4.101. Duarte de Armas, View of Sintra Palace from the West, 1507, Lisbon, Arquivo Nacional da Torre do Tombo

4. 103. Hall of Columns (Conde de Sabugosa, Paço de Sintra, Lisbon, 1903) 4.102. Mecca Terrace looking towards the Hall of Columns/Hall of Blazons

PLATES

291

4.104. Duarte de Armas, Detail of the Mecca House, View of Sintra Palace from the West, 1507, Lisbon, Torre do Tombo

4.105. Views of the Manueline Hall of Blazons, Sintra

292

4.106. Antechamber to the Hall of Blazons (originally part of the battlement corridor)

PLATES

4.107. Exterior of the Hall of Blazons and Manueline Basin Courtyard

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4.108. Duarte de Armas, View of Sintra Palace from the East Southeast, 1507, Lisbon, Arquivo Nacional da Torre do Tombo and Detail of the Mecca House with Extended Upper Galleries supported by wooden beams

295

PLATES

4.109. Sintra, Prince’s Garden

4.110. Detail of Duarte de Armas, View of Sintra Palace from the South, 1507–9, Lisbon, Torre do Tombo

4.111. Sintra Palace

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4.112. Late Gothic Entrance unto Manueline Quarter, Sintra

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297

4.113. Archers Hall looking from the Manueline Quarter to the Late Gothic Swan Hall (Descending spiral stairs to the left)

298

4.114. Entrance to the Swan Hall from the Archers’ Gallery (Galen R. Frysinger)

PLATES

299

4.115. Manueline Quarter near the Mecca Terrace

4.116. Entrance and Gallery of King Manuel, Sintra

300

5.1. Simon Bening and Antonio de Holanda, detail from a View of Lisbon in the Geneaologia do Infante D. Fernando, 1530–1584 London British Library, MS. 12531, f. 7

5.2. Master of Girart de Roussillon, The Wedding of Girart and Berta (Allegorical Portrait of the Marriage of Philip the Good and Isabel of Portugal), ca. 1450, Vienna, Österreichische Nationalbibliothek, Cod. 2549, f. 9v

PLATES

301

5.3. Nicholas Blum, Castle Sluis, engraving, 1873, engraving, Washington, DC, Private Collection

5.4. After Martin Gheeraerts, Map of Bruges (1563), engraving in De Magnificentia Politiae amplissimae Civitatis Brugorum, Part II of Pupillorum Patrocinium of J. de Damhoudere (Antwerp: 1564), Bruges, Stedelijke Musea, Steinmetzkabinet (The Dampoort-Speipoort is on the left with a canal connecting north to the crescent of Sluis)

302

5.5. Antoon van den Wyngaerde, View of Bruges from the North, ca. 1550, Antwerp, Plantin Moretus (The canal on the right leads to the Dampoort Municipal Gate)

5.6. Antonius Sanderus (after Martin Gheeraerts), Map of Bruges with Legends, Flandria Illustrata 1641, Bruges, Stedelijke Musea, Steinmetzkabinet

PLATES

303

5.7. Flemish School, Reie and Northern Gate of the Dampoort, 16th-century drawing, Bruges, Archives de la Ville (The Handelskom, a new trade basin, was dug in 1665 where the canals from Ostend, Sluys and Damme intersected with Bruges’s waterways at the respective gates of the Koolkerkesepoort, Dampoort and Speipoort) Smedenpoort, Bruges (Marc Willems)

5.8 Jean Fouquet, The Arrival of Emperor Charles IV of Luxembourg and Prince Wencenslas to the Benedictine Abbey of Saint-Denis in Paris (1377), Grandes Chroniques de France, ca. 1445-1460, Paris, Bibliothèque National de France, MS Fr. 6465, f. 442

304

5.9. View of Rozenhoedkaai Canal looking towards the Belfort (Marc Willems)

5.10. After Martin Gheeraerts, Map of Bruges (1563), from an engraving in De Magnificentia Politiae amplissimae Civitatis Brugorum, Part II of Pupillorum Patrocinium of J. de Damhoudere (Antwerp: 1564), Bruges, Bibliothèque Communale: A Dampoort-Speipoort; B Sint-Donaaskathedraal; C Burg: Hôtel de Ville; D Heilig Bloed Baziliek; E Belfort (Belfry) & Hallen (Market); F Sint-Christoffelskerk; G Sint-Jakobskerk; H Prisenhof; I Sint-Salvator (1834 Kathedraal); J Onze-Lieve Vrouwekerk; K Jeruzalemkerk; L Sint-Gilliskerk; M Gouden Handstraat Jan van Eyck’s Street; N Sint-Walburgakerk; O Portuguese Nation House (As a modification to the 1564 engraving, the old canal northeast of the Burg and Belfort here is shown in the color enhancement of the waterways)

PLATES

305

5.11. The Burg, Belfort & Markt, from the Map of Bruges, after Martin Gheeraerts (1563), Bruges, Stedelijke Musea, Steinmetzkabinet (The Wasserhalle is to the left of B)

5.12. Belfort (L. Ellis) and View of the Belfort from Wolle Straet

306

5.13 Belfort with Paardenkoestsen (Horse Carriages) (Marc Willems)

5.14 Belfort Tower from Inner Court

5.15. Belfort Treasure Room and Chest (Marc Willems)

PLATES

5.16. Jan Baptiste van Meunincxhove, Markt of Bruges, 1696, Bruges, Groeningemuseum (To the left is the Wasserhalle with its market stalls)

5.17. The Markt in Rainy Weather, Bruges with Carriages near the Statue of Jan Breydel and Pieter de Coninck, leaders of an uprising that led to the July 11, 1302 Battle of the Golden Spurs near Kortrijk in Flanders (Marc Willems)

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5.18. Flemish School. Renaissance Commercial Marketplace (with Personifications of the Cardinal Virtues Prudence, Temperance, Fortitude and Justice surrounding Philosophy, Practicality and Logic), miniature from Brunetto Latini, Le Trésor, ca. 1460–1470, Geneva, Bibliothèque Publique et Universitaire Bruges, Markt

PLATES

309

5.19. Martin Gheeraerts, SintDonaas from the 1562 Map of Bruges

5.20 Maquette of the Carolingian Sint-Donaas, 10th Century (L. Devliegher: Antwerp: Mercantorfronds, Valentin Vermeersch, 1977)

310

5.21. Sint-Donaas Crypt, 10th Century (Marc Willems)

5.22. Archangel Gabriel and the Annunciate Virgin Mary, gold and enamel, 12th Century, probably from SintDonaas, Bruges, Sint-Salvator (Antwerp: Mercantorfronds, Valentin Vermeersch)

5.23. Proosdij (Tourist Office), De Burg, on site of Sint Donaas, Bruges

PLATES

5.24. Jan Baptiste van Meunincxhove, The Burg at Bruges, ca. 1672–6, Bruges, Groeningemuseum (The town administration comprised the Stadhuis on right and Bruges Liberties Hall (background right). On the left are: diocesan offices; and in the background Sint Donaaskerk (St. Donatian’s church). In the vicinity of Sint Donaas were bookshops and offices of ecclesiastical institutions)

5.25. The Burg from the Belfort Tower (right: Stadhuis and Basilica of the Holy Blood ), Bruges (Steve Goldthorp)

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5.26. Huidevettersplein and Rozenhoedkaai Canal: View from the Belfort with the Holy Blood Basilica western façade on the far lower left (Marc Willems)

5.27. Stadshuis, Basiliek van het Heilig Bloed and Entrance to the Basilica (Marc Willems)

PLATES

5.28. Opposite Corners of the Burg: Above, Stadhuis and Holy Blood Basilica Entrance Belfort against a Stormy Sky (Marc Willems)

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5.29. Entrance to the Basiliek van het Heilig Bloed (Holy Blood Basilica), Bruges

PLATES

5.30. Entrance to the Basiliek van het Heilig Bloed) and the Old Civic Registry and Detail of Pelican feeding its Young over the Portal

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316

5.31. Lower Chapel of St. Basil, ca. 1194, Holy Blood Basilica (Marc Willems)

5.32. Lower Chapel of St. Basil, ca. 1194, Holy Blood Basilica (Marc Willems) Plan of the Lower and Upper Chapels

PLATES

317

5.33. Basiliuskapel, Basilica of the Holy Blood, Lower Chapel, Romanesque, Interior typanum showing the Baptism of Christ with the Holy Spirit, 12th Century Interior Staircase of the Basilica

318

5.34. Upper Chapel of the Holy Blood Basilica (Marc Willems: originally Romanesque but only three archs remain of the side Chapel of the Cross, rebuilt 1531–1533 and largely restored in the 19th century)

5.35. Upper Chapel of the Holy Blood Basilica, View of the Main Altar (Steve Goldthorp) Side Chapel of the Holy Cross, Basilica of the Holy Blood, Bruges

PLATES

5.36. Display of the Holy Blood Reliquary, Bruges (Marc Willems)

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5.37. Stadhuis (1376–1397), Bruges Center, To the right is the Holy Blood Basilica (Marc Willems). To the left is the Old Civic Registry (Oude Civiele Griffie: Neo-Gothic Recorders Office, 1887–1921) housing the Hall of the Liberty of Bruges. The Schepenkamer retains its carved wooden and black marble mantel by Lancelot Blondeel, dated 1529–1531

PLATES

321

5.38. J. Danckaert, Stadhuis of Bruges (1376–1397), engraving, 1711 (Elisabeth Dhanens: Statues of the 1980s replace images polychromed by Jan van Eyck destroyed by the French ca. 1790)

322

5.39. Main Entrance Hall, Stadhuis and Late Gothic Stone Console of St. Mary Magdalene washing the Feet of Christ, Stadhuis

323

PLATES

5.40. Alderman Hall (Salle des Échevins), Stadshuis ca. 1385–86 (Marc Willems: Lower Walls largely restored)

5.41. Vaults with Bosses of the Passion (Steve Goldthorp)

324

5.42. Alderman Hall (Salle des Échevins), Detail of Vault Consoles (Marc Willems) Consoles: Element of Water & Element of Earth (Rhea with Lions of Flanders), ca. 1385–86

PLATES

5.43. Antonius Sanderus, The Beursplein (Burse) of Bruges, engraving, Flandria Illustrata, 1641 (Left: Trading House of Genoa; Middle: Step-gable Venetian House; Right: Florentine House)

5.44. Location of the Burse (No. 63) on Martin Gheeraerts, Map of Bruges (1563), Bruges, Municipal Archives

325

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5.45. Saaihalle of the Genoese, 1441, Vlamingstraat No. 33

5.46. Flemish School, St. George rescuing a Princess from the Dragon, Typanum of the Entrance, ca. 1478–1482, (Arms are those of Johannes Crabbe, Abbot of the Abbey of the Dunes, of Flanders, of Hapsburg and of Burgundy; other Genoese arms)

327

PLATES

5.47. Antonius Sanderus, The Castilian Nation House (1494), engraving, Flandria Illustrata, 1641

5.48. Martin Gheeraerts, Convent-Monastery of the Friars Minor in Bruges (No. 35), detail of the Map of Bruges, 1563, Bruges, Municipal Archives

328

5.49. Martin Gheeraerts, Sint-Walburgakerk and Portuguese Quarter in Bruges, from the Plan of Bruges, 1563, Bruges, Stedelijke Musea, Steinmetzkabinet

PLATES

329

5.50. Letter of Trading Privilege accorded by Jean sans Peur to João I of Portugal (r. 1385–1433), 1410, Porto, Arquivo Histórico Municipal

5.51. Former Church of the Dominicans, at Predikherenrei, Bruges (now an apartment complex) Late Gothic Capitulary Hall, Old Dominican ConventMonastery of Bruges, Bruges, Langestraat

330

5.52. Antonius Sanderus, Hanse House in Bruges, Flandria Illustrata, 1641, Ghent, University Library

5.53. Antonius Sanderus, House of England at Bruges, 1641, Flandria Illustrata, 1541, Ghent, University Library (situated on the Spieghelrei ca. 1574– 1585)

5.54. Martin Gheeraerts, Scottish Quarter in Bruges, detail of the Map of Bruges, 1563, Bruges, Municipal Archives (No. 65 is the Schottenplein, known today as SintMaartensplein)

331

PLATES

5.55. Antonius Sanderus, House of the Biscay Nation (Cantabrica) and Poortersloge, 1641, Flandria Illustrata, Ghent, University Library (buildings date to the 16th and 15th centuries)

5.56. Marcus Gerards, No. 63 is Beursplein, with House of Florentines with Four Towers; No. 67 is the House of Biscay, No. 83 is the Poortersloge, detail of the Map of Bruges, 1562, Bruges, Municipal Archives

332

5.57. View of the Spiegelrei-Spinolerei, Bruges

5.58. Poortersloge on Jan van Eyckplein and Sint-Jansbrug (Academiestraat 14) & SpiegelreiSpinolarei, Bruges (Steve Goldthrop)

5.59. Poortersloge Exterior (Jan van Eyck’s Statue faces the Burghers House)

PLATES

5.60. View of the Spiegelrei-Spinolerei and Jan van Eyckplein (Marc Willems)

5.61. Statue of Jan van Eyck facing the Poortersloge

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5.62. Onze-Lieve Vrouwekerk, Ducal Church of Our Lady situated on Mariastraat, Bruges View from the Belfort and South Façade, ca. 1220-15th century (118–122 meter tower; about 400 feet)

PLATES

5.63. Onze-Lieve Vrouwekerk Western Entrance

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5.64. Onze-Lieve Vrouwekerk Tower and Apse

337

PLATES

5.65. Onze-Lieve Vrouwekerk Interior Nave looking towards Apse

338

5.66. Church of Our Lady (Onze Lieve Vrouwekerk), Tombs of Mary of Burgundy (Jan Borman: 1522) and Charles the Bold (after 1572) (Interior Right: Joop Schilperoord )

PLATES

5.67. Onze-Lieve Vrouwekerk, Interior, Tomb of Charles the Bold, with Exposed Graves painted with frescoes in the Choir Calvary and one of the Incense Bearing Angels of the Side Walls (Joop Schilperoord)

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5.68. Belfort View of Sint Salvator Cathedral (Steve Goldthorp)

5.69. Tower of Sint Salvator

341

PLATES

5.70. Sint Salvator Cathedral and Tower of Sint Salvator

342

5.71. Sint Salvator Cathedral Interior and Sint Salvator Reliquary (Marc Willems)

PLATES

343

5.72. Bartholomaeus Anglicus, Cloth Dyers at Work, from De Proprietatibus Rerum, ca. 1482, London, British Library, MS. Royal 15 E III, f. 269

5.73. Window Lunette of Dyers/Tanners, Bruges

344

5.74. Flemish School, Crucifixion with Saints Catherine of Alexandria and Barbara, 1420, commissioned by the Tanners’ Guild of Bruges, Sint Salvator, Bruges

5.75. Martin Gerhaerts, detail of the Map of Bruges, 1563, Bruges, Stadsarchief: A Beursplein; B Florentine House; C St. Jacobskerk; D Prisenhof

PLATES

5.76. Sint Jacobskerk Church (1240) on Sint-Jacobstraat (Marc Willems)

5.77. Antonius Sanderus, Prisenhof Castle, Bruges, engraving of 1641 from Flandria Illustrata

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5.78. The Prisenhof, Bruges, View from the North, Plan of Martin Gerhaerts, 1563 (L. Devliegher, De huizen te Brugge, 1975 & Krista De Jonge, 2000) A- Entrance from Noordzandstraat B- Tower, 14th Century, rebuilt 1456-1459 C- Great Hall, 14th Century; Apartments of Duchess Isabel of Burgundy (1446-48) D- Apartments of Duke Philip the Good (14561459) E- Chapel (1448-1452) F- Great Gallery (14671468) G- Garden H- Bath House (1446) I- Hôtel Vert (Private Residence) J- Double Gallery of the Hôtel Vert K- Kaatsspel

347

PLATES

5.79. Prisenhof, Bruges (Kempinski Hotel Dukes’ Palace)

348

5.80. School of Paris, Golden Tree Genealogy of François I of France and Queen Claude, from Le Sacre, Coronation, Triumph, and Entry of the Queen and Duchess, Madame Claude de France, ca. 1517, Paris, Bibliothèque National de France, MS Fr. 5750, f. 45

5.81. Jean Le Tavernier, bas-de-page herald of Philip the Good, frontispiece of Bertrand de La Broquière, Voyage d’Outremer, Paris, Bibliothèque Nationale, MS. Fr. 9087, f. 1

PLATES

349

5.82. Flemish School, Isabel of Portugal, drawing from the Brabants Wapenboek, 1560, Brussels, Koninklijke Bibliotheek Albert I, hs III 878, folio 17

5.83. The Arms of Philip the Good and Isabel of Portugal, polychromed panels, 15th Century, Hof van Bladelin on Naaldenstraat

350

5.84. Flemish School, Martin Le Franc presents his Work to Philip the Good, Founder of the Order of the Golden Fleece, frontispiece, Le Champion des Dames, ca. 1430–1435, Paris, Bibliothèque National de France, MS. Fr. 12476, f. 1 Details: Gideon with his Fleece and Jason approaching the tower of Medea

PLATES

351

5.85. German School (Regensburg), Aeneas approaches Lavinia in a Tower, from Heinrich von Veldeke, Eneide, 1215, Berlin, Staatsbibliothek, MS. Germ. 282, f. 66r.

5.86. After Jan van Eyck, Princess Isabel of Portugal, 17th Century, drawing, Southern Germany, Private Collection (Charles Sterling).

352 5.87. Master of Antoine of Burgundy (Bruges), Bal des Ardents (Ball of Flames: 28 January 1393), ca. 1470-1475, Jean Froissart’s Chroniques de France, ca. 1450, Paris, Bibliothèque National de France, MS. Fr. 2646, f. 176r

5.88. Jacques Coene, Circe, from Giovanni Boccaccio, Des Cleres et Nobles Femmes (On Famous and Noble Women), ca. 1402, Paris, Bibliothèque Nationale de France, MS. Fr. 1240, f. 54v

353

PLATES

5.89. Jean IV of Brabant, 15th Century, Rotterdam, Boymansvan-Beuningen Museum

5.90. Philippe, Count of Nevers with a Staff of Authority, 15th Century, destroyed (Amsterdam, Mannheimer Collection)

5.91. Philippe (St. Pol) of Brabant with a Falcon, destroyed (Amsterdam, Mannheimer Collection) (Flemish School drawings, related to Tomb of Louis de Mâle formerly in Church of St. Pierre, Lille)

354

5.92. Jan “Velvet” Brueghel, The Archdukes Albert and Isabel Clara Eugenia at Tervuren, ca. 1620, Madrid, Prado

5.93. J. Lyon, Plan of Hesdin, 19th Century

5.94. Current Map (Robert Zeldenrust)

PLATES

5.95. Seal of Robert I, Comte d’Artois (b. 1216); brother of St. Louis IX, son of Louis XVIII and Blanche of Castille, received Artois in June of 1237

355

5.96. French School, Mahaut d’Artois (1270–1329), Countess d’Artois and Orthon IV of Burgundy, from Mémoriaux d’Antoine Succa (P33), 1601, drawing after Portail de Thieuloye, Brussels, Bibliothèque Royaux Albert I

5.97 Jean de Marville (active 1372– † 1389) and Claus Sluter, Portal to the Ducal Church of the Chartreuse de Champmol (Central trumeau statue of the Virgin and Child; dedicated to the Holy Trinity), Philip the Bold with St. John the Baptist and Margaret of Flanders with St. Catherine of Alexandria, 1389–1399 (Christophe Finot)

356

5.98. Old Hesdin and the Parkland (Association des Amis du Site Historique du Vieil Hesdin)

5.99. Present View of Hesdin Castle Ruins and early 20th-century Photograph of Hesdin’s Towers (Emperor Charles V destroyed the Castle in 1555 following a French siege in December of 1553: Association des Amis du Site Historique du Vieil Hesdin)

PLATES

357

5.100. Franco-Flemish School, Tapestry, wool and silk, Offering of the Heart to a Lady with a Falcon and Dog, ca. 1400–10, Paris, Louvre (247 x 209 cm) Plan of Hesdin (Anne van Buren Hagopian)

358

5.101. Egerton Master, The Castle of Fortune, from Cristine de Pisan (1363–1431), La Mutation de Fortune, edition 1405–10, Munich, Bayerische Staatsbibliothek, MS Gall. II, f. 13

5.102. Master of l’Épitre d’Othéa, Fortune with Eur and Meseur, from Christine de Pizan (1363–1431), La Mutation de Fortune, edition 1404–5 Chantilly: Musée Condé, MS. 494, f. 16

PLATES

359

5.103. Master of l’Épitre d’Othéa, Welcome at the Castle of Fortune and Hall of Paintings, from Christine de Pizan (1363– 1431), La Mutation de Fortune, edition 1405 Chantilly: Musée Condé, MS. 493, folios 244v and 290v

360

5.104. Colard le Voleur, The History of Jason and the Conquest of the Golden Fleece ca. 1431-33, Berlin-Dahlem Museum, Kupferstichkabinett Above Left: The Winged Brothers Zetes and Calais join the Argo; Middle: The Argonauts land in Thrace and meet Phineus; Right: Zetes and Calais kill the Harpies who torment Phineus Below Left: Mars places the Ram on a Hill guarded by a Pair of Fire-breathing Oxen; Middle: Meeting of Pelias and Jason; Right: Jason builds the Argo to procure the Golden Fleece requested by Pelias

PLATES

361

5.105. Colard le Voleur, The History of Jason and the Conquest of the Golden Fleece, ca. 1431-33, Berlin-Dahlem Museum, Kupferstichkabinett Above Left: The Departure of the Argo; Middle: The Argonauts arrive at the Kingdom of Laomedon of Troy Right: Jason and Hercules sail for Thrace Below Left: To avoid being sacrificed by their step-mother Ino, Helle and Phrixis escape on a golden ram provided by Hermes; Middle: Helle falls into the sea between Sigeum and Chersonesus (Hellespont); Right: Phrixis presents the ram to Mars at Colchis

362

5.106. Egerton Master from Christine de Pisan viewing Murals in the Salle de Fortune, from Cristine de Pisan, La Mutation de Fortune, 1405-10, Munich, Bayerische Staatsbibliothek, MS Gall. II, f. 53 (The cycle illustrates themes of antiquity drawn from the history of Egypt, Persia, Troy, Alexander the Great and the Roman Empire)

5.108. Epître Master, Paintings in the Salle de Fortune; Liberal Arts and a Siege, from Cristine de Pisan, La Mutation de Fortune, 1405-10, f. 54, location unknown (formerly Pierre Beres)

5.107. French School from Christine de Pisan viewing Murals in the Salle de Fortune with Two Dogs, from Cristine de Pisan, La Mutation de Fortune, 1405–10, Paris, Bibliothèque Nationale, MS. Fr. 603, f. 127v (perhaps another chamber at Hesdin)

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PLATES

5.109. TurinMilan Hours Hand G (Chief Master), Birth of St. John the Baptist and Bas-de-Page Baptism, ca. 1422–25, Musei Civici di Torino, MS. 47, f. 93v

364

5.110. Northern School (Lambert van Eyck?), The Adoration of the Magi, drawing, ca. 1420–1425, Berlin, Gemäldegalerie, Staatliche Museen, Kupferstichkabinett

5.111. Background Terrace Figures in the Madonna of Chancellor Rolin, ca. 1435, Paris, Louvre

365

PLATES

5.112. Turin-Milan Hours Hand G (Chief Master), Bas-de-Page Baptism, ca. 1422–25, Musei Civici di Torino, MS. 47, f. 93v

5.113. Jan van Eyck, Giovanni Arnolfini and his Wife, 1434, London, National Gallery

366

5.114. Master of l’Épitre d’Othéa, Hall of Paintings in the Salle de Fortune, from Christine de Pisan (1363–1431), La Mutation de Fortune, edition 1404–5, Chantilly, Musée Condé, MS. 494, f. 54

5.115. Colard le Voleur, The History of Jason and the Conquest of the Golden Fleece, ca. 1431–33, Berlin-Dahlem Museum, Kupferstichkabinett Left: The Departure of the Argo for Colchis; Middle: The Disembarkation; Right: Jason’s Welcome by King Aetes and Medea in her Palace Bedchamber

PLATES

5.116. Flemish School (perhaps after cartoons by Jan van Eyck), The Boar and Bear Hunt, 1425–1430, woven ca. 1445 possibly by Jean Wallois of the School of Arras, Devonshire, Castle Hardwick, Trustees of the Chatsworth Settlement (London: Victoria & Albert Museum): most complete of the four panels)

5.117. Flemish School (perhaps after cartoons by Jan van Eyck), The Deer Hunt, 1425–1430, woven ca. 1445 possibly by Jean Wallois of the School of Arras, Devonshire, Castle Hardwick, Trustees of the Chatsworth Settlement (4 x 8.55 m: 13’4½ x 28’5½”), London, Victoria & Albert Museum

367

368

5.118. Flemish School (perhaps after cartoons by Jan van Eyck), Falconry, 1425– 1430, woven ca. 1445 possibly by Jean Wallois of the School of Arras, Devonshire, Castle Hardwick, Trustees of the Chatsworth Settlement (4.4 m: 14’6”, tallest of the four panels), London, Victoria & Albert Museum

5.119. Flemish School (perhaps after cartoons by Jan van Eyck), Otter and Swan Hunt, 1425–1430, woven ca. 1445 possibly by Jean Wallois of the School of Arras, Devonshire, Castle Hardwick, Trustees of the Chatsworth Settlement (11.15 m: 36’7½”, longest of the four panels), London, Victoria & Albert Museum

PLATES

369

5.120. Peter Paul Rubens, Boar Hunt with Riders, Costume Book, London, British Library, f. 14v

5.121. Master of Speelkaarten (Basel), Falconers, based upon a lost Burgundian mural cycle of fifty-four equestrians, ca. 1430–50, Vienna, Kunsthistorisches Museum

370

5.122. The Bedford Master, The Legend of the Fleurs-de-Lys (King Clovis and Queen Clothilda, The Bedford Hours, ca. 1423–30, London, British Library, Add. MS. 18850, f. 288v

PLATES

371

5.123. Peter Paul Rubens, Bird Hunt, Costume Book, London, British Library, f. 24

5.124. Bohemian School, June, from a Cycle of the Months of the Year, ca. 1400– 1407, Trent, Castello del Buonconsiglio, Eagle Tower

372

5.125. After Jan van Eyck, The Hunting Festivity of Duke Philip the Good of Burgundy (ca. 1431), 16th-century replica, Versailles (Musées Nacionaux de France)

5.126. Flemish School, The Hunting Party, early 17th century (219 x 118 cm), Dijon, Musée de Beaux-Arts

PLATES

373

5.127. Félix Castello, The Pardo Palace (detail), ca. 1636, Madrid, Museo Municipal (Perseus Tower is the one to the right of the moated entrance)

5.128. Pardo Palace (after Plan of Francisco Gómez de Mora, late 16th Century): A Entrance of Charles V (Queen’s Quarter); B Perseus Tower; C Aposento de la Reina; D King’s Quarter; E Sala of the King; F Chapel; G Hall of Portraits (Galeria de Retratos); H Corredor de Mediodia (South Gallery); I Aposento del Rey; J Corredor del Cierzo; K North Wind Hall (Galeria del Cierzo)

374 5.129. Hypothetical Assembly A Philip the Good B Duchess Isabel C Prince Fernando D Agnes of Burgundy E Charles of Bourbon F Jacoba of Bavaria G Frank van Borselen H Anne, Duchess of Bedford I John, Duke of Bedford J Margaret, Countess of Richemont K Arthur, Count Richemont L Marie, Duchess of Cleves M Adolph I, Duke of Cleves N John of Cleves O Margaret, Countess of Hainaut P Jehan de Lannoy, Lord Roubaix Q Lady Roubaix R Baudouin de Lannoy, Lord Molenbaix S Lady Molenbaix T Hendrick van Eyck U Andrieu de Toulongeon & Lady Mornay V Jan van Eyck & Margaret van Eyck W Jester X Composer Gilles Binchois & his Wife Y Jeanne de Harcourt, Countess of Namur, & the Count of Namur Z Musicians

PLATES

375

5.130. Detail of Duchess Isabel of Burgundy flanked by Prince Fernando and Agnes of Burgundy

5.131. Detail of the Couples in the Versailles Hunting Party

376

5.132. French School, Enamel and Gold Medallion with the Portrait of John of Bedford as Knight of the Golden Fleece, Munich, Schatzkammer der Residenz

5.133. Detail of the Trumpeters, Versailles Festivity

PLATES

377

5.134. Limbourg Brothers (Hernan, Pol, Jean), May (Pageant in the Woods near the Hôtel de Nesle) and August (Falcon Hunt at the Château d’Étampes), Très Riches Heures of the Duke of Berry, 1413–16, Chantilly, Musée Condé, MS. 65, f. 5v and f. 8v

378

5.135. Rohan Master, April with Sign of Taurus (above) and May with the Sign of Gemini (below), Les Grandes Heures de Rohan, ca. 1430, Paris, Bibliothèque Nationale, MS. Lat. 9471, folios 5v and 7

PLATES

379

5.136. Workshop of the Master of Wauquelin’s Alexander, Presentation of the Manuscript to Philip the Good, in Jean Wauquelin, Faicts et Conquestes d’Alexandre, ca. 1448, Paris, Bibliothèque Nationale de France, MS. Fr. 9342, f. 5

380

5.137. Detail of the Duke of Burgundy in the Versailles Hunting Party

5.138. Flemish School, Alexander the Great bids farewall to Philip of Macedonia before engaging King Nicolas of Caesarea in Battle, fragment of a tapestry from a set of Alexander the Great Tapestries purchased by Philip the Good from Pasquier Grenier in 1459 (Paris: Petit Palais)

PLATES

381

5.139. Petrus Christus, Madonna of the Dry Tree, 1465, Madrid, ThyssenBornemisza Museum

382

5.140. Detail from the Versailles Hunting Party

5.141. Attributed to Petrus Christus, Man with a Falcon (proposed portrait of Hendrik van Eyck), ca. 1445–50, silverpoint drawing, Frankfurt, Städelsches Kunstinstitut

PLATES

383

5.142. Proposed portrait of Jan van Eyck and his Wife Margaret, Versailles Festivity

5.143. Jan van Eyck, A Man in a Turban (Self-Portrait?), ca. 1433, London, National Gallery

5.144. Jan van Eyck, Margaret van Eyck (41.2 x 34.6 cm), 1439, Bruges, Groeningemuseum

384

5.145. Detail of the Background Landscape, Versailles Festivity (Le Pavillon du Marais)

5.146. Plan of Hesdin (Anne van Buren Hagopian)

PLATES

385

5.147. E. Devreux, View of Binche, 1935–36, after Hedicke (1911): 1999–2000 excavations establish another disposition for the entrance ramp and basse-cour

5.148. Leone Leoni, Mary of Hungary, 1553, Madrid, Museo del Prado

386

5.149. Flemish School, Grande Salle and Banquet Hall of Binche Castle during the August, 1549 Visit of Philip II and Charles V to Mary of Hungary, 1549 watercolour, Brussels, Koninklijke Bibliotheck Albert I, Prentenkabinett

PLATES

387

5.150. Franco-Flemish, Courtly Scene, Tapestry, wool and silk, ca. 1420 (Paris: Musée des Arts Décoratifs: Photo, Laurent-Sully Jaulmes)

5.151. Franco-Flemish, The Concert, Tapestry, wool and silk, ca. 1420 (Paris: Musée des Arts Décoratifs: Photo, Laurent-Sully Jaulmes)

5.152. Franco-Flemish, The Promenade by a Stream, Tapestry, wool and silk, ca. 1420 (Paris: Musée des Arts Décoratifs: Photo, Laurent-Sully Jaulmes)

388

5.153. Flemish School, Guillaume Dufaÿ and Gilles Binchois, minature, Martin Le Franc, Le Champion des Dames, Paris, Bibliothèque Nationale, MS. Fr. 12476, f. 98

5.154. Jan van Eyck, Tymotheos of Miletus (Gilles Binchois), 1432, oil on wood, (13.6 x 7.5”: 34.5 x 19 cm), London, National Gallery

389

PLATES

5.155. Gilles Binchois from the Versailles Festivity

5.156. Jan Van Eyck, Portrait of a Young Man, (Leal Souvenir: Tymotheos), 1432, detail, National Gallery, London

5.157. Flemish School, Alexander the Great Conqueror of the Earth and Sea, detail of a tapestry from a set of Alexander the Great Tapestries purchased by Philip the Good from Pasquier Grenier in 1459 (Rome, Galleria Doria Pamphilj)

390

5.158. Attributed to Girard d’Orléans, Portrait of Jean “Le Bon”, panel, 1350–1360, Paris, Louvre

5.159. French School, The Banquet, Le Remède de Fortune by Guillaume de Machaut (†1377), 1365, Paris, BN, MS Fr. 1586, f. 55r

PLATES

391

5.160. Franco-Flemish School, Christine de Pisan visited by Reason, Rectitude and Fortune, the Cité des Dames (ca. 1405–10), ca. 1450, Paris, Bibliothèque Nationale, MS. Fr. 1177, f. 3v

5.161. Master Cité des Dames, Christine de Pisan & Queen Isabeau, Frontispiece to her Collected Works called Recueil de ses Oeuvres, 1405–7, London, British Library, MS. Harley 4431, f. 3

392

5.162. French School (Jacques Coene), Thamyris, daughter of the Greek Painter Micon (perhaps a portrait of Bourgot Le Noir), from Boccaccio, Des Cleres et Nobles Femmes, ca. 1403, Paris, Bibliothèque National de France, MS. Fr. 12420, f. 86

5.163. French School (Jacques Coene), Marcia of Rome (perhaps a portrait of Anastasia, painter of Christine de Pisan), from Boccaccio, Des Cleres et Nobles Femmes, ca. 1403, Paris, Bibliothèque Nationale de France, MS. Fr. 12420, f. 92v

5.164. Jean Le Noir and Daughter Bourgot, The Three Living and the Three Dead, Psalter of Bonne de Luxembourg (d. 1349, wife of Jean II “Le Bon”), ca. 1345–49, Geneva, Bodmer Library, fols. 321v-322r

PLATES

393

5.165. French School, The Lover contemplates his Lady, Le Remède de Fortune by Guillaume de Machaut († 1377), 1365, Paris, BN, MS Fr. 1586, f. 23r

5.166. French School, The Lover sings as his Lady dances, Le Remède de Fortune by Guillaume de Machaut († 1377), 1365, Paris, BN, MS Fr. 1586, f. 51r

394

5.167. French School, The Enchanted Garden (Hesdin), Le Remède de Fortune, Le Dit du Lion, by Guillaume de Machaut († 1377), 1365, Paris, BN, MS Fr. 1586, f. 103

5.168. View of the Canal from the Pont Neuf Moulin of the Canche River, Hesdin (Association des Amis du Site Historique du Vieil Hesdin)

PLATES

395

6.1. Map of Flanders (after Derek Blyth, Flemish Cities Explored: Ted Hammon, London)

6.2. Loyset Liédet, Merchants selling Wares including Cloth, from Nicolas Oresme, L’Éthique, la Politique et l’Économie d’Aristotle, ca. 1454, Rouen, Bibliothèque Municipale, MS I 2(927), f. 145r

396 6.3. Master of the Ghent Privileges, The Privileges and Statutes of Ghent and Flanders, Cod. 2583, ca. 1453, Vienna, Österreichische Nationalbibliothek: Philip the Fair mediating between Gui de Dampierre, Count of Flanders (1280–1304) and the Ghent Council of Thirty-Nine in February of 1285, f. 153; Louis of Nevers gives a Document to the Ghent Council, f. 172

397

PLATES

6.4. John Orchard, Edward III (1327– 1377), gilt copper effigy, London, Westminster Abbey

6.5. Jean de Liège, Philippa of Hainaut († 1369), white marble effigy, London, Westminster Abbey

6.6. Arms of John of Lancaster (Gaunt), stained glass, London, Victoria and Albert Museum

6.7. John Orchard, Edward of Woodstock, the Black Prince (1330–1376), gilt copper effigy, Trinity Chapel, Canterbury Cathedral (Angelo Hornak)

398

6.8. Master of the Ghent Privileges, The Privileges and Statutes of Ghent and Flanders, Cod. 2583, ca. 1453, Vienna, Österreichische Nationalbibliothek, Codice: Louis de Mâle mediating between the Councils of Ghent and Courtrai, April 15, 1373, f. 196v; Philip the Bold and Margaret of Flanders concluding the Peace Treaty of Tournai, December 18, 1385, f. 200v; John the Fearless and Representatives of the Four Estates of Flanders, 1405, f. 213v.

PLATES

6.9. ‘S-Gravensteen (Castle of Counts), Ghent, late 12th Century (Steve Blyskal)

6.10. ‘S-Gravensteen (Castle of Counts), Ghent, late 12th Century: Main Keep (two banners at the ramparts) and West Gate (street car cables removed)

399

400

6.11. Joan Blaeu, Surroundings of Ghent and Petra Comitis (Het Graven Casteel), from the Dutch edition of the Grooter Atlas (9 vols. Atlas Frederik Willem van Loon, 1663–1665), 1664, color engraving, Amsterdam, Scheepvaartmuseum (Netherlands Maritime Museum)

PLATES

401

6.12. Joan Blaeu, Het Graven Casteel, Detail from the Dutch edition of the Grooter Atlas (9 vols. Atlas Frederik Willem van Loon, 1663-1665), 1664, color engraving, Amsterdam, Scheepvaartmuseum (Netherlands Maritime Museum)

6.13. Antonius Sanderus, ‘S Gravensteen, Flandria Illustrata (Cologne: 1641), Ghent, Stadsarchief

6.14. Eastern Walls and Turrets of ‘S-Gravensteen (Castle of Counts), Ghent, late 12th Century (Steve Blyskal)

402

6.15. Plans of ‘S-Gravensteen after 1779 Plan by J. Denis Brismaille (Upper Right, Ghent, Stadsarchief ) A Gate; B Suikerlade; C Square; D Stables; E Outer Courtyard; F Double Footbridge linking Gate & Keep (demolished ca. 1550); G Castellan’s House; H Chambre d’Honneur/Kitchen; I Donjon (Banqueting HallFirst Floor/Knights Hall- Ground Floor/Crypt); J Count’s House Audience Hall; K Apartments of the Countess

PLATES

6.16. ‘S-Gravensteen West Gate and Corridor to Inner Courtyard

403

404

6.17. ‘S-Gravensteen West Gate Corridor the the Gate connecting Street to the Inner Courtyard (Christopher D. Reilly)

PLATES

6.18. Main Gate with Side Turret; View of Courtyard and Main Gate; Upper Parapet of the Castle Keep (Steve Blyskal)

405

406

6.19. ‘S-Gravensteen Suikerlade/Chapel of the Military Garrison (Right View: Stefaan De Clerck)

PLATES

6.20. ‘S-Gravensteen Suikerlade/ Chapel of the Military Garrison (Emmanuel Pierre)

407

408

6.21. Columned Crypt;

6.22. Cellar to the Keep (Steve Blyskal);

6.23. Courtyard Views (Stefaan De Clerck)

PLATES

409

6.24.‘S-Gravensteen Donjon Keep (Steve Blyskal)

6.25. Side View of the Old Entrance with Remnants of the Arched Portcullis

410

6.26. ‘S-Gravensteen, Double Turreted Castellan’s House and Kitchen (Emmanuel Pierre); Details of the Castellan Stone Windows (Steve Blyskal)

PLATES

6.27. ‘S-Gravensteen, Castellan’s House & Masonry (Steve Blyskal)

411

412

6.28. Knights Hall (Ground Level), Donjon, ‘S-Gravensteen (Christopher D. Reilly)

6.29. Knights Hall (Ground Level), Donjon, ‘S-Gravensteen and Detail of the End Wall with Stone Archs (Steve Blyskal)

PLATES

6.30. Banqueting Hall (Upper Level), Donjon, ‘S-Gravensteen (Luc Sesselle)

6.31. Banqueting Antechamber with Window Seats (Stefaan De Clerck)

413

414

6.32. Banqueting Hall (Upper Level), Donjon, ‘S-Gravensteen (Emmanuel Pierre) Stone Seats with Bottled Glass Windows (Steve Blyskal)

PLATES

6.33. Donjon Stairwell (Steve Blyskal)

6.34. Uppermost Keep Gallery (Steve Blyskal)

415

416

6.35. View of ‘S-Gravensteen Castle from the Belfort and the Keep (Lucien Hamelinck)

6.36. View of SintBaafskathedraal, the Belfort, SintNiklaaskerk

PLATES

417

6.37. Ramparts of the Count’s Castle

6. 38. ‘S-Gravensteen, Ghent, late 12th Century: East Side Views (Steve Blyskal)

6.39. The Count’s House and Audience Chamber (Lucien Hamelinck)

418

6.40. The Count’s House (Stefaan De Clerck)

PLATES

419

6.41. The Count’s House, Audience Chamber (Emmanuel Pierre)

6.42. Stone and Brick Fireplace (Steve Blyskal)

420

6.43. Audience Chamber with Vaulting, The Count’s House (Emmanuel Pierre)

6.44. Window Seat and Portal opening to Courtyard, Audience Chamber, Count’s House (Steve Blyskal)

PLATES

6.45. The Count’s House, Chambers of the Count and Countess (Stefaan De Clerck)

421

422

6.46. Antonius Sanderus, The Prinsenhof of Ghent (Hof ten Walle/Ten Waele), from Flandria Illustrata (Cologne: 1641, I), Brussels, Bibliothèque Royale Albert Ie

6.47. Maquette of the Hof ten Walle, Ghent (Paul Hermans)

6.48. Centre of Ghent (streets reduced) A ‘S Gravensteen; B Donkere Poort and Hof ten Walle (Ten Waele Castle); C Rabot; D Sint-Baafskathedraal (Bavo); E Belfort & Lakenhall (Cloth Hall); F Sint-Niklaaskerk; G Graslei (Bank of Leie); H Sint-Michielskerk

PLATES

6.49. Het Rabot, 1489–1491, fortified sluice, Hof ten Walle (Lucien Hamelinck)

423

424

6.50. The Prinsenhof of Ghent (Hof ten Walle/Ten Waele), Donkere Poorte (Dark Gate) (Paul Hermans)

6.51. Flemish School, Castle Tillegen SintMichiels, 1641, Bruges, Rijksarchief

PLATES

425

6.52. Joan Blaeu, Surroundings of Ghent and Petra Comitis (Het Graven Casteel), from the Dutch edition of the Grooter Atlas (9 vols. Atlas Frederik Willem van Loon, 1663–1665), 1664, color engraving, Amsterdam, Scheepvaartmuseum (Netherlands Maritime): Detail of Ghent and Laerne

6.53. Kasteel van Laarne, 12th Century, Moat and Entrance

426

6.54. Kasteel van Laarne, Façade, 12th Century (Paul Hermans)

6.55. Kasteel van Laarne, Façade, 12th Century (Paul Hermans)

PLATES

6.56. After Pierre Paul Merx, Plan of the Hof ten Walle, Ghent, Primary Level, 1649 published by Krista De Jonge, 2001) Suggested Layout: A Northern Bridge Entrance; B Palace Court; C Tower Staircase; D Small Courtyard; E More Public Rooms; F Sala (Audience Room); G Antesale (salette); H Ducal Chapel; I Sacristy; J Ducal Oratory; K Garderobe of the Duke; L Chamber of the Duke; M-O Duke’s Chambers; P Double Portico; Q Tower Staircase; R Quarters of the Duchess; S Chamber of the Duchess; T Garderobe of the Duchess; U Chamber of the Duchess; V Garderobe; W Chamber of the Duchess; X Eastern Bridge Entrance

427

428

6.57. Ghent Belfort (1321–1380) and Lakanhalle (1425: Guild House, Cloth Workers)

PLATES

6.58. Ghent Gothic Belfort (1321–1380) and Lakanhalle Detail of the Tower: The Belfort campanile originally was a medieval wooden spire, which was replaced by a cast iron structure (1851) and then reworked in stone (1913)

429

430

6.59. East Side of the Lakenhalle and Belfort with Sint-Niklaaskerk to the West (Donar Reiskoffer)

6.60. Western Entrance of SintNiklaaskerk with Belfort to the East (SintBaafskathedraal is to the right)

PLATES

431

6.61. SintNiklaaskerk, Ghent and the Korenmarkt, Photograph ca. 1890– 1900 (Ghent Archives: Houses attached to the Church have been demolished)

6.62. Eduard Gaertner (1801– 1877), SintNiklaaskerk and Marketplace, late 19th Century (30.5 x 37.5 cm), Villa Grisebach Auction (Andreas Praefcke)

6.63. Northern Façade, SintNiklaaskerk (Emmanuel Pierre)

432

6.64. Sint-Niklaaskerk from the East, Apse End and the Belfort (Donar Reiskoffer)

6.65. SintNiklaaskerk from the West and Belfort (Emmanuel Pierre)

PLATES

6.66. Sint-Niklaaskerk, Vaulting in the Choir and Tower

433

434

6.67. Sint-Niklaaskerk Choir

6.68. Nave Details (Yuri Takhteyev)

435

PLATES

6.69. Sint-Niklaaskerk, Column and Vault of the Apse (Petrus Silesius)

6.70. Vault Frescoes of Music-playing Angels (Yuri Takhteyev)

436

6.71. SintMichielskerk, East Side, Ghent, 1440–1658 (Lucien Hamelinck)

6.72. ‘Het Pand’ by the Leie to the East of SintMichielskerk (Lucien Hamelinck)

6.73. Apse End of Sint-Michielskerk

PLATES

6.74. Dominican Priory ‘Het Pand’, on the banks of the Leie, 1325–16th Century, now University of Ghent (Lucien Hamelinck)

437

438

6.75. Sint-Michielskerk, Ghent, 1440–1658, Western Entrance

6.76. Sint-Michielskerk, Portal Tympanum (Yuri Takhteyev)

PLATES

6.77. Sint-Michielskerk, Nave, Ghent, 1440–1658 (Paul Hermans)

6.78. Sint-Michielskerk, Ghent, 1440–1658 (Emmanuel Pierre)

439

440

6.79. Flemish School (João Eanes?), Philip the Good and Isabel of Portugal, the Duke of Burgundy, ca. 1432, Chicago, Art Institute

PLATES

6.80. Rogier van der Weyden, Chancellor Nicolas Rolin, ca. 1445–51, Donor Panel (detail), Last Judgment Polyptych, Exterior Panel, Beaune, Hôtel-Dieu

6.81. Nicolas Rolin’s Seal, 1413 (JeanBernard de Vaivre: Académie des Inscriptions et Belles Lettres

441

442

6.82. Jan van Eyck, Erythraean Sibyl (Presumed Portrait of Isabella of Portugal, Duchess of Burgundy), 1432, Ghent Altarpiece, Sint-Baafskathedraal, Ghent

6.83 Flemish School, Drawing of the Tomb of Margaret of Alsace from Sint-Donaas, Bruges, before 1792, Brussels, Bibliothèque Royal, MS. II 1862 (Vol. I)

PLATES

443

6.84. Master of the Ghent Privileges, Baldwin IX’s Entry into Ghent in March of 1202 and the “vino comitis” (traditional gift of wine), The Privileges and Statutes of Ghent and Flanders, ca. 1453, Vienna, Österreichische Nationalbibliothek, Cod. 2583, f. 120v

6.85. Master of the Ghent Privileges, Ferrand of Portugal and Johanna of Constantinople confirming the Vote of the Ghent Council of Thirty-Nine in April of 1428, The Privileges and Statutes of Ghent and Flanders, ca. 1453, Vienna, Österreichische Nationalbibliothek, Cod. 2583, f. 130v

444

6.86. Master of the Ghent Privileges, The Privileges and Statutes of Ghent and Flanders, ca. 1453, Vienna, Österreichische Nationalbibliothek, Cod. 2583: Thomas of Savoy and Johanna of Constantinople awarding Privilege for the Waasland in July of 1241, f. 13 Margaret of Constantinople publishing the Tolls for the Scheldt River Basin on May 6, 1271, f. 64

PLATES

6.87 SintBaafskathedraal, Ghent, Western Entrance (Tower built by Jan Stassins 1462– 1531: Donar Reiskoffer) Tympanum: Salvator Mundi flanked by Sts. Bavo and John the Baptist

445

446

6.88. Sint-Baafskathedraal, Southeast Side; Jan and Hubert van Eyck (Steve Blyskal)

6.89 Western Entrance

PLATES

6.90. Choir and Crossing of SintBaafskathedraal

447

448

6.91. Sint-Baafskathedraal, Nave and Vault

PLATES

6.92. Romanesque Crypt of Sint-Baafskathedraal

6.93. Crypt Frescoes of Music-playing Angels (Elizabeth Dhanens 1965/II, Nos. 420–421)

449

450

6.94. Romanesque Crypt of Sint-Baafskathedraal

6.95. Wall Fresco of a FifteenthCentury Sainted Pilgrim (Elizabeth Dhanens 1965/II, No. 381)

451

PLATES

6.96. Plan, Sint-Baafskathedraal

6.97. Epistle Side

452

6.98. Vijd Chapel, Ground Plan and Elevation (Lotte Brand Philip)

PLATES

6.99. Ghent Altarpiece installed in the Jodocus Vijd Chapel before its relocation to the Treasury of Sint Baafskathedraal (Elisabeth Dhanens)

6.100. Jodocus Vijd and Elizabeth Borluut, Details, Ghent Altarpiece

453

454

6.101. The Borluut House, 13th Century (Korenmarkt, Nos. 6–7), Ghent

PLATES

6.102. View of Ghent from Gravensteen Castle (In the distance are the towers of St. Niklaas, the Belfort and St. Baafs. To the left of the Guild Houses on the Graslei is a long grey building with dormer windows, the Groot Vleeshuis (1404–1417), situated on the Leie near the Groentenmarkt. In the immediate foreground is the Sint Veerleplein and Vismarkt)

6.103. The Graslei opposite the Korenlei with Guild Houses of the boatmen, grain weighers, and stone masons, as well as the Medieval Tolhuisje (Toll House)

455

456

6.104. The Graslei opposite the Korenlei with Guild Houses

6.105. Jan van Eyck, The Ghent Altarpiece, 1432 (Interior Panels), Ghent, Sint-Baafskathedraal (Joop Schilperoord)

PLATES

6.106. Jan van Eyck, The Ghent Altarpiece, 1432 (Interior Panels), Ghent, Sint-Baafskathedraal (Joop Schilperoord)

457

458

6.107. Lotte Brand Philip, Hypothetical Reconstruction: Exterior and Interior of the Ghent Altarpiece

6.108. Pierre-François De Noter, Historical Rendition of Abrecht Dürer’s Visit to the Chapel of Jodocus Vijd in 1521, ca. 1830, Enschede, Rijksmuseum Twenthe

PLATES

459

6.109. The Dedicatory Inscription, Ghent Altarpiece, Ghent, Baafskathedraal (Elisabeth Dhanens)

6.110. Gravestone of Hubrecht van Eyck, Ghent, Abdij SintBaafs (Otto Pächt)

460

6.111. Jan van Eyck, Cardinal Niccolò Albergati, silverpoint on paper (21.4 x 18.1 cm), Dresden, Kupferstichkabinett, C 775 (Alfonso Lieven Dierick)

6.112. Jan van Eyck, Cardinal Niccolò Albergati, ca. 1435 (32.5 x 25.5), Vienna, Kunsthistorisches Museum

PLATES

6.113. Attributed to Hubrecht van Eyck, The Virgin and Child with Sts. John, James, Nicholas and Sts. Catherine, Barbara and Margaret, drawing, ca. 1420-25, Nuremberg, Germanisches Nationalmuseum

6. 114. Vrijdagmarkt, one of the oldest squares in Ghent with Statue of Jacob van Artevelde (1290–1345) and Sint-Jacobskerk on the right

461

462

6.115. Belfortstraat from the Belfort: Ghent Street and SintJacobskerk in the Distance (Steven Goldthorp)

6.116. Western Façade, Sint-Jacobskerk

PLATES

463

6.117. Sint-Jakobskerk, South Side,

6.118. Sint-Jakobskerk, Tower over the Transept (Yuri Takhteyev)

464

6.119. Attributed to Hubrecht van Eyck, The Crucifixion, ca. 14101420, Poznań, Muzeum Narodowne (Influenced by Robert Campin’s Seilern Triptych, ca. 1406–10, London, Courtauld Institute; the panel in 1850 was in Spain)

PLATES

6.120. Comparison of Female Types: Nuremberg Drawing of Virgin and Child with Saints, and the Poznań Holy Women

465

466

6.121. Proposed Altarpiece by Jan van Eyck, 1429 Fons Vitae, 15th Century Replica, Oberlin, Allen Memorial Art Museum Wings : Calvary and the Last Judgment: New York, Metropolitan Museum

6.122. Detail: Jan van Eyck, Calvary, New York, Metropolitan Museum of Art

6.123. Master of St. Veronica (Gerhard von Soyst or Soest), Small Calvary, ca. 1416, Cologne, Wallraf-Richartz Museum

PLATES

467

6.124. Robert Campin, The Entombment with Wing Panels of a Donor at Calvary and the Resurrection (Seilern Triptych), ca. 1410–1415, London, Courtauld Institute

6.125. After lost work by Robert Campin, ca. 1415–1420, The Descent from the Cross, ca. 1450, Liverpool, Walker Art Gallery

468

6.126. Lluis Dalmáu, Virgin of the Councillors with Sts. Eulalia and Andrew, ca. 1443–45, Museu Nacional d’Art Catalunya, Barcelona

6.127. Jan van Eyck, Angelic Choir from the Ghent Altarpiece

PLATES

469

6.128. Lluis Dalmáu, Virgin of the Councillors with Sts. Eulalia and Andrew, ca. 1443–45, Museu Nacional d’Art Catalunya, Barcelona

6.129. Lluis Dalmáu, St. Baudelius, ca. 1448–50, Sant Boi de Llobregat, Church of St. Badiri (Catalonia)

6.130. Attributed to Hubrecht van Eyck, Jael and Sisera, ca. 1424–25, Brunswick, Herzog Anton-Ulrich Museum, Kupferstichkabinett

470

6.131. Attributed to Hubrecht van Eyck, The Vengeance of Queen Tomyris and Reverse View of Ghent, ca. 1420–25, Berlin, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett

6.132. Ghent School, The Vengeance of Queen Tomyris, after Hubrecht van Eyck, ca. 1530, Berlin, Staatliche Museum, Gemäldegalerie

PLATES

471

6.133. Comparison: Horsemen in the Poznań Calvary (left); Budapest Way to Calvary (right)

472

6.134. Jacques Daret, The Visitation with Jean du Clercq, Benedictine Abbot of the Arras SintVaast Abbey, ca. 1433–35, Berlin, Staatliche Museen

6.135. Jacques Daret, Adoration of the Magi, Sint-Vaast Abbey Altarpiece, Chapel of Notre Dame, Arras, Monastery, ca. 1433– 35, Berlin, Staatliche Museen

PLATES

6.136. Robert Campin Workshop, attributed to Willem van Tongeren, Virgin and Child with Saints in a Garden (Sts. Catherine, John the Baptist, Barbara, Anthony Abbot), ca. 1435– 1440, Washington, DC, National Gallery of Art

6.137. Attributed to Willem van Tongeren, Annunciation, ca. 1432–1435, Brussels, Musées Royaux de Beaux-Arts

473

474

6.138. After Jan van Eyck, Fountain of Life (1429), Oberlin, Allen Memorial Art Museum

6.139. Flemish School, after Hubrecht van Eyck prototype, Virgin and Child on a Stone Bench (Madonna in Glory), ca. 1510, Douai, Musée de la Chartreuse (from Saint-Omer, Chapel of Our Lady, Carthusian Abbey of Saint-Bertin)

PLATES

475

6.140. Mural, 13–14th Century, of the Virgin and Child seated upon an Altar and holding a Rose and a Fleur-de-lys, Bruges, OnzeLieve Vrouwekerk (Church of Our Lady)

6.141. Aragonese School, Replica of a lost work by Lluis Dalmáu based upon a Hubrecht van Eyck prototype, Virgin and Child on a Stone Bench, Madrid, Collection of Manuel La Rosa (Elisa Bermejo)

476

6.142. Aragonese School, Replica of a lost work by Lluis Dalmáu based upon Hubrecht van Eyck prototype, Virgin and Child on a Stone Bench with Sts. Catherine and Barbara, early 16th Century, Huesca (Aragon), Museo Provincial de Bellas Artes

6.143. After Robert Campin (1420), attributed to Hannekin van Stoevere, Madonna in an Apse, ca. 1480, New York, Metropolitan Museum of Art

PLATES

477

6.144. Robert Campin Workshop, attributed to Hannekin van Stoevere, Madonna of Humility by a Grassy Bench ca. 1420–25, Berlin, Staatliche Museum, Gemäldegalerie

6.145. Robert Campin Workshop, attributed to Hannekin van Stoevere or follower, Madonna of Humility by a Grassy Bench, ca. 1470–80, Los Angeles, J.P. Getty Museum

478

6.146. Jan van Eyck, Adoration of the Lamb, 1432, Ghent Altarpiece

6.147. Tomb of Johannes van Impe, ca. 1440, Apse, Ghent, SintJanskerk (St. Bavo)

6.148. Jan van Eyck, Adoration of the Lamb, Ghent Altarpiece, Detail of Holy Ecclesiatical Saints and Lay Attendants: A St. Stephen; B St. Livinius; C St. Augustine of Canterbury; D Nikolaas Vijd?; E Gerelmus Borluut?

PLATES

479

6.149. Jan van Eyck, Exterior Panels of the Ghent Altarpiece

6.150. Infra-red Photograph revealing over-painted arches and tracery (Lotte Brand Philip)

6.151. Portuguese Annunciation, Tomb of Rui Pires de Alfageme, 1382, Évora, Museu Regional

480 6.152. The Ghent Altarpiece, Sts. John the Baptist and John the Evangelist

6.153. X-Ray of St. John the Evangelist revealing first sketch and underpainting (Elisabeth Dhanens) 6.154. School of Antoine le Moiturier, St. John the Baptist (155 cm), polychrome stone, ca. 1480, Autun, Musée Rolin (H.N. Loose)

6.155. School of Antoine le Moiturier, St. John the Evangelist (75 cm), alabaster, ca. 1480, Bar-le-Régulier, Côte-d’Or, Church of Saint-Jean (H.N. Loose)

PLATES

6.156. Jan van Eyck, The Ghent Sibyls: Left, Philippa of Lancaster, Queen of Portugal (Cumaean Sibyl); Right, Isabel of Portugal, Duchess of Burgundy (Erythraean Sibyl)

481

482

6.157. Prophets Zacharias (above) and Micheas (below), 1432, Ghent Altarpiece

PLATES

483

6.158. English School, Effigy of Henry Beaufort, Bishop of Winchester 1404– 1447, son of John of Gaunt, Duke of Lancaster and Brother of King Henry IV (Cardinal in 1426 and thrice Chancellor of England), 15th Century, Winchester Cathedral, Cardinal Beaufort’s Chantry Chapel

484

6.159. English School, Round Table, Winchester Abbey, ca. 1250–1300, installed by 1463 and unpainted until 1522 when Henry VIII ordered the surface painted with the enthroned figure of Arthur and the names of the legendary Knights of the Round Table

6.160. School of Bruges, St. Josse as Pilgrim, Trumeau of the Door of the Alms House of SintJosse, (Ezelstraat 83–95, Bruges), 15th Century (Antwerp: Fonds Mercator, Valentin Vermeersch: Beneath the statue are the arms of Josse du Bul, a benefactor)

485

PLATES

6.161. Jan van Eyck, The Annunciation, Inner Panels, Ghent Altarpiece 6.162. Jan van Eyck, The Annunciation, (90.2 x 34.1 cm: 35 ½ x 13 16”), ca. 1434–35, Washington, DC, National Gallery of Art

6.163. Petrus Christus, The Friedam Annunciation, ca. 1450, New York, Metropolitan Museum

486

6.164. Petrus Christus, Detail of Duchess Isabel of Burgundy and St. Elizabeth of Hungary, ca. 1457–60, Bruges, Groeningemuseum

6.165. German School, Reliquary Shrine of St. Elizabeth of Hungary, Countess of Thuringia, ca. 1235–49, copper and gilt (187 cm length x 135 height x 63 width): Rooftop scenes pertain to the life of the Countess of Thuringia. The four gables show Christ in Majesty and the Cruxcifixion (transepts) and the Enthroned Virgin and St. Elizabeth entering Paradise (Nave), Marburg, Elisabethkirche (Cologne: Achim Bednorz, Könemann)

PLATES

487

6.166. Flemish School, Family of Philip the Good before a Pietà (Sts. Andrew & Elizabeth of Hungary), Carthusian Bronze Dedication Plaque, 1446, (123 x 103 cm), Basel, Historisches Museum

6.167. Flemish School, The Family of Philip the Good before a Pietà, pen and ink drawing after the 1446 Plaque, 16th Century, Brussels, Koninklijke Bibliotheek Albert I, SV 78080

488

6.168. Petrus Christus, Duchess Isabel of Burgundy and St. Elizabeth of Hungary, ca. 1457–60, Bruges, Groeningemuseum

PLATES

489

6.169. Sint-Baafskathedraal, Western Entrance (Lucien Hamelinck)

6.170. Ghent Landmarks And Streets A Sint-Baafskathedraal; B Sint-Niklaaskerk; C Belfort; D Stadhuis; E Gravensteen; F Graslei; G Vrijdagmarkt; H Sint-Jackobskerk; I SintMichielsbrug; J Achtersikkel; K Sint-Jorishof; L Gildehuis van de Meselaars (Masons); M Geraard de Duivelsteen a Limburgstraat; b Hoogpoort; c Nederpolder; d Biezekapelstraat; e Botermarkt; f Belfortstraat;g Cataloniëstraat; h SintBaafsplein; I Gouden Leeuplein

490

6.171. Jan van Eyck, Panels of the Annunciation, Ghent Altarpiece

PLATES

6.172. The Ghent Belfort (Steve Goldthorp)

6.173. Jan van Eyck’s Belfort (Jan shows the spire and weather vane; the present stonework of the Belfort dates circa 1913)

491

492

6.174. Grote Sikkel (No. 64, Hoogpoort and No. 54, Sint Jorishof ), 13th Century, Ghent

PLATES

6.175. Achter Sikkel, Ghent, 13th–14th Centuries

493

494

6.176. Graslei Quai, Ghent Center: Romanesque Koornstapelhuis (Corn Granary, 1200, Graslei) and Small Tolhuis van de Tolbaas (Lodge of the Toll Collector, 1682) (Steve Blyskal)

6.177 Belfort and Stadhuis (Lucien Hamelinck)

6.178 Lateral Facade of the Schepenhuis (Aldermans House) (Steve Blyskal)

PLATES

6.179. Stadshuis, Ghent, 1518–1581

6.180. Double Staircase to Schepenhuis, or Aldermans House (Lucien Hamelinck)

495

496

6.181. View to the south of SintBaafs from the vicinity of the Achter Sikkel on Bizelkapelstraat

PLATES

6.182. Geraard de Duivelsteen, Ghent, 1245 Detail of Wall (Lucien Hamelinck)

6.183. Geraard de Duivelsteen, Ghent, 1245

497

498

6.184. Sint-Niklaaskerk from the East, with Sint-Michielskerk to the left (Donar Reiskoffer)

6.185. Details of Dancers Gable View of the South Side of Sint-Niklaaskerk with Gable House

PLATES

6.186. Masons Guild House, Graslei (1913)

499

500

6.187. Crossbowmen Guild of St. George, begun April 20, 1477 on the site of the 11th Century Military Guild Sint-Jorishof, at corner of the Botermarkt and Hoogeport in Patershol, Ghent, (Lateral View Tijl Vereenooghe: Corrner View Jan Boeykens)

PLATES

6.188. Sandstone House (trapgevel corbel stepped gable Brabant style), 15th Century, Hoogepoort (Lucien Hamelinck)

501

502

6.189. Huis Samson, Guildenhuis van de Goudsmeden (Guild House of 1481 replaced an earlier structure used by the Goldsmiths), No. 33 Hoogpoort, Ghent (left: Tijl Vereenooghe; right: Lucien Hamelinck)

PLATES

6.190. Kleine Sikkel, 13th Century, Ghent

503

504 6.191. Jan van Eyck, Ghent Altarpiece Annunciation View: The Romanesque Stadshuis could be the cream-colored stone structure which stands in the far background slightly to the right. The proposed Painters Guild or Artists Meeting House may be the foreground town house to the right of the column. At a bipartite window two male figures converse and they plausibly present a selfportrait of Jan van Eyck with his brother Hubrecht van Eyck

PLATES

6.192. Ghenter Houses in Jan van Eyck’s Annunciation

505

506

7.1. Jan van Eyck, The Ghent Altarpiece Open, 1432, Ghent, Sint Baafskathedraal

7.2. Details from Jan van Eyck’s Ghent Altarpiece Christ in Majesty with the Virgin Mary and St. John the Baptist St. Michael Lectern of the Angelic Choir

PLATES

7.3. Details from Jan van Eyck’s Ghent Altarpiece Adam and Eve and the Adoration of the Lamb

507

508

7.4. Details, Virgin Martyrs and Holy Women, Ghent Altarpiece

PLATES

509

7.5. Circle of Hand G (Jan van Eyck), Adoration of the Lamb, bas-de-page from The Virgin and Child surrounded by Virgin Martyrs, from the Turin Hours (destroyed 1904), ca. 1422–25, f. 59

510

7.6. The Bedford Master, All Saints, from The Bedford Hours, ca. 1423, London, British Library, Add. MS. 18850, f. 126

PLATES

511

7.7. Graslei, Ghent: Huis der Vrije Schippers or House of the Free Boatsmen (1531) beside the Huis van der Korenmeters (House of the Corn Measurers, 1698 (far left) Portal Relief of a Flemish Galleon, Huis der Vrije Schippers

512

7.8. Limbourg Brothers, Martyrdom of St. Ursula and her Companions, from the Belles Heures du Duc de Berry, ca. 1410, New York, The Cloisters, Metropolitan Museum of Art, Acc. 54, 1.1., f. 178v Detail of Fig. 7.7. Portal Relief of a Flemish Galleon, Huis der Vrije Schippers

PLATES

7.9. English School, Tomb of Beatrice and Thomas Fizalan, Fitzalan Tomb, Arundel Castle amd Effigy of Beatrice, Fitzalan Tomb

513

514

7.10. Ecclesia (Holy Confessors) amidst palms, rose bushes, cypresses, Ghent Altarpiece

7.11. Adoration of the Lamb, Ghent Altarpiece

515

PLATES

7.12. Font, Adoration of the Lamb, Ghent Altarpiece

7.13. St. Michael Finial of the Font, Adoration of the Lamb, Ghent Altarpiece

516

7.14. Hebrew Prophets, Apostles, Christian Theologians, details from the Ghent Altarpiece, Adoration of the Lamb

7.15. Identities suggested in past scholarship of the Ghent Altarpiece Adoration of the Lamb: A Zacharias; B Simeon; C Nebuchadnezzar; D Moses; E Augustine; F St. John the Baptist; G Erythraean Sibyl (Homer in white with a laurel crown holds a Pomus Adami)

PLATES

7.16. Eve with a Pomus Adami, Ghent Altarpiece

7.17. Robinet Testard, Desire and the Poet’s Choice, from Le Livre des Échecs Amoureux Moralisées, Poitiers, 1496–98, Paris, Bibliothèque Nationale de France, MS. Fr. 143, f. 198v

517

518

7.18. Proposed Figures: A Cicero with Myrtle; B Virgil with Mistletoe; C Horace (The foreground figure in a red robe to the right of Horace perhaps is Seneca, although St. Jerome also has been proposed. Behind him plausibly are other favorite philosophers of the Avis Court such as Ovid, Statius and Lucan)

PLATES

519

7.19. Jef van der Veken, after Jan van Eyck, Just Judges (1941 replica of original lost in 1934), Dukes of Burgundy (Counts of Flanders) A Philip the Bold (1384–1404); B Louis II de Mâle (1346–1384); C Jean the Fearless (1404–1419); D Philip the Good (1419–1467)

520

7.20. Juan de la Huerta (Daroca) and Antoine le Moiturier (Avignon), 1462–1495, Effigy of Jean the Fearless, Dijon, Musée de Beaux-Arts

7.21. Jean de Marville, Claus Sluter, Claus de Wierve, Effigy of Philip the Bold, 1406–39, Dijon, Musée de Beaux-Arts

PLATES

521

7.22. Jacques LeBoucq (Valenciennes 1520-1573), Louis II de Mâle, Count of Flanders, Recueil d’Arras, ca. 1567-1573, Bibliothèque Municipale de Arras, MS. 266, f. 54

7.23. Proposed Dynastic Portraits of the Counts of Flanders in the Ghent Altarpiece: A Thierry of Alsace (1128– 1157); B Baldwin VIII (1171–1195); C Baldwin IX (1195–1205); D Gui de Dampierre (1280– 1304); E Robert III of Bethune (1304–1322); F Louis II of Nevers (1322–1346)

522

7.24. Master of the Ghent Privileges, Battle of Gavere, July 23, 1453, from The Privileges and Statutes of Ghent and Flanders, ca. 1453, Vienna, Österreichische Nationalbiblothek, Cod. 2583, f. 340v

7.25. Master of the Ghent Privileges, Philip the Good and the Penitential Aldermen of Ghent, July 30, 1453, from The Privileges and Statutes of Ghent and Flanders, ca. 1453, Vienna, Österreichische Nationalbiblothek, Cod. 2583, f. 349v

PLATES

523

7.26. Eyckian Prado Fons Vitae Detail: A Dom Afonso, Count of Barcelos; B Prince Duarte; C Prince Pedro; D Prince Henrique the Navigator; E King João I

7.27. Holy Knights, Ghent Altarpiece Detail: A Prince Duarte as St. Martin of Tours; B Prince Pedro as St. George; C Prince Henrique as St. Sebastian

524

7.28. Francesco Comes, Virgin with Saints George and St. Martin of Tours, 1395, Boston, Isabella Stewart Gardner Museum

7.29. Carlos Amarante, Bom Jesus Sanctuary, Plan, 1789, Confraria do Bom Jesus do Monte, Braga

PLATES

525

7.30. Ambrogio Lorenzetti, The Five Franciscan Martyrs, ca. 1325, Siena, San Francesco

7.31. Romanesque Stone Arca of the Five Franciscan Martyrs of Morocco before Sultan Miramolin (40 x 112 x 51 cm), ca. 1290-1320, from the Augustinian Monastery of Santa Cruz, Coimbra, Museu de Machado de Castro (Alberto Totxo)

526

7.32. Holy Knights of the Ghent Altarpiece, Proposed Identifications: A Prince Duarte; B Prince Pedro; C Prince Henrique; D Edward III of England; E John of Gaunt; F King Denis of Portugal; G Emperor Sigismund; H King João I of Portugal; I Dom Afonso, Count of Barcelos

7.33. Standard of Henry Bolingbroke (Henry IV), Duke of Hereford, 1399–1413, with St. George Cross, White Swan, and Red Rose of Lancaster (Stephen Turnbull)

PLATES

7.34. English School, Edward III, ca. 1370, London, National Portrait Gallery

7.35. English School, Tomb and Effigy of Edward III, ca. 14th Century, gilt copper, London, Westminister Abbey (National Monuments Record)

527

528

7.36. Luca Cornelli (Dutch artist at the Court of Henry VIII), John of Gaunt, early 16th Century, Badminton, Beaufort Collection

7.37. Great Seal of John of Gaunt in his role as King of Castile and León, Duke of Aquitaine and Lancaster, Earl of Derby, Lincoln and Leicester, and Senechal of England (London, Society of Antiquaries)

529

PLATES

7.38. English School, The Wilton Diptych, ca. 1396–1400, London, National Gallery

7.39. English School, The Wilton Diptych Reverse with the Arms and Hart of Richard II, ca. 1396–1400, London, National Gallery

7.40. English School, Hart Badge of Richard II, white enamel and silver, Troyes, Musée de Beaux-Arts

530

7.41. English School, The Wilton Diptych, detail of St. Edmund, St. Edward the Confessor and St. John the Baptist

7.42. English School, Tomb of Edward III, 14th Century, London, Westminister Abbey (Herry Lawford: behind is the Tomb of Edward the Confessor)

7.43. English School, Tomb of Edward the Confessor, ca. 1162, London, Westminister Abbey (Kieran Smith)

PLATES

7.44. Loyset Liédet, Battle of Crécy (August 26, 1346), from Jean Froissart’s Chroniques, 1470s, Paris, Bibliothèque Nationale de France, MS. Fr. 2643, f. 165v

7.45. Loyset Liédet, Battle of Poitiers (September 19, 1356), from Jean Froissart’s Chroniques, 1470s, Paris, Bibliothèque Nationale de France, MS. Fr. 2643, f. 207

531

532

7.46. John Orchard, Effigy of Edward, the Black Prince, gilt copper, 14th Century, Trinity Chapel, Canterbury Cathedral (Angelo Hornak Corbis)

7.47. English School, King Edward gives a Ring to St. John the Evangelist disguised as a Pilgrim, from the Life of King Edward the Confessor, ca. 1250–1260, Cambridge University Museum, MS. Ee.3.59, folio 26r

PLATES

533

7.48. English School, Prince Edward paying homage to Edward III after receiving Aquitaine, London, British Library, MS. Cotton Nero D VI, f. 31

7.49. Rogier van der Weyden, Anthony of Burgundy (1430– 1504) ca. 1460, Brussels, Musée Royaux de BeauxArts

534

7.50. French School, Charlemagne, from a series of “Worthies,” ca. 1393–1407, commissioned by Duke Louis I d’Orléans, Oise, Château of Pierrefonds

7.51. German School, Statue of Charlemagne, from the Cathedral of Metz, 9th Century, gilded bronze (23.8 cm), Paris, Louvre

7.52. Pisanello, Sigismund of Luxembourg, Holy Roman Emperor and King of Hungary, ca. 1433, Paris, Louvre (portrayed wearing the Order of the Dragon Insignia Badge)

PLATES

535

7.53. Portuguese School, Effigy of King Denis, 14th Century, Odivelas (Lisbon), São Francisco

7.54. Portuguese School, St. George the Dragonslayer and the Princess with Sts. Barbara and Sebastian, 1436, alabaster retable, Condeixa-a-Velha, southwest of Coimbra (Academia Nacional de Belas Artes, Lisbon)

536

7.55. Holy Hermits, Ghent Altarpiece A St. Anthony Abbot; B St. Julian the Hospitaler; C St. Paul the Hermit; E Mary Magdalene and Martha

537

PLATES

7.56. Holy Hermits of the Ghent Altarpiece A St. Christopher; B St. James the Major (Santiago); C St. Amandus of Aquitaine

7.57. Sint-Jacobskerk, Ghent

538

7.58. Flemish School, Panoramic Plan of Ghent, 1534 (134 x 170 cm), Ghent, Oulheidkundig Museum van de Bijlike A Sint-Janskerk (Sint-Baafskerk); B Abdij Sint-Baaf at Gandastraat 7 (Hubert van Eyck’s Tombstone); C River Leie (Lys in French); D Sint-Jacobskerk, 12th–15th Century (The two towers of the west portal date to the Romanesque period); E Towards the Belfort-Lakenhalle

PLATES

539

7.59. Abbey Church of Sint-Pieter from the East, Ghent, Stadsarchief, Atlas Goetghebuer

7.60. Present Church of Our Lady and Sint-Pietersabdij (Lucien Hamelinck)

540

7.61. Antonius Sanderus, “Castrum Novum Gandavense” Het Spanjaardenkasteel (Hof ten Walle ca. 1540–1545), from Flandria Illustrata (Keulen, 1641), Ghent, Stadsarchief, inv. L 16/2a

7.62. Panoramic Plan of Ghent, 1534, Ghent, Bijlokemuseum (Abbey Sint-Baafs is in the foreground)

7.63. Plan of Sint-Baafs Abbey

541

PLATES

7.64. Side Wall with Archs, Sint-Baafs Abbey, Ghent

7.65. Sint-Baafs Abbey Gothic Hall (Paul Hermans)

542

7.66. Sint-Baafs Abbey Portal, Ghent

7.67. Cloister Walk with Octagonal Lavatorium (Brussels: F. van den Bremt, Meddens)

543

PLATES

7.68. Sint-Baafs Abbey Cloister: Octagonal Lavatorium, Portico and Garden (Paul Hermans)

544

7.69. Sint-Baafskathedraal, South Transept and Shields of the Order of the Golden Fleece

PLATES

545

7.70. Master of the London Wavrin, John of Gaunt receives a Letter from the King of Portugal, from the Anciennes et Nouvelles Chroniques d’Angleterre by Jean de Wavrin (1398-1474), ca. 147080 (Bruges), London, British Museum, Royal MS 14 E IV (created for Edward IV), f. 236r

7.71. G. Vertue, The Savoy Palace on the Thames, 1736, engraving, London, Guildhall Library

546

7.72. Master of the London Wavrin, John of Gaunt in his Galleon arriving at Lisbon and The Banquet of João I and John of Gaunt, from the Anciennes et Nouvelles Chroniques d’Angleterre by Jean de Wavrin (13981474), ca. 1470-80 (Bruges), London, British Museum, Royal MS 14 E IV (created for Edward IV), folios 195r and 244

PLATES

547

7.73. Windsor Castle (Mark S. Jobling)

7.74. Plan of Windsor Castle, 1344 (After Tim Tatton-Brown, from: Richard Barber, Richard Brown and Julian Munby, Edward III’s Round Table at Windsor)

548

7.75. English School, Henry of Bolingbroke with the Red Rose of the House of Lancaster (Henry IV), ca. 1400, London, Collection of HRH Queen Elizabeth II

7.76. Windsor Castle (Emmanuel Giel)

549

PLATES

7.77. Portuguese School, Nuno Álvares Pereira, from the Coronica do Condestabre (Lisbon, 1554 edition), engraving after an early 15thcentury painting suggested to have been by Master Jácome Antonio

7.78. Italian School, Sir Galahad led to the Round Table, from the Queste del Saint Graal, 1375-85, Paris, Bibliothèque Nationale de France, MS. Fr. 343, f. 3

550

7.79. Limbourg Brothers, The Temptation of Christ (Mehun-sur-Yèvre Castle of Jean, Duke of Berry in the Foreground, Les Riches Heures du Duc de Berry, ca. 1413–1416 Chantilly, Musée Condé, MS. 65, f. 161v

7.80. Plan of the Château de Mehun-surYèvre, B.N. Est. (P. Gauchery: 1919–20 & Yves Bottineau: 1973)

PLATES

551

7.81. Sébastien Mamerot, Second Crusade with St. Bernard of Clairvaux, Louis VII and Eleanor of Aquitaine, Abbey Church of Vézelay (Easter, 1146), ca. 1490, Passages faits outremer, Paris, Bibliothèque Nationale, MS. Fr. 5594, f. 138

7.82. Rogier van der Weyden, The Madonna and Child in a Niche, ca. 1425– 30, Madrid, Thyssen Bornemisza Museum

552

7.83. Portuguese School, Virgin nursing the Infant Christ (“Virgin of Nazareth”), ca. 1450, polychrome limestone, Lisbon, Museu Nacional de Arte Antiga

7.84. Legend of the Virgin of Nazareth, Quinta da Regaleira, 19th Century, Sintra (António Dias dos Reis)

PLATES

553

7.85. French School, Romance of Lancelot, ca. 1400–1405, Paris, Bibliothèque Nationale de France, MS. Fr. 3479, f. 1 (Above, Birth of Lancelot and Training by the Lady of the Lake; Below, Lancelot in Combat and his Vision of the Holy Grail at the Wayside Cross)

7.86. Tournai School, King Clovis and his Vision of a White Hart (detail of a panel which also shows Clovis and Queen Cliotilde with the Fleur-de-Lys Arms and the Battle of Tolbiac against the Alemani) one of six narrative tapestries commissioned by Duke Philip the Good of Burgundy, ca. 1450–60, Reims, Palais de Tau

7.87. French School, Garden of the Fleur-de-Lys, from Guilaume de Nagis, Chroniques Abregées, ca. 1470, Paris, Bibliothèque Nationale, MS. Fr. 2598, f. 1 (On the far right is St. Louis IX)

554

7.88. Flemish School, Mantel Decoration, 16th Century, Lille, Rihour Palace: Impresas and mottos of Philip the Good (Autre n’auray) and Isabel of Portugal (tant que je vive), with Initial C & Y (denoting Charles of Charolais and Isabelle of Bourbon), Besançon, Bibliothèque Municipale, Collection Chifflet, HS 84

7.89. Franco-Flemish, Unicorn Hunt as an Allegory of Christ’s Passion, altar frontal, 1480, Zurich, Landesmuseum

PLATES

555

7.90. French School, The Grail appearing to Arthur’s Knights on Whit Sunday, from Livres de Lancelot, ca 1470, Paris, Bibliothèque Nationale de France, MS. Fr. 112 (3), f. 5r

7.91. Flemish School, Joseph of Arimathaea and Angels with the Holy Grail, from Crétian de Troyes, Quest del Saint Graal, 1351, Paris, Bibliothèque de l’Arsenal, MS. 5218, f. 88.

556

7.92. Thomas de Cormont, Sainte Chapelle, Paris, ca. 1241–48

7.93. French School, Relics of Sainte-Chapelle, Missel de la Sainte Chapelle, Paris, Bibliothèque Nationale, MS. Lat. 8890, f. 65v

PLATES

557

7.94. Landscape Background from the Holy Pilgrims, Ghent Altarpiece

7.95. Dreux Jehan (Dreux Bachoyer b. Paris, flourished 1448-1468 Brussels), Godfrey de Bouillon (Leader of the First Crusade and the First King of Jerusalem), Chroniques Abrégiées de Jerusalem (Chronicle of the Taking of Jerusalem), ca. 1450, Vienna, Österreichisches Museum, MS. CD 2533, f. 3r

558

7.96. Afonso Domingues and Master Huguet, Batalha Abbey, Royal Pantheon with Tomb of João I and Queen Philippa, ca. 1402–1429 (António Dias dos Reis)

7.97. Afonso Domingues and Master Huguet, Batalha Abbey, Royal Pantheon, Tombs of the Royal Princes (from left to right: Fernando, João, Henrique (with effigy), Pedro, ca. 1402–1429 (António Dias dos Reis)

PLATES

559

7.98. Tomb of Prince Pedro with Arms, Balances, Order of the Garter, and Motto désir, Royal Pantheon, Batalha Abbey

7.99. Interlinking Circles with Motto of Duarte, léauté faray tam yaserey Capelas Imperfeitas, Batalha Abbey

560

7.100. Tomb of Prince Henrique, Arms and Motto talent de bien faire, Royal Pantheon, Batalha Abbey

7.101. English School, Dunstable Swan, enamel and gold, 15th Century, London, British Museum

PLATES

7.102. English School, Sir Gawain kneeling before Arthur and Guinevere, and Agravain, from Gawain and the Green Knight, British Library, Cotton MS. Nero A, X f. 130

561

7.103. Geerten tot Sint Jans, (Haarlem: 1465–1495), St. Bavo in Armour (wearing a Green Cape and Peacock Diadem and holding a Sword and Falcon), ca. 1490, The Hermitage, St. Petersburg

7.104. Circle of Martin Schongauer, Altarpiece of the Dominicans, Mystical Hunt of the Unicorn, ca. 1480–1490, Colmar, Musée d’Unterlinden (Petrus Agricola)

562

8.1. Templar Castle and Convent of Christ, Tomar, 12th-Century (António Dias dos Reis)

8.2. Entrance Gate of Santiago, Citadel of Tomar Templar Chamber of the Order of Christ (António Dias dos Reis)

8.3. Site Plan of Tomar (Arquivo Costa Rosa)

PLATES

563

8.4. Plan of Tomar 1Terrace; 2 Charola; 3 Cemetery Cloister; 4 Washing Cloister; 5 Royal Quarter Ruins; 6 Manueline Church after Plans of Prince Henrique; 7 Choir of the Church; 8 St. Barbara Cloister; 9 Cloister of the Hospital; 10 Cloister of João III(r. 1521–1557); 11 Old Capitulary House; 12 Additional Dormitories and Cloisters to the Left; A Entrance Gate of Santiago; B Gate of the Sun; C Tower of St. Catherine of Alexandria; D Gate of Almedina (Gate of Blood); E Tower of the Countess; F Castle; G Keep (After Júlio Gil Plan in Luís Maria Pedrosa dos Santos Graça, Convento de Cristo, Lisbon, Instituto Português do Património Cultural, 1992)

564

8.5. Tomar, Castle Keep Walls, Romanesque Period (António Dias dos Reis)

8.6. Tomar, Romanesque Castle Keep and Walk leading to the Charola

8.7. Gate of the Sun (António Dias dos Reis)

565

PLATES

8.8. Tomar, Rotunda, 12th Century (Raul Grande Revilla)

8.9. Templar Rotunda of Tomar (Nuno Tavares)

8.10. Portuguese School, Bas-de-Page of Frontispiece to the Leitura Nova, Livro IV da Estremadura, 1509, Lisbon, Torre do Tombo

566

8.11. Charola, 12th Century, Rotunda, Tomar, Convento de Cristo (Academia Nacional de Belas Artes, Lisbon)

8.12. Charola Altar, 12th Century, Rotunda, Tomar, Convento de Cristo (Academia Nacional de Belas Artes, Lisbon)

8.13. Plan of Side Altars completed in the early 15th Century (José-Augusto França)

567

PLATES

8.14. Portuguese School, St. Christopher, Fresco, ca. 13th Century, Charola, Tomar (Luís Maria Pedrosa dos Santos Graça, Convento de Cristo, 1991, Instituto Português do Património Cultural)

8.15. Portuguese School, Tomb of Dom Frei Gonçalo de Sousa, 15th Century, Museu Arqueológico do Carmo, Lisbon

8.16. Valentim Fernandes, Frontispiece, Rules of the Order of Christ, 1504, Lisbon, Biblioteca Nacional

568

8.17. Diogo de Aruda and João de Castilho, Manueline Chapel looking from the Choir to the Charola and Choir, Tomar, early 15th Century (Luís Maria Pedrosa dos Santos Graça, Convento de Cristo, 1991, Instituto Português do Património Cultural) Tomar Plan (after Cristian Chirita)

PLATES

8.18. Tomar, Cemetery Cloister, 1437–49 (António Dias dos Reis)

569

570

8.19. Tomar, Washing Cloister (built over the site of an earlier cloister), 1437–49 and Gallery (Raul Grande Revilla)

PLATES

571

8. 20. Chamber of the Order of Christ displaying the Templar Cross of St. George (António Dias dos Reis)

8.21. Tomar, Plan of the Templar Charola and Chapel/Chapter House (Paolo Pereira)

572

8.22. Octagonal Pantheon, Nossa Senhora dos Mártires, 1333, Alcácer do Sal

8.23. Plan of the Church of Nossa Senhora dos Mártires, Alcácer do Sol (Paolo Pereira)

573

PLATES

8.24. Herald of King Afonso Henriques (Guimarães: Barroso da Fonte: photo by José Bastos)

8.25. Arms of King João I

8.26. Jan van Eyck, Detail of the livery of St. Martin’s Horse, 1432, Holy Knights, Ghent Altarpiece

574

8.27 Upper Area of the Charola painted with Manueline Angels of the Passion Olivier de Gand (Ghent), The Virgin and St. John the Evangelist at Calvary, polychromed wood, 1508–12 (140 cm), Tomar, Charola of the Convento de Cristo

PLATES

575

8.28. Jan van Eyck, Angels with Instruments of the Passion, Adoration of the Lamb, 1432, Ghent Altarpiece

8.29. Flemish School of Mechelen (Malines), St. Barbara with her Tower, polychrome wood, ca. 1500 (72 cm), Castro Verde, Portugal, Igreja de Entradas (originally the saint held a chalice in her right hand)

576

8.30. Afonso Domingues and Master Huguet, Batalha Abbey, Western Façade, 1402–29 and Portal with Christ in Majesty and Tetramorphs (António Dias dos Reis)

8.31. Plan of Batalha: A Western Portal; B Founder’s Chapel; C Nave; D Choir; E Vestibule; F Capelas Imperfeitas; G Sala de Capitular; H Royal Cloister; I Cloister of Afonso V; J Refectory

PLATES

577

8.32. Batalha Western Portal, Statues of the Apostles beneath Baldachins (António Dias dos Reis)

578

8.33. Nave and Transept, Santa Maria da Vitoria, Batalha, Early 15th Century (António Dias dos Reis)

PLATES

579

8.34. Apse of Santa Maria da Vitoria, Batalha, Early 15th Century (António Dias dos Reis) and Schematic Projection of the Royal Chapels A Chapel of João I and Philippa; B Chapel of Prince Duarte; C Chapel of Prince Pedro; D Chapel of Prince Henrique; E Chapel of the Infantes/Sousa

580

8.35. Hand G (Jan van Eyck), Requiem Mass, Office of the Dead, Turin-Milan Hours, ca. 1422–25, Turin, Museo Civico, MS. 47, f. 116

PLATES

581

8.36. Western Façade of Batalha Abbey with Royal Pantheon to the right (António Dias dos Reis)

8.37. Royal Pantheon, Batalha, Domed Vault above the Sarcophagus of King João I and Queen Philippa, 1426–34, (António Dias dos Reis) Tomb Gisants (London, Conway Library, Courtauld Institute)

582

8.38. Royal Pantheon, Batalha, Sarcophagus of King João I and Queen Philippa, 1426–1434 (IPPAR, Lisbon, Ajuda Palace)

8.39. Detail of the Clasped Hands (António Dias dos Reis)

8.40. Arched Wall Tombs of Avis Princes: Prince João and Isabel of Bragança with Calvary Relief and Detail of Heraldic Shields; Prince Henrique (gisant beneath a baldachin), Batalha, Royal Pantheon (Sabahattin Bilsel)

PLATES

8.41. Portuguese School, Arched Wall Tomb of Prince Pedro and Isabel of Aragon-Urguell (on the far right behind Tomb of Prince Henrique) and Detail of Prince Pedro’s Heralds, 15th Century, Pantheon, Batalha

583

584

8.42. Frontispiece, Prince Pedro’s Livro da Virtuosa Benfeitoria, 15th Century, Câmara Municipal de Viseu, Biblioteca Municipal

8.43. Portuguese School, Arched Wall Tomb of Prince Henrique, 15th Century, Pantheon, Batalha

PLATES

8.44. Portuguese School, Arched Wall Tomb of Prince Henrique, 15th Century, Pantheon, Batalha (Effigy: António Dias dos Reis)

585

586

8.45. Arched Wall Tomb and Heralds of Prince João and Isabel of Bragança, Batalha, Royal Pantheon Calvary Relief (Raul Grande Revilla)

PLATES

587

8.46. Portuguese School, Arched Wall Tomb and Herald of Prince Fernando, 15th Century, Royal Pantheon, Batalha

8.47. Portuguese School (João Afonso de Leiria), Santo Infante Fernando, Central Panel of a Retable ordered by Prince Henrique the Navigator for an altar in the Batalha Royal Pantheon, tempera and oil, 1450–1460, Lisbon, Museu Nacional de Arte Antiga (According to the Dominican Frei Luís de Sousa, the first relics of Prince Ferdinand were placed at Batalha in 1450) Portuguese School, Herald of Prince Fernando, 15th Century, Royal Pantheon, Batalha

588

8.48. Domingo Antonio Sequeira, after Van der Weyden Workshop (Nuno Gonçalves? ca. 1448), The Virgin and Child with Duke Philip the Good, Charles the Bold and Duchess Isabel of Burgundy, 1808, Drawing, Lisbon, Museu Nacional de Arte Antiga

8.49. Capelas Imperfeitas, Batalha, Plan

8.50. Device of King Duarte, Capelas Imperfeitas, Batalha (Academia Nacional de Belas Artes)

PLATES

8.51. Master Huguet, Capelas Imperfeitas, begun in 1436, Batalha (António Dias dos Reis)

8.52. Master Huguet, Capelas Imperfeitas, begun in 1436, Batalha (António Dias dos Reis: Center Tomb of King Duarte and Queen Leonor)

589

590

8.53. Master Huguet, Capelas Imperfeitas, begun in 1436, Batalha (António Dias dos Reis)

PLATES

8.54. Tomb of King Duarte and Queen Leonor, Capelas Imperfeitas, begun in 1436, Batalha (António Dias dos Reis; from the rear, Christian Girault)

591

592

8.55. Tomb of King Duarte and Queen Leonor, Capelas Imperfeitas, begun in 1436, Batalha (António Dias dos Reis)

8.56. Jan van Eyck, Portrait of Giovanni Arnolfini and his Wife Costanza Trenta († 1426), 1434, London, National Gallery

593

PLATES

8.57. Capelas Imperfeitas, Batalha, Plan

8.58. Aachen Cathedral (after Eva Heuter) A Octagon; B Choir; C Entrance Hall; D Matthias Chapel; E Anna Chapel; F Hungarian Chapel; G All Saints Chapel; H St. Michael Chapel; I Charles & Hubertus Chapel; J John the Baptist Chapel; K All Souls Chapel; L Dragonhole (Treasury); M Cloister; N Churchyard

594

8.59. Palace Chapel of Charlemagne, Aachen (View from the North): Palatine Chapel Central Octagon (794–805) and Late Gothic Hall Choir (1355–1414) and Chapel Interior

PLATES

8.60. German School, Karlsschrein (Shrine of Charlemagne) with Sixteen Kings along the sides, ca. 1182–1215. Wood, gold, jewels and cameos. (3’ x 6’ 8” x 4’ 9”) Palace Chapel of Charlemagne, Aachen, Germany: Side Charlemagne Enthroned

595

596

8.61. German School, Marienschrein (Shrine of the Virgin Mary), ca. 1182–1215, gold, wood and jewels, Palace Chapel of Charlemagne, Aachen, Germany (David Doose)

8.62. German School, Cathedral of Cologne, engraving, 19th-Century (E. Dhanens)

8.63. Cathedral of Cologne, West Façade, 1300–1880

PLATES

8.64. Nicolas of Verdun, Shrine of the Magi, ca. 1180–1230; main façade 1198–1206. Silver, bronze, enamel and gemstones. (5’ 8” x 6’ x 3’ 8”) Cathedral Treasury, Cologne Cathedral, Cologne, Germany

8.65. Nicolas of Verdun, Shrine of the Magi, ca. 1180–1230; main façade 1198–1206. Silver, bronze, enamel and gemstones. (5’ 8” x 6’ x 3’ 8”) Cathedral Treasury, Cologne Cathedral, Cologne, Germany (Otto IV follows as a fourth Magus)

597

598

8.66. Jan van Eyck, St. Barbara with her Tower, 1437, Antwerp, Koninklijk Museum voor Schone Kunsten

PLATES

599

8.67. Detail of the St. Barbara Background Landscape (Antwerp, Koninklijk voor Schone Kunsten)

8.68. Portuguese School,View of Lisbon from the Crónica de Dom Afonso Henriques by Duarte Galvão (Cascais, MuseuBiblioteca Conde Castro Guimarães: early 16th century)

600

8.69. Landscape of the St. Barbara Panel; superimposed lines marking the View of Lisbon terrain

PLATES

601

8.70. Lisbon and the Tagus Estuary (Baedaker, 1909)

8.71. View of the Tagus Estuary with Lisbon on the left and Almada on the right (Francisco Santos: photograph not taken from the air but from the Cristo-Rei Monument)

602

8.72. Detail of the St. Barbara Panel with Rows of Olive Trees

8.73. Olive Trees, Bela Vista, Lisbon

PLATES

8.74. Flemish School, Tower of Babel, ca. 1480–90, The Hague, Mauritshuis

8.75. Details of the Workers in St. Barbara with her Tower

603

604

8.76. The Architect in the St. Barbara Panel

8.77. Batalha Monastery, Portrait of Mestre Huguet, 1402–1438, Corbel of the Chapter House, Batalha Monastery (José Manuel Oliveira)

PLATES

605

8.78. Details of St. Barbara with her Tower (Antwerp, Koninklijk Museum voor Schone Kunsten): Stonecutters and Courtly Women

8.79. Detail of St. Barbara with her Tower (Antwerp, Koninklijk Museum voor Schone Kunsten): Diplomats on Horseback

606

8.80.Master Huguet, South Façade with Royal Pantheon of King João I (left), 1426–34, Batalha (António Dias dos Reis: 20th-century Equestrian Monument of Nuno Álvares de Pereira at the Battle of Aljubarrota)

8.81. Detail of St. Barbara with her Tower

8.82. Batahla Monastery, South Front, Portal (António Dias dos Reis)

PLATES

8.83. Exterior View of the Capelas Imperfeitas

8.84. Detail of the Lancet Windows of the upper storey in the St. Barbara Panel

607

608

8.85. Georg Braun and Frans Hogenberg, Tangier, from Civitatis Orbis Terrarum, I, Cologne, 1572 (Lisbon: Museu da Cidade)

8.86. Frontispiece of the Crónica da Tomada de Ceuta, by Gomes Eanes de Zurara, 15th Century, Archivo Nacional da Torre do Tombo, Lisbon

PLATES

609

8.87. Detail of Jan van Eyck’s St. Barbara (Portrait of Queen Leonor of Portugal?)

8.88. Attributed to Petrus Christus, Man with a Falcon (Hendrik van Eyck ?), ca. 1445–50, drawing, Frankfurt, Stadelsches Kunstinstitut

610

8.89. Jan van Eyck, The Dresden Triptych and Wing Panels of the Annunciation, 1437, Dresden, Staatliche Kunstsammlungen

PLATES

611

8.90. Flemish School, Philip the Good attending Mass in his Oratory, from a Treatise on L’Oraison Dominicale, after 1457, Brussels, Bibliothèque Royale, MS. 9092, f. 9r

612

8.91. Donor and St. Michael Archangel, Dresden Triptych Virgin and Child, Dresden Triptych

PLATES

613

8.92. Eanes Workshop, Tomb Effigy of Prince Henrique (Age 66: left) and Tomb Effigy of King João I (Age 76: right), 15th Century, Royal Pantheon, Batalha

8.93. Nuno Gonçalves and João Eanes, The St. Vincent Altarpiece (Figures in white Cistercian robes from top to bottom are proposed portraits of a bearded Prince Fernando, King João I and Prince Henrique), ca. 1470–1472, Lisbon, Museu Nacional de Arte Antiga

614

8.94. Detail of the Donor, Dresden Triptych (proposed portrait of Prince Fernando)

8.95 Detail of Santo Infante Fernando, altarpiece center panel, by the Portuguese School (João Afonso de Leiria), 1450–1460, Lisbon, Museu Nacional de Arte Antiga

615

PLATES

(a)

(b)

(c)

(d)

8.96. Heralds of the Dresden Altarpiece: (a) 1898 drawings after the frame by Hugo Bürkner; (b) actual frame heralds; (c) reconstruction shields by Christoph Schölzel; and (d) Avis escutcheon of Prince Fernando

8.97. Southern Netherlands, designed by Nuno Gonçalves, The Taking of Arzila, from a set of tapestries woven after 1471, Pastrana, Iglesia Colegiata (Royal banners above the equestrian figures of Afonso V of Portugal and João II display a water wheel. The same standard is exhibited on the stockade. Afonso V’s water wheel may have an emblematic origin in King Duarte’s motto and his veneration of St. Catherine, whose attribute was a fiery wheel)

616

8.98. St. Catherine of Alexandria, Batalha Monastery (António Dias dos Reis)

8.99 St. Catherine of Alexandria, Dresden Triptych (proposed portrait: Queen Leonor of Portugal)

PLATES

8.100. Detail of the Baldachin, Dresden Triptych

8.101. Portuguese School, Tomb of Prince Fernando, 15th Century, Pantheon, Batalha

8.102. German School, Virgin and a Unicorn within a Crown of Thorns, ca. 1475, Cologne, Schnütgen Museum

617

618

8.103. Franco-Flemish School, The Capture of the Unicorn, detail of an Altar Frontal (The Virgin Mary in the Hortus Conclusis with a Unicorn and Adam and Eve; opposite Gabriel blows a hunting trumpet), ca. 1480, Zurich, Swiss National Museum

8.104. Cross of Alfonso III, King of Asturias, ca. 908, Cathedral of Oviedo (formed about the wooden cross of Pelayo, who led the first Christian army against the Moors at Covadonga in 718)

PLATES

619

8.105. Andrés Marçal de Sax, St. George assisting the Troops of King Jaime I of Aragon against Zayyan ibn Mardanish at the Battle of El Puig (August 15, 1237), central panel; and lateral panel, Knightly Investiture of St. George by the Virgin Mary, Altarpiece of St. George, ca. 1410–1420, London, Victoria & Albert Museum

620

8.106. Jan van Eyck, Jan de Leeuw, 1436, Vienna, Kunsthistorisches Museum

621

PLATES

8.107. Jan van Eyck, Canon Joris van der Paele before the Madonna and Child with Sts. Donatian and George, 1434–1436, Bruges, Groeningemuseum 8.108. Detail of St. Donatian, Madonna of Canon van der Paele

8.109. School of Bruges, St. Donatian, from Jacobus de Voragine, Legenda Aurea, early 15th Century, Glasgow University Library, Department of Special Collections

622

8.110. St. George and Donor, Madonna of Canon van der Paele

8.111. Gérard Loyet, Reliquary of Charles the Bold and St. George, 1467–71, Liège, Treasury of the Cathedral of St. Paul (53 x 53 x 34 cm); The base carries Charles’ motto, Je lay emprins (I undertook it) and C and M, the initials of the Duke and Margaret of York

PLATES

8.112. Self-Portrait, Reflection of St. George’s Armour, Canon van der Paele Madonna (Otto Pächt)

8.113. Virgin and Child, Van der Paele Altarpiece, Detail of the Ring-Necked Parakeet

623

624

8.114. Detail of the landscape in the Dresden Panel of St. Catherine of Alexandria

8.115. João Gonçalves, St. Catherine, Livro de Horas de D. Duarte, ca. 1428–36, Lisbon, Instituto dos Arquivos Nacionais, Torre do Tombo, Mf. 1089P (The folio with a grape vine border was added about 1453)

625

PLATES

8.116. Guimarães Castle and St. Michael Chapel (S. Miguel)

8.117. Nossa Senhora da Oliveira, Guimarães

626

8.118. The Madonna and Child, Dresden Altarpiece

8.119. Flemish School, Tapestry of the History of Perseus and Andromeda, ca. 1500, France, Private Collection (Photo: R. Guillemot, Connaissance des Arts)

PLATES

8.120. Portuguese School, The Martyrdom of St. Catherine of Alexandria with Holy Franciscans, from an Altarpiece of St. Catherine, 16th Century, Lisbon, Museu Nacional de Arte

627

628

8.121 Detail of the Nave Statues, Dresden Triptych

8.122. Georg Braun and Frans Hogenberg, St. George Palace Complex, Lisbon from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. V (Lisbon: Museu da Cidade) (In front of the Gate #49 is the Chapel of St. Michael with a spire)

PLATES

629

8.123. Capital Reliefs in the Donor Panel of the Desden Altarpiece

8.124. Portuguese School, Capitals of Double Columns carved with St. James on Horseback fighting Moors at Clavijo and The Burial of Christ, early 14th Century, Church of Santa Maria de Selas

630

8.125. Évora, Romanesque Cathedral Nave and Western Façade (António Dias dos Reis)

PLATES

631

8.126. Évora, Romanesque Cathedral, Western Portal with the Apostles, 1340 (António Dias dos Reis)

632

8.127. Évora, Portugal and the town’s Roman Temple of Diana (António Dias dos Reis)

PLATES

8.128. Nave Statues, Dresden Altarpiece

8.129. Jan van Eyck, The Madonna of Chancelor Nicolas Rolin, ca. 1434–35, Paris, Louvre

633

634

8.130. French School, King Arthur and the Giant of St. Michael’s Mount in Cornwall, from the Chronique d’Angleterre, late 14th Century, London, British Library, Egerton 3028, f. 49

8.131. Simone Martini, St. Martin of Tours renouncing the Sword, ca. 1312–1317, Assisi, Lower Basilica, San Francesco, St. Martin Chapel

PLATES

635

9.1. Jan van Eyck, St. Francis receiving the Stigmata, ca. 1436, Turin, Galleria Sabauda

9.2. Jan van Eyck and/ or Workshop, St. Francis receiving the Stigmata, ca. 1436-37, oil on vellum on panel (12.4 x 14.6 cm), Philadelphia, Philadelphia Museum of Art and detail of Brother Leo

636

9.3. Batalha Monastery, Western Façade and Royal Pantheon, 15th Century (António Dias dos Reis)

9.4. Portuguese School, Tomb of Prince Henrique, late 15th Century, Royal Pantheon, Batalha Monastery

PLATES

9.5. Portuguese School, Tomb Effigy of Prince Henrique (Age 66 with hands in Orans position), 15th Century, Royal Pantheon, Batalha Monastery

9.6. Detail of the Panel of Monks, St. Vincent Altarpiece, after 1471 by Nuno Gonçalves (Proposed portrait of Henrique the Navigator)

637

638

9.7. Comparison of Prince Henrique’s Effigy at Batalha and the Turin St. Francis of Assisi

PLATES

639

9.8. Portuguese School, Prince Ferdinand and Scenes of his Captivity and Death in Fez, from Jean Bolland, Acta Sanctorum (1695) based upon the account (ca. 1460) of the Benedictine Frei João Álvares (1400-1490), Tratado da vida e dos feitos do muito vertuoso Senhor Infante D. Fernando (Lisbon, 1527; rpt. 1577 and in 1730 (Coimbra) as retitled Chronica dos feytos, vida, e morte do infante santo D. Fernando, que morreo em Fez, ed. Fr. Jeronimo dos Ramos)

9.9 Map of Morocco

640

9.10. Pieter I de Jode, Pietro Adornes (pendant to a portrait of his wife Elisabeth Bradericx), ca. 1600–1634, engraving, Brussels, Bibliothèque Royale Albert I

9.11. Jerusalemkerk, Bruges, Peperstraat, 3 in Lace District

PLATES

9.12. Jerusalemkerk, Bruges, Upper Altar and Lower Altar with Calvary (behind which is a replica of the Holy Sepulchre)

641

642

9.13. Main Altar and Tomb of Anselmo Adornes († 1483) and his wife Magriet van der Banck), Jerusalemkerk, Bruges (Only the heart of the counselor and ambassador of Charles the Bold rests in the sepulchre; his body is at St. Michael Church in Linlithgow, Scotland)

PLATES

643

9.14. Master of the Porciuncula, St. Francis receiving the Stigmata with Brother Leo (123.5 x 93 cm), ca. 1460, Castellón, Convento de Capuchinas

9.15. Francisco de Osona, St. Francis receiving the Stigmata with Brother Leo, late 15th Century, Lisbon, Museu Nacional de Arte Antiga

644

9.16. Master of Hoogstraten, The Stigmatization of St. Francis (47 x 36 cm), 1495, Madrid, Museo del Prado

9.17. Detail of Jan van Eyck and/ or Workshop, St. Francis receiving the Stigmata, ca. 1436–37, Philadelphia Museum of Art

PLATES

645

9.18. After Jan van Eyck, St. Christopher with the Christ Child and a Holy Hermit, ca. 1437, Paris, Musée du Louvre

9.19. Workshop of Jan van Eyck, St. Christopher, ca. 1440–1445, oil on panel (24.5 x 21.1”), Philadelphia, Philadelphia Museum of Art (Sailko)

646

9.20. Pere Nisart and Rafael Mòger, St. George slaying the Dragon, ca. 1468-1470, Mallorca, Museo Diocesano de Palma (commissioned by the Church of San Antonio de Padua, Mallorca)

9.21. Rafael Mòger, Assault at the Gate of Bab-al-Kofol de Medina Mayurqa by the Army of King Jaime I of Aragon, right predella panel, St. George Altarpiece, 1468-70, Mallorca, Museo Diocesano de Palma (Centerpiece predella panel, Christ in his Tomb with Instruments of the Passion; left predella panel, Beheading of St. George)

647

PLATES

9.22. Guillem Sagrera, Castel Nuovo in Naples from the northwest, built ca. 1420–1453 upon the keep constructed 1279–84 by Charles I of Anjou

9.23. Pere Nisart, Port of Palma, Mallorca, St. George slaying the Dragon

9.24. View of the Present Harbour of Palma, Mallorca

648

9.25. Map of Mallorca, from Baedecker Guide for Spain and Portugal (London: 1909)

9.26. Miniature from El Libre del Gentil e los Tres Savis, 14th–15th Century, Palma, Biblioteca Pública de Palma, MS. 1025, f. 18, from the Convento de Santo Domingo de Palma (Sebastián Garcias Palou/Detail: Fundación Juan March: Francesco de B. Moll)

PLATES

9.27. J.F. Palomino, Perspective of the Town of Palma de Mallorca, View from the South, from Atlante Español, Don Bernardo Espinalt y Garcia, 1779, Madrid

9.28. La Almudaina and the Cathedral, 1281–1343, Palma de Mallorca (Antoni I. Alomar Canyelles)

649

650

9.29. Pere Salva, La Almudaina, Palma de Mallorca, early 14th Century

9.30.The Almudaina shown by Pere Nisart, St. George slaying the Dragon, ca. 1468–1470

651

PLATES

9.31. Pere Salva, Walls and Entrance, La Almudaina, Palma de Mallorca, early 14th Century

9.32. Arabic Gardens near the Cathedral (Richard Hirshman) and Alfiz Arch of a Bath

652

9.33. Romanesque Typanum of Santa Ana (Fundación Juan March: Santiago Sebastián)

9.34. Interior of Santa Ana Chapel, La Almudaina (Nick Yoon)

PLATES

9.35. Royal Balcony/Organ, Pere Salva, Chapel of Santa Ana, early 14th Century (Fundación Juan March: Santiago Sebastián)

653

654

9.36. Interior of La Almudaina, 1281–1343 Arched Hall (Eva Santaella) Banqueting Hall (Nick Yoon) Upper Gallery

PLATES

655

9.37. Port of Palma de Mallorca, from Baedecker Guide for Spain and Portugal (London: 1909) Walls of Palma de Mallorca

9.38. Detail, the Harbor from Pere Nisart, St. George and the Dragon

656

9.39. Guillem Sagrera, Llotja, 1420–1452 and Interior of the Exchange (Fundación Juan March: Santiago Sebastián)

657

PLATES

9.40. Details from Pere Nisart, St. George and the Dragon Proposed Old Exhange

9.41. Proposed Franciscan Hermitage of the Holy Cross with Ramón Llull

658

9.42. Southeastern Side of the Cathedral of Palma (121 x 55 meters)

9.43. Cathedral Nave towards the Choir (44 meters height)

9.44. Drawing of the Original Western Façade 1229–1601, Palma, Casa Almoina (Atoni l. Alomer)

659

PLATES

9.45. Pere Nisart, Town of Palma de Mallorca, St. George and the Dragon

9.46. Church of St. Eulalia, 13th Century

9.47. St. Nicolau, 13th–14th Century

660

9.48. Façade of San Francisco Monastery (Liam Boyce) and Interior

PLATES

9.49. San Francisco Monastery Cloister (Liam Boyce)

661

662

9.50. Pere Nisart, Detail of the Mallorca Shoreline and Vegetation, St. George and the Dragon

9.51. Pere Nisart, Detail of Porto Pí Harbor with its Faro (lighthouse; built in 1290 and height raised in 1613), St. Nicholas Chapel, and Bellver Castle; Present View of Bellver Castle and Porto Pi Harbour (Antonio De Lorenzo)

663

PLATES

9.52. Pere Salvá, Bellver Castle, ca. 1300 (Fundación Juan March: Santiago Sebastián)

9.53. Bellver Tower and Walls (Nick Yoon)

664

9.54. Pere Salvá, Bellver Castle, ca. 1300

PLATES

9.55. Joan Reixach, St. Margaret of Antioch, 1456, left panel from the St. Michael Altarpiece of Bocairent, Barcelona, Museu Nacional d’Art de Catalunya

9.56. Detail of the Dragon, Pere Nisart, St. George slaying the Dragon

665

666

9.57. Detail of Town Gate, Pere Nisart, St. George and the Dragon

9.58. Map of Mallorca

PLATES

9.59. Jan van Eyck, Last Judgment, ca. 1429, New York, Metropolitan Musem of Art

667

668

9.60. Strozzi Chapel, Florence, Santa Maria Novella: Frescoes, Nardo di Cioni, 1354–59 (Mattis)

PLATES

669

9.61. Jan van Eyck, Last Judgment, ca. 1429, New York, Metropolitan Musem of Art

9.62. Miguel Alcañiz (Master of the Bambino Vispo), The Last Judgment, ca. 1422, Munich, Alte Pinakothek

670

9.63. Rogier van der Weyden, St. George the Dragon Slayer and the Princess, 1425–30, Washington, D.C., National Gallery of Art

9.64.Philip the Good’s Great Seal for the Duchy of Brabant, 1433, Brussels, Archives Générales du Royaume, Chartes de Brabant

PLATES

671

9.65. Jan van Eyck, The Madonna in the Church, ca. 1438, Berlin, Staatliche Museuen Preussischer Kulturbesitz

672

9.66. Master of 1499, Diptych of the Virgin in the Church with Christian de Hondt, Abbot of Ter Duinen, ca. 1499, Antwerp, Koninklijk Museum voor Schone Kunsten

PLATES

9.67. Master of 1499, Diptych of the Virgin in the Church with Christiaan de Hondt, Abbot of Ter Duinen, ca. 1499, Antwerp, Koninklijk Museum voor Schone Kunsten: Salvator Mundi, Reverse of the Virgin in a Church

673

9.68. Master of 1499, Diptych of the Virgin in the Church with Christiaan de Hondt, Abbot of Ter Duinen, ca. 1499, Antwerp, Koninklijk Museum voor Schone Kunsten: Abbot Robrecht de Clercq, Reverse of Abbot Christiaan de Hondt

674

9.69. Jan Gossaert, Virgin and Child in a Church; Antonio Sicilano and St. Anthony Abbot, ca. 1500–15. Rome, Galleria Doria Pamphilj

PLATES

9.70. Detail of Jan van Eyck, Madonna in a Church

9.71. Detail of Jan Gossaert, Madonna in a Church

675

676

9.72. Jan Gossaert, Detail of Antonio Sicilano and St. Anthony Abbot

PLATES

9.73. Simone Martini, St. Martin of Tours and the Beggar, ca. 1312–1317, Assisi, Lower Basilica of San Francesco, Chapel of St. Martin

9.74. Jan Gossaert, Detail of the White Horse and Groom

677

678

9.75. Portuguese Sepulchre, Dom Lopo Fernandes Pacheco with a Dog, 14th Century, Ambulatory, Lisbon Cathedral (Gaylen R. Freysinger) & View of the Ambulatory (Georges Jansoone)

9.76. Portuguese Sepulchre, Dona Maria Vilalobos, wife of Lopo Fernandes Pacheco, Lisbon Cathedral (António Dias dos Reis)

PLATES

9.77. Portuguese School, Dom Fuas de Roupinho and the Miracle of Our Lady of Nazareth (1182), 18th Century, Igreja de Nossa Senhora da Nazaré

9.78. Fort of São Miguel Arcanjo, Coastal Cliffs of Nazaré (António Dias dos Reis)

679

680

9.79. Castle at Porto de Mós, 12th Century, Leiria Region (António Dias dos Reis)

PLATES

9.80. Castle at Porto de Mós, 12th Century, Leiria Region (António Dias dos Reis)

681

682

9.81. Ermida da Memória, Nazaré and Chapel Interior with Grotto and Statue of the Nurturing Virgin Mary, 12th–18th Century (António Dias dos Reis)

PLATES

9.82. Nossa Senhora da Nazaré and Interior Nave, 14th –17th–19th Centuries (António Dias dos Reis)

683

684

9.83. Main Altar, Nossa Senhora da Nazaré (Georges Jansoone)

9.84. Miraculous Statue of Our Lady of Nazareth (António Dias dos Reis)

PLATES

9.85. Proposed compositions of Jan van Eyck’s original Madonna in a Church Diptych: The Virgin of Nazaré in the Lisbon Cathedral opposite Donor Panel of King Duarte as St. Martin of Tours/Dom Fuas de Roupinho introduced by St. Anthony Abbot (patron saint of St. Anthony of Padua) and Reverse: Salvator Mundi and St. Bernard of Clairvaux)

685

686

9.86. George Matthew Seutter, Lisbon before and during the Saturday, November 1, 1755 Earthquake (Lisabona magnificentissima Regia Sedes Portugalliae et florentissimum Emporium ad ostia Tagi situm), hand colored copper engraving, 1756, Augsburg (Lisbon, Museu da Cidade)

9.87. George Matthew Seutter, Detail of the Cathedral, from the 1756 Augsburg engraving of Lisbon before and during the 1755 Earthquake (Lisbon, Museu da Cidade)

PLATES

9.88. Western Façade, Cathedral of Lisbon (António Dias dos Reis)

9.89. Entrance to the Cathedral of Lisbon (Gaylen R. Freysinger)

687

688

9.90. The Cathedral of Lisbon depicted on a seal of the reign of King Afonso IV, mid 14th Century, Archivo Nacional de Torre do Tombo

9.91. Plan of Lisbon Cathedral A Western Portal; B Nave; C Transept; D Sacristy; E Choir; F Reliquary of St. Vincent; G Chapel of João Bartholmeu; H Atrium of the Lateral Door; I Camarim of the Bishop; J First Chapel of St. Vincent (later Chapel of the Holy Sacrament); K Romanesque Bell Tower (Second Chapel of St. Vincent); L Ambulatory with Apsidal Chapels; M Cloister; N Cloister Chapels

PLATES

689

9.92. Cloister Galleries, 1261–1325 (Gaylen R. Freysinger) and Excavated Courtyard revealing Roman and Islamic occupation before the creation of the Cloister under King Dinis (Brian McMorrow)

690

9.93. Vault of the Gothic Capela S. Bartholomeu, Lisbon, Cathedral (João Fagundes)

9.94. Sepulchre of the Merchant João Bartholomeu, Chapel of S. Bartholomeu Lisbon, Cathedral (João Fagundes)

PLATES

9.95. Exterior of the Cathedral, Apse (Paulo Pereira)

9.96. Radiating Chapels, 1350–15th Century, Lisbon, Cathedral (João Fagundes)

691

692

9.97. Ambulatory of the Lisbon Sé (left), Radiating Chapel with Statue of St. Anthony of Padua (João Fagundes)

9.98. Portuguese School, Tomb of Infanta Beatriz, niece of King Afonso XIV, 14th Century, situated in a radiating chapel (Gaylen R. Freysinger)

PLATES

9.99. Restored Nave of the Lisbon Cathedral and Capela-Mor (António Dias dos Reis)

693

694

9.100. Jan van Eyck, detail of the Berlin Madonna in the Church

9.101. View of the Lateral Aisle, Lisbon Cathedral

PLATES

9.102. Jan van Eyck, details of the Berlin Madonna in the Church (Aisle statue appears to hold a ship)

9.103. Portuguese School, St. Vincent of Saragossa with a Ship containing Ravens, a Book and a Palm of Martyrdom, polychrome stone, late 15th Century (455 mm), Lisbon, Museu da Cidade

9.104. Proposed Diagram of the Lisbon Cathedral as depicted by Jan van Eyck: (A) Virgin of Nazareth with the Infant Christ; (B) St. Vincent Statue; (C) Original Chapel of St. Vincent

695

696

9.105. António do Couto Abreu, Plan of the Apse built under Afonso IV, ca. 1940, Lisbon, Cathedral (Jorge Segurado)

9.106. António do Couto Abreu, Longitudinal Section of the Cabeceira (Apse), ca. 1940, Lisbon, Cathedral (Jorge Segurado)

697

PLATES

9.107. The Choir with its Reliquary of St. Vincent in the Cathedral of Lisbon depicted on a seal of the reign of King Afonso IV, mid 14th Century, Archivo Nacional de Torre do Tombo

9.108. Detail of Jan Gossaert’s Madonna in a Church, Reliquary behind angels

698

9.109. Detail, Jan van Eyck’s Madonna in the Church

9.110. Detail, Jan Gossaert’s Madonna in a Church

PLATES

9.111. Detail, Jan van Eyck’s Madonna in the Church

9.112. Detail, Master of 1499 Madonna in a Church

699

700

9.113. Nuno Gonçalves, St. Peter with his Keys and St. Paul with his Sword, from the St. Vincent Altarpiece of the Lisbon Cathedral, ca. after 1471, Lisbon, Museu Nacional de Arte Antiga

PLATES

9.114. Nuno Gonçalves, St. Theotonius and St. Francis of Assisi, from the St. Vincent Altarpiece of the Lisbon Cathedral, ca. after 1471, Lisbon, Museu Nacional de Arte Antiga

701

702

9.115. Georg Braun and Frans Hogenberg, The Cathedral of Lisbon with its Southeast Romanesque Tower (No. 79; opposite is the Church of St. Anthony of Padua, No. 122), Map of Lisbon, from Civitates Orbis Terrarum, 6 vols. Cologne (1598, Vol. V)

9.116. Nuno Gonçalves, proposed portrait of Prince Pedro holding the Cranium of St. Anthony, detail of the Panel of the Relics, from the St. Vincent Altarpiece of the Lisbon Cathedral, ca. 1470–1472, Lisbon, Museu Nacional de Arte Antiga

PLATES

703

10.1 Barthélemy d’Eyck (active 1444–1469), Aix Annunciation Triptych, ca. 1443– 1445 (The center Annunciation is in Sainte-Madeleine, Aix-en-Provence. Isaiah (left wing) is in Rotterdam, Boijmans-van-Beuningen Museum; the Still Life is in Amsterdam, Rijksmuseum. Jeremiah (right wing) is in Brussels, Musée Royaux des Beaux-Arts. The reverse sides of the lateral panels illustrate the Noli Me Tangere)

10.2. After Jan van Eyck, Annunciation, ca. 1450, drawing, Herzog-AugustBibliothek

704

10.3. Niccolò Colantonio, St. Jerome in his Study, ca. 1445, for the Neapolitan Franciscan Church of San Lorenzo, Naples, Museo Nazionale di Capodimonte

10.4. Workshop of Jan van Eyck (Petrus Christus), St. Jerome in his Study, ca. 1442, Detroit, Detroit Institute of Arts

10.5. Hand H, St. Thomas Aquinas, Turin Hours, MS.KIV.29, folio 73v, ca. 1440, destroyed 1904 formerly Biblioteca Universitaria, Turin

PLATES

705

10.6. Antonello da Messina, St. Jerome in his Study, ca. 1474–75, London, National Gallery

10.7. Petrus Christus and/or Workshop of Jan van Eyck, Landscape with St. John the Baptist – “Ecce Agnus Dei,” ca. 1445, Cleveland, Cleveland Museum of Art

706

10.8. Georg Braun and Frans Hogenberg, Lisbon Map, detail with the Parish Gothic Church of São Julião (#80), from Civitates Orbis Terrarum, 6 vols. 1598, Cologne, Vol. V (Lisbon: Museu da Cidade)

10.9. Eastern End of Madeira with the Islands of São Lourenço and Agostinho (Hannes Grobe)

PLATES

10.10. Evrard d’Espingues, Planisphère, for Barthélemy l’Anglais, Le Livre des Propriétés des Choses, 1479–80, acquired by Jean du Mas, Seigneur de l’Isle-Adam, Ahun (Marche), Paris, Bibliothèque Nationale de France, MS. Fr. 9140, f. 243v

10.11. Hartmann Schedel, Ptolemaic World Map with Fantastic Sea Figures, Twelve Winds & Sons of Noah (Japhet, Shem, and Ham) in the Corners, colored woodcut by Michael Wohlgemut (1434–1519), Liber Chronicarum (Nuremberg: Anton Koberger, 1493)

707

708

10.12. Attributed to Cresques Abraham (Mallorca), The Catalan Atlas: Map of Europe, North Africa and the Near East, 1375, on vellum with accents of silver and gold, Paris, Bibliothèque Nationale de France, Esp 30 (Documented in the library of the French monarch Charles V, the Atlas originally comprised six leaves folded down the middle. The leaves are now cut in half, each leaf measuring 65 x 50 cm; overall size 65 x 300 cm)

10.13. Attributed to Cresques Abraham (Mallorca), The Catalan Atlas: Map of Europe, North Africa, and the Near East, 1375, Paris, Bibliothèque Nationale de France, Esp 30

PLATES

709

10.14. Attributed to Cresques Abraham (Mallorca), The Catalan Atlas, 1375, Paris, Bibliothèque Nationale de France, Esp 30: Astronomical and Cosmographical Diagram

10.15. Attributed to Cresques Abraham (Mallorca), The Catalan Atlas, 1375, Paris, Bibliothèque Nationale de France, Esp 30: Tide Table, Perpetual Calendar, Zodiacal Man

710

10.16. Attributed to Cresques Abraham (Mallorca), The Catalan Atlas, 1375, Paris, Bibliothèque Nationale de France, Esp 30: The Three Magi following the Star of Bethlehem

10.17. Attributed to Cresques Abraham (Mallorca), The Catalan Atlas, 1375, Paris, Bibliothèque Nationale de France, Esp 30: Alexander the Great and Lucifer (who assisted in the conquest of Gog and Magog; below their figures are bronzes of the mechanical trumpeters)

PLATES

10.18. Martim Behaim (1459–1507), German geographer and cartographer to João II of Portugal, Erdapfel (Earth Apple), ca. 1492 and detail showing the Arquipelago and Legend, Nuremberg, Germanisches Museum

711

712 10.19. Jan de Haze (Brussels), Arms of Philip the Good, Armorial Tapestry, before 1466, from a set of six lost panels, Berne, Bernisches Historisches Museum (Stefan Rebsamen)

10.20. Flemish School, Portrait of Margaret of Flanders (1350–1405), 16th Century, Lille, Musée des Beaux-Arts

10.21. Chamber, Château de Germolles decorated with P (Philip the Bold) and M (Margaret of Flanders) and vases of Marguerites, 1388–93, Saône-et-Loire, Drouet de Danmartin (architect), Jacques de Neuilly (mason), Jean Beaumetz (decorator), Jean de Marville and Claus Sluter (sculptors)

PLATES

713

10.22. Francesco Rosselli (attributed), Tavola Strozzi: View of Naples and the July 15, 1565 Return of the Aragonese Fleet after their Victory at the Battle of Ischia (7 July), ca. 1472, Naples, Certosa e Museo di San Martino

10.23. View of the Bay of Naples and Castel Nuovo from the south (Lance Mountain)

10.24. School of Naples, Plan of the Castel Nuovo and Elevation of a Tower, 1787, Paris, Bibliothèque National de France, Ge C37799

714

10.25. Jan van Eyck, Diptych of Calvary and Last Judgment, 1429, New York, Metropolitan Museum of Art

PLATES

715

10.26. Jan van Eyck, Calvary, 1429, New York, Metropolitan Museum of Art

716

10.27. Jan van Eyck, Calvary, 1429, New York, Metropolitan Museum of Art

PLATES

10.28. Jan van Eyck, Three Marys at the Tomb (72 x 89 cm), ca. 1425–26, Rotterdam, Museum Boijmans van Beuningen

10.29. Detail of the Eyckian Way to Calvary of 1427–28, 16th-century replica, Budapest, Szépmüvészti Múzeum

717

718

10.30. Workshop of Niccolò Colantonio, The Three Marys at the Tomb and the Resurrection, ca. 1470 (40.6 x 24.1 cm), New York, Collection of Alexander Acevedo (Till–Holger Borchert)

10.31. Details of Jan van Eyck, Three Marys at the Tomb, ca. 1425–26, Rotterdam, Museum Boijmans van Beuningen

PLATES

10.32. Lodewijk Allyncbrood, The Seven Sorrows of the Virgin Mary (Roiç de Corella Altarpiece) Reverse Wings Annunciation, 1445 (78 x 134 cm), Madrid, Museo del Prado

719

720

10.33. Hand H (Lambert van Eyck?), Way to Calvary (Bas-de-Page Abraham and Isaac), Turin Hours, ca. 1423–35, MS K IV.29, f. 31v, destroyed by fire in the Biblioteca Universitaria, Turin

PLATES

10.34. Lodewijk Allyncbrood, Seven Sorrows Triptych, 1445, Madrid, Museo del Prado The Circumcision, Center Panel (Christ in the Temple with Doctors, Way to Calvary and Crucifixion); Lamentation

721

722

10.35 Lodewijk Allyncbrood, Lamentation, Seven Sorrows Triptych, 1445, Madrid, Museo del Prado

10.36. Lodewijk Allyncbrood (attributed), The Lamentation, ca. 1450– 60, Milan, Private Collection (Museu de Belles Arts de Valencia: Fernando Benito Doménech)

PLATES

10.37. Hand H (Lambert van Eyck?), Pietà, Turin Hours, ca. 1432–35, MS K IV.29, f. 49v, destroyed by fire in the Biblioteca Universitaria, Turin

723

724

10.38. Hans Memling, Panoramic Landscape with Scenes of the Passion of Christ, ca. 1470, (56 x 92 cm), Turin, Galleria Sabauda

10.39. Hans Memling, Seven Joys of the Virgin Altarpiece (Advent and Triumph of Christ), ca. 1480, (81.3 x 189.2 cm), Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek

PLATES

10.40. Upper Chapel, Helig Bloedbaziliek, 15th–16th Century (restored)

10.41. Relic of the Holy Blood (Displayed in a silver reliquary presented in 1611 to Bruges by the Hapsburg Archdukes Albert and Isabella Clara Eugenia, the relic is venerated every Friday)

725

726

10.42. School of Bruges, Panorama of Jerusalem with Scenes from the Passion, ca. 1517, Lisbon, Museu do Azulejo

10.43. Hartmann Schedel, Jerusalem, woodcut by Michael Wohlgemut (1434–1519), Liber Chronicarum (Nuremberg: Anton Koberger, 1493), Detail of folio XVII

PLATES

10.44. Madre de Deus, Manueline Convent of the Franciscan Poor Clares and Bell Tower, early 16th Century (Xabregas), Lisbon, Museu do Azulejo (António Dias dos Reis)

727

728

10.45. Lisbon, Portal, Madre de Deus, early 16th Century, Manueline Convent of the Poor Clares (Xabregas), Lisbon (António Dias dos Reis)

10.46. Lisbon Workshop, Arrival of the Relics of St. Auta to the Convent of Madre de Deus in Lisbon, September, 1517 (705 x 760 mm), ca. 1520, Lisbon, Museu Nacional de Arte Antiga (Dona Leonor is on a balcony and Flemish tapestries adorn the entrance)

PLATES

10.47. Hans Memling, Lübeck Crucifixion Altarpiece, 1491, Annen Museum with Wings of the Way to Calvary and the Resurrection

10.48. Gerard David, Crucifixion Triptych, ca. 1500–15, with wings of the Nativity and the Resurrection, Haarlem, Frans Hals Museum

729

730

10.49. Workshop of Gerard David, Crucifixion Triptych with Wings of the Way to Calvary and the Resurrection, ca. 1500–15, Budapest, Szépművészeti Múzeum

10.50. Attributed to Hans Memling, Two Thieves of Calvary, drawing, ca. 1491–94, Berlin, Staatliches Museum, Kupferstichkabinett

10.51. Attributed to Hans Memling, Calvary Group, drawing, late 15th Century, London, British Museum (after a lost “Passion Altarpiece” by Jan van Eyck?)

PLATES

731

10.52. Hans Memling, Annunciation Shutters, Lübeck Crucifixion Calvary, 1491, Annen Museum

10.53. Workshop of Gerard David, Annunciation Shutters, Crucifixion Triptych, Budapest

732

10.54. Jan van Eyck, Annunciation Diptych (Archangel Gabriel: 38.8 x 23.2 cm: Virgin Mary: 38 x 24 cm), ca. 1433–35, Madrid, Museo ThyssenBornemisza

10.55. Workshop of Jan van Eyck, St. John the Baptist and the Virgin and Child Diptych, ca. 1435, Paris, Musée du Louvre

PLATES

733

10.56. Philips Galle, The Resurrection, engraving after a drawing by Pieter Brueghel the Elder (Rotterdam: Museum Boijmans van Beuningin), 1562– 63, Amsterdam, Rijksmuseum (Lotte Brand Philip)

10.57. Andrea di Bonaiuti, Vault of the Spanish Chapel and Detail of the Resurrection (north vault cell), 1366– 68, Florence, west side of the nave of Santa Maria Novella (Sailko)

734

10.58. Andrea di Bonaiuti, Spanish Chapel Vault, 156668, Florence, Santa Maria Novella: Sea of Tiberias and St. Peter walks on Water (Navicella), east cell; Ascension of Christ, south cell; Pentecost, west cell (Sailko)

PLATES

735

10.59. Andrea di Bonaiuti, The Spanish Chapel, West Wall (Triumph of St. Thomas Aquinas) and North Wall (Calvary), 1366– 68, Florence, Santa Maria Novella (Carlo Brogi) and Detail of the East Wall Apocalyptic Christ in Majesty (Sailko)

10.60. Ambrogio Lorenzetti, Allegory of Good Government in the City, Hall of Peace, 1338–39, Siena, Palazzo Pubblico

736

10.61. Hans Memling, Two Wings: Don José de Rojas at Prayer (Cincinnati, Estate Fred Ziv) and Girl Reading (fragment, Paris: Private Collection), 1465–1467 (Dirk de Vos) Above: Detail of the Tomb and Joseph of Arimathaea

PLATES

10.62. Pieter Brueghel the Elder Tomb Guard and Gerard David Tomb Guard (Lotte Brand Philip)

10.63. Roman Copy after Hellenistic Original, Persian from the “Lesser Attalid Group” (.64m), Aix-enProvence (Lotte Brand Philip)

10.64. Lodewijk Allyncbrood, Crucifixion, ca. 1445–50, formerly Madrid, Rodríguez Bauzá Collection

737

738

10.65. Lodewijk Allyncbrood, Bauzá Crucifixion, ca. 1445–50, Details: The Penitent Thief and the Raising of the Dead; and the Impenitent Thief and the Rending of the Temple Veil

PLATES

10.66. Lodewijk Alluncbrood, Bauzá Crucifixion, ca. 1445–50, Details of the Harrowing of Hell and Landscape

739

740

10.67. Workshop of Jan van Eyck (Lambert van Eyck/ Lodewijk Allyncbrood?), Calvary, ca. 1428, Berlin, Staatliche Museen Preussischer Kulturbesitz

10.68. School of Valencia, after Jan van Eyck workshop Berlin archetype, Calvary, ca. 1450–60, Valencia, Iturbe Collection (Benito Doménech-Gómez Frechina)

PLATES

741

10.69. Flemish School, after designs by Lodewijk Allyncbrood, Passion Altar Frontal, 15th Century, formerly Cathedral of Valencia, lost after 1936

10.70. Flemish School, after designs by Lodewijk Allyncbrood, Resurrection Altar Frontal, 15th Century, formerly Cathedral of Valencia, lost after 1936

10.71. French School, attributed to Jean d’Orlèans, Parement de Narbonne, ca. 1375, silk (2’6 ¾” x 9’4 5 8”), Paris, Louvre (St. John the Baptist stands behind Christ in the Harrowing of Hell)

742

10.72. French School, attributed to Jean d’Orléans, Parement de Narbonne, ca. 1375: King Charles V with the Church; Queen Jeanne de Bourbon with the Synagogue

10.73. French School, Charles V and Queen Jeanne, 1365– 1380, Paris, Musée du Louvre (statues originally were in the Louvre Castle)

PLATES

10.74. School of Cologne, Wasservass Calvary, 1425, Cologne, WallrafRichartz Museum

10.75. Jacomart (Master Bonastre), The Annunciation, ca. 1450, Valencia, Museo de Bellas Artes

743

744

10.76. Juan Reixach, St. Catherine of Alexandria Altarpiece, 1448 (351 x 241.2 cm), Villahermosa del Río, Parish Church of la Natividad de Nuestra Señora (formerly ermita de San Bartolomé)

10.77. Hand H Turin–Milan Hours (Lambert van Eyck?), Agony in the Garden, Turin-Milan Hours, ca. 1435–40, Turin, Museo Civico, MS. 47, f. 30v

PLATES

745

10.78. Flemish School, Ceremonial Golden Fleece Mantle of St. John the Baptist, after ca. 1435, designs by Rogier van der Weyden and perhaps woven by Thierry de Chastel and Guillem de Uxcelles

10.79. Workshop of Jan van Eyck (Lambert van Eyck?), Apostles John the Evangelist and St. Thomas, ca. 1425–30, Vienna, Albertina

746

10.80. Lieven van den Clité, Last Judgment, ca. 1413 (231.5 x 86 cm), Diest, Stadelijk Museum, on loan from Brussels, Koninklije Musea voor Schone Kunsten

PLATES

747

10.81. Beaune, Hôtel Dieu, Exterior and Grand Salle de Pauvres (Jan Sokol); Rogier van der Weyden, Last Judgment Altarpiece, 1444–48 (220 x 548 cm), Hospices de Beaune

748

10.82. Rogier van der Weyden, Exterior of the Last Judgment Altarpiece with Chancellor Nicholas Rolin and Guigogne de Salines, ca. 1445–1448, Beaune, Musée de l’Hôtel Dieu

10.83. Grande Salle de Pauvres with Rogier van der Weyden’s Polyptych in Location, 1970

PLATES

10.84. Martin Gheeraerts, Plan of Bruges, 1562 (from H.J. Weale and M.W. Brockwell) (1) House named Sint Gillis; (2) House named Den Gentyl Pot; (3) Residence of Jan van Eyck; (4) Adjacent House (House marked (5) at the opposite corner near Torre Bridge was named De Torre, and called De Gouden-Handstraat in the 16th Century

749

750

10.85. Pierre Le Doulx, La Spiegelrei, 1747, Bruges, Arenthuis

10.86. A Sint-Gilliskerk; B Gouden-Handstraat; C Gouden-Handrei; D Genthof; E Spiegelrei; F Spinolarei; G Spanjaardstraat; H Vlamingstraat; I Sint-Jacobstraat; J SintWarburgakerk; K Portuguese Nation House in 1493; L SintChristoffelskerk After Martin Gheeraerts, Plan of Bruges, 1562 (tonal enhanced to show canals)

PLATES

10.87. Gouden-Handstraat, Bruges

10.88. Façade of Sint-Gilliskerk, Bruges

751

752

10.89. Nuno Gonçalves and João Eanes, St. Vincent Altarpiece, ca. 1470–1472, Lisbon, Museu Nacional de Arte Antiga and Underdrawing

PLATES

10.90. Nuno Gonçalves and João Eanes, St. Vincent Altarpiece, ca. 1470–1472, Lisbon, Museu Nacional de Arte Antiga and Underdrawing

753

754

10.91. After Jan van Eyck (Lambert van Eyck or João Eanes?), Princess Isabel of Portugal, ca. 1430, Dijon, Musée des Beaux-Arts

10.92. Flemish School, Duchess Isabel of Burgundy, ca. 1445, New York, Metropolitan Museum of Art

PLATES

10.93. Flemish School (João Eanes?), Philip the Good and Isabel of Portugal, Duke and Duchess of Burgundy, ca. 1432, Chicago, Art Institute

755

756

10.94. Flemish School, Isabelle of Bourbon and Charles the Bold, ca. 1454, Ghent, Musée des Beaux-Arts

PLATES

757

10.95. Jean Delmer (1420–1460: active Tournai and Brussels) and Jacob van Gerines, Tomb Gisant of Isabelle of Bourbon (1435–1468). The daughter of Agnes, Duchess of Bourbon, was the second wife of Charles the Bold in 1454), 1468–78, Antwerp, Cathedral of Our Lady (originally in Abbey Church of St. Michael, Antwerp) Detail of the Tomb Gisant of Isabelle de Bourbon and Flemish School, Portrait of Isabelle of Bourbon, ca. 1454, 16th-century replica, Lille, Musée des Beaux-Arts

758

10.96. Claus de Werve, Juan de la Huerta, Pierre Antoine Le Moiturier, Tomb of Jean the Fearless and Margaret of Bavaria, 1443–70, Dijon, Chartreuse de Champmol

10.97. Jacques de Gérines, Funeral Monument of Louis de Mâle, Margaret of Brabant and their daughter Margaret of Flanders in Lille (after 1453, erected by Philip the Good to honor his greatgrandfather), engraving from A.L. Millan, Antiquités Nationales, Paris, 1797–98 (Vol. V, 1795), Amsterdam, Rijksmuseum

PLATES

759

10.98. The Bedford Master, Anne, Duchess of Bedford at Prayer before St. Anne with Vignettes of the Holy Kinship, from The Bedford Hours, 1423–30, London, The British Library, Additional MS. 18850, f. 257b

760

10.99.The Bedford Master, John of Lancaster at Prayer before George the Dragonslayer, patron of the Blue Garter, with Vignettes of the Saint’s Martyrdom,The Bedford Hours, 1423–30, London, The British Library, Additional MS. 18850, f. 257b

PLATES

10.100. Guillaume Veluton, Effigy of Anne of Burgundy from the Célestines Church, Paris, ca. 1445–56, Paris, Louvre

761

762

10.101. Flemish School, Anne of Burgundy (1404–1432) and Willem VI, Count of Flanders († 1417) wearing the Collar of the Order of St. Anthony, bronze pleurants of the Tomb of Isabelle of Bourbon, Amsterdam, Rijksmuseum

PLATES

10.102. French School, Pietá de Saint-Germain-des-Prés, ca. 1500, Paris, Musée du Louvre Detail: The Louvre (Left) and Hôtel de Bourbon (Right)

763

764

10.103. Louis Le Vau, Hôtel de Nesle (circa 1380–1400), ink drawing, ca. 1665, Paris, Archives Nationales, M 176 No. 54

10.104. A. de Champeaux and Paul Gauchery, Château de Bicêtre (south of Paris), engraving, ca. 1840, Paris, Archives Nationales (Castle of John II when Count of Savoy and Duke of Anjou; purchased by Jean de Berry in 1399, destroyed in 1411)

PLATES

10.105. Jan van Eyck, Holy Knights, 1432, Ghent Altarpiece, Ghent, SintBaafskathedraal

765

766

10.106. Attributed to João Eanes, King João I of Portugal (1358: r. 1384–1433), after lost Van Eyck portrait, ca. 1435–40 (41 x 32 cm), Lisbon, Museu Nacional de Arte Antiga

10.107. Proposed King João I in Jan van Eyck’s Ghent Altarpiece panel of the Holy Knights (reversed for comparison; the monarch was age 58 when he fought at Ceuta)

PLATES

767

10.108. After Jan van Eyck, Holy Face, 1438 (44 x 32 cm), Berlin-Dahlem, Staatliche Museen, Gemäldegalerie

10.109. Estate Record of the Order of Christ, Lisbon, Arquivo Nacional da Torre do Tombo

768

10.110. Detail showing left to right the Emblematic Crosses of the Orders of Santiago, Christ and Avis

10.111. After Jan van Eyck, Holy Face, 1440, Bruges, Groeningemuseum

PLATES

769

10.112. Jan Gossaert, Deësis of Christ in Majesty with the Virgin Mary and St. John the Baptist, ca. 1515-30, Madrid, Museo del Prado

10.113. Rogier van der Weyden, Jean Braque Triptych, ca. 1452, Paris, Musée du Louvre

10.114. Hypothetical Reconstruction of an Eyckian Holy Face Triptych for King João I

770

10.115. After Jan van Eyck, Bonne d’Artois, ca. 1424–25, Berlin, Staatliche Museen Preussischer Kulturbesitz

10.116. After Jan van Eyck (Lambert van Eyck or João Eanes?), Portrait of a Woman with a Child (Isabel of Portugal and Charles the Bold?), ca. 1433–34, Lisbon, Museu Nacional de Arte Antiga

PLATES

771

10.117. Attributed to the School of Siena, Eleusa Virgin of Grace, ca. 1340 (35.5 x 25.5 cm), Cambrai, Notre Dame des Grâces

10.118. Cologne Master of St. Veronica, Virgin with the Sweet Pea Blossom (centerpiece of a triptych with lateral panels of St. Catherine of Alexandria and St. Barbara), ca. 1410, Cologne, WallrafRichartz Museum

10.119. Master of Perea, Virgen de la Guardia, ca. 1500, Valencia, Convento de San Cristóbal (Fernando Benito Doménech & José Gómez Frechina)

772

10.120. Detail of the Infant in the Eyckian Portrait of a Woman with a Child (Isabella of Portugal and Charles the Bold?), ca. 1433–34, Lisbon, Museu Nacional de Arte Antiga

10.121. Rogier van der Weyden Workshop, Charles the Bold, ca. 1461–62, Berlin, Staatliche Museen Preussischer Kulturbesitz

PLATES

773

10.122. Ramón Destorrents, Arnau Bassa and Ferra Bassa, St. Anne and the Young Virgin Mary, 1349-1358, tempera panel, Lisbon, Museu Nacional de Arte Antiga

10.123. Sepulchre of a Portuguese Princess holding a Prayerbook, 12th Century, Lisbon Cathedral (Gaylen R. Freysinger)

10.124.Sepulchre of Dona Maria Vilalobos holding a Prayerbook beneath a Baldachin, 14th Century, placed in a radiating chapels of the choir, Lisbon, Cathedral of Santa Maria (Gaylen R. Freysinger)

774

10.125. Portuguese School, Santa Ana Triplice, 15th Century, polychrome stone, Lisbon, Museu Nacional de Arte Antiga

10.126. Portuguese School, Virgin and Christ Child, 15th Century, polychrome stone, Lisbon, Museu Nacional de Arte Antiga

PLATES

775

10.127. School of Paris, The Virgin Mary and the Writing Christ, ca. 1390–1400, Cleveland, Cleveland Museum of Art

10.128. English School, St. Anne and the Young Virgin Mary, 15th Century, polychrome alabaster, Lisbon, Museu National de Arte Antiga

776

10.129. Jan van Eyck’s Statue in Bruges

10.130. Jan van Eyck, The Lucca Madonna, 1434–35 (65.5 x 149.5 cm), Frankfurt, Städelsches Kunstinstitut

PLATES

10.131. Jan van Eyck, Margaret van Eyck, 1439 (41.2 x 34.6 cm), Bruges, Groeningemuseum

10.132. Detail of the Lucca Madonna

777

778

10.133. Detail of the Shelf with crystal decanter and metal basin of water in the Lucca Madonna

10.134. Hans Grieff (Ingolstadt, Germany), Reliquary of the Anna Selbdritt, 1472, silver, gilded and polychromed, Paris, Musée National du Moyen Âge – Thermes & Hôtel de Cluny

10.135. French School (Paris?), Virgin and Child Reliquary, 15th Century, silver-gilt, Paris, Musée National du Moyen Âge – Thermes & Hôtel de Cluny

PLATES

779

10.136. Notre-Dame Cathedral, Paris, West Façade, Left Portal (Lintel: Ark of the Covenant flanked by Prophets and Judaic Kings; Tympanum: the Dormition and Coronation of the Virgin Mary), ca. 1210–1220

780

10.137. Jan van Eyck and Assistant, Ince Hall Madonna, 1433 (26.5 x 19.5 cm), Melbourne, National Gallery of Victoria

10.138. Master of Covarrubias, Virgin and Child (“Covarrubias Madonna”), ca. 1445–1450, Covarrubias, Burgos, Museo de la Colegiata de San Cosme y Damián

PLATES

781

10.139. Hans Burkmair, Emperor Frederick III and Empress Leonor, ca. 1452–1453, Vienna, Kunsthistorisches Museum

782

10.140. Jan van Eyck, Madonna at the Fountain, 1439 (19 x 12 cm) Antwerp, Koninklijk Museum voor Schone Kunsten

10.141. Workshop of Jan van Eyck, Madonna at the Fountain, ca. 1440, The Hague, Koninklijk Kabinet van Schilderijen “Mauritshus” (on loan from Noortman BV, Maastricht)

PLATES

10.142. Details of Jan van Eyck, Madonna at the Fountain, Antwerp

783

784

11.1. Hartmann Schedel (1440–1514), View of Prague and the Vitava River, Schedelsche Weltchronik (Nuremberg: Schedel’s World Chronicle), woodcut, 1493, National Gallery Prague

11.2. Master Theodoric, Archbishop Johann Očko of Vlašlim’s Devotional Panel with Portraits of Emperor Charles IV and King Wenceslas IV of Bohemia and their Patron Saints, ca. 1371, Prague, Národní Galerie and Detail (Petrus Silensius)

785

PLATES

11.3. Karlštejn Palace from the West, built 1348–1355 as a royal treasury 20 km southwest from Prague near the Berounka River (Holy Cross Tower measures 60 meters); Plan of the Site (after Hans Doeleman, Haarlem); and Knights Hall of the Imperial Palace (This armoury on the ground floor beneath the Imperial Apartments terminates in the Chapel of St. Nicholas in a cylindrical tower. Imperial Apartments include a banquet hall, audience hall, bedchamber and oratory)

786

11.4. Karlštejn Palace, Marianshrine Tower (connected to the Holy Cross Tower by a covered wooden bridge); Chapel of St. Catherine of Alexandria (Ladislav Bezdek) and Opposite Wall, The Exaltation of the Cross with Charles IV and Anne of Svidnik, over door fresco, 1357 (Kniha Návštěv)

787

PLATES

11.5. Chapel of Our Lady, Karlštejn Palace, Marianshrine: Four Horsemen of the Apocalypse and Western Wall Planet Woman with the Son of Man (Kniha Návštěv)

788

11.6. Chapel of Our Lady, Karlštejn Palace, Marianshrine, 1356–58; Southern Wall with the Imperial Display of Relics; and Western Wall with the Apocalyptic Beast threatening the Planet Woman and Child (Kniha Návštěv)

PLATES

789

11.7. Nicholas Wormser of Strasbourg, Charles IV receives Passion Reliquary Cross from Charles V of France; Charles IV receives a Small Relic from King Lajos of Hungary; Charles IV incorporates Relics into a Reliquary Cross at the Altar of his Shrine, Southern Wall, 1356–58, Chapel of Our Lady, Karlštejn Palace, Marianshrine, (Kniha Návštěv)

790

11.8. Karlštejn Palace Chapel of the Holy Cross and Privatorium, 1360–1365 (Kniha Návštěv)

11.9 Frescoes, Karlštejn Palace, Chapel of the Holy Cross and Privatorium, Lamb of God worshipped by TwentyFour Elders (western window recess), Adoration of the Magi (northwestern window recess), 1360–1365 (Radovan Boček, Karel Neubert, National Gallery, Prague)

PLATES

11.10. Karlštejn Palace Chapel of the Holy Cross and Privatorium, 1360–1365 (Kniha Návštěv) Master Theodoric, Reliquary Panels of St. George with a Spear and Sword and Emperor Charlemagne with an Imperial Shield, Orb and Scepter

791

792

11.11.Master Theodoric, Portraits of Emperor Charles IV and King Wenceslas IV from the Devotional Panel of Archbishop Johann Očko of Vlašim, ca. 1372, Prague Národní Galerie (Placed at Karštejn in 1365, the 10th/11th-century Imperial Crown of Charles IV displays David, Solomon, Hezekiah and Isaiah. Dated to 1347, the Coronation Crown of St. Wenceslas is housed in St. Vitus Cathedral, Prague)

PLATES

11.12. French School, Emperor Charles IV and King Wenceslas IV of Bohemia welcomed by King Charles V of France, Grandes Chroniques de France, ca. 1380–90, Paris, Bibliothèque Nationale de France MS. Fr. 2813, f. 470

11.13. French School, Emperor Charles IV and King Wenceslas IV of Bohemia riding with King Charles V near the Benedictine Abbey of St. Denis, Grandes Chroniques de France, ca. 1380–90, Paris, Bibliothèque Nationale de France MS. Fr. 2813, f. 470v

793

794

11.14. French School, Grande Chroniques de France, Paris, Bibliothèque Nationale de France, MS. Fr. 2813: King Charles V of France and Emperor Charles IV exchanging Rings, f. 479; Emperor Charles IV and King Wenceslas IV of Bohemia receiving presents from the King of France, f. 478v

11.15. Bohemian School, Reliquary with Eagle of St. Wenceslas, gilded silver with rubies, sapphires, amethysts, garnets, rock crystal & pearls, 14th century, Paris, Musée National du Moyen Age (18.5 x 18.5 cm)

PLATES

795 11.16. The Palais de la Cité (after Violet-le-Duc, 19th Century: View from the West A Sainte-Chapelle Treasure House, Northeast Side B Galerie Mercière C Grande Salle: Principal Level Hall of Men of Arms, Ground Level D Kitchens E Donjon (Tour Montgomery) F Grand Chambre: Principal Ground Level Salle des Gardes G Tour de César (Tour d’Argent) H Royal Logis I Cour de Saint Martin; Jardin du Roi J Salle sur l’Eau (Louis IX Hall) K Tour Bonbec L Chambre des Comptes M Chapelle Saint-Michel

11.17. Limbourg Brothers, Month of June, Très Riches Heures of Jean, Duc de Berry, 1413–16, Chantilly, Musée Condé, f. 6v: Details of the Palais de la Cité, Paris

796

11.18. Menan, The Grande Salle of the Paris Palais de la Cité, 19thcentury engraving after Jacques Androuet du Cerceau, late 16thcentury drawing, Paris, Barreau Collection

11.19. Charles Giraud (1819–92), The Grande Salle of the Paris Palais de la Cité, Paris, Collection Cour de Cassation (Monique Delon, Administrateur du Palais de la Cité: Photo R. Delon)

PLATES

797

11.20. School of Paris, Reception of Holy Roman Emperor Charles IV of Luxembourg from the Grandes Croniques of King Charles V of France (Paris: Bibliothèque Nationale, MS.Fr. 2813, f. 473v

798

11.21. School of Paris, The Institution of the Order of the Star and Banquet, from the Grandes Chroniques of King Charles V of France, Paris, Bibliothèque Nationale de France, MS. Fr. 2813, f. 394

PLATES

799

11.22. Giovanni Bellini, Chapter Meeting of the Order of the Crescent (Passio Mauritii et sociorum ejus), 1453, Paris, Bibliothèque de l’Arsenal, MS. 940, f. Cv (Founded in 1448, the knights of the Ordre du Croissant in their distinctive crimson robes and black hats held their meeting on the September 22 feast day of St. Maurice)

11.23. French School, Helm crests and Escutcheons, Bellenville Armorial, 1364–86, Paris, Bibliothèque Nationale de France, MS. Fr. 5230, f. 70v

800

11.24. Barthélemy d’Eyck, Tournament Procession, Le Livre de Tournois (Festivals at Angers and Nancy), ca. 1460–65, Paris, Bibliothèque Nationale de France, MS. Fr. 1695, folios 67v–68

11.25. E. Nyon Rauch, Palais du Rihour at Lille, engraving, 1834, (Washington, DC, Private Collection) French School, Rihour Palace, detail from a 15th-century Manuscript in the Prague National Library (Paris: Bibliothèque Nationale de France)

PLATES

801

11.26. F. Butkens, Rihour Palace, Lille, 1453–1473, engraving, Trophées tant sacrés que profanes du duché de Brabant… (The Hague, 1726, III), Brussels, Bibliothèque Royale Albert Ie (Krista de Jonge: the Great Hall is on the right) Lille, Rihour Palace Plan (1829; published by M. Bruchet, 1922) A Entrance; B Courtyard; C Grand Staircase; D Hall of Archers; E Apartments of Philip the Good; F Staircase of Philip the Good; G Aile des Dames; Apartments of Duchess Isabel; H Staircase of Duchess Isabel; I Staircase; J Great Hall; K Chapel L Oratory of the Duke; M Oratory of the Duchess; N Sacristy; O Staircase to the Chapel; P South Gallery; Q South Entrance

802

11.27. Rihour Palace, Lille

11.28. Master of the Cité de Dames Workshop, Christine de Pisan and the Cumaean Sibyl, from Le Chemine de Longe Étude, ca. 1403–4, London, British Library, MS. Harley 4431, f. 189

803

PLATES

11.29. Liévin van Lathem, Le Voeu du Paon, The Banquet of the Peacock, from Jean Wauquelin, Faicts et conquests d’Alexandre, ca. 1454, Paris, Petit Palais, MS. Dutuit 456, f. 86v 11.30. Flemish School, Charles the Bold, ca. mid 15th Century, 16th-century replica, Lille, Musée des Beaux-Arts Jacques Leboucq, Philip the Good and Charles the Bold, ca. mid-15th Century, Recueil d’Arras, Arras, Bibliothèque Communale, MS. 266, f. 61

11.31. Burgundian School, Ducal Hat and Pendant, Treasures of Charles the Bold taken at Granson (1477), from the Spieghel der Ehren des Erzhouses, Österreich, Munich Bayerische Staatsbibliothek, Cod. Germ. 895, f. 8r

804

11.32. Liévin van Lathem, Le Voeu du Paon, The Vow of Porus at the Banquet of the Peacock, from Jean Wauquelin, Faicts et conquests d’Alexandre, ca. 1454, Paris, Petit Palais, MS. Dutuit 456, f. 88

11.33. The Grande Salle of the Feast of the Pheasant A Table of Duke Philip the Good; B Table of Charles, Count of Charolais; C Table of Lords and Ladies; D Dressoir: Gold and Silver Objects; E Balcony of Ambassadors & Guests; F Platform for Entertainment; G Entrance; H Lion and Statue of Nude Woman; I Tapestry of Hercules; J Glass Window (46 pieds) (After the Reconstruction Plan by Agathe LaFortune-Martel based upon Olivier La Marche, Mémoires (Paris: 1888 ed.), II, 348)

PLATES

805

11.34. Flemish School, Feast of the Pheasant, 1500–1599, oil on canvas, Amsterdam, Rijksmuseum (39.2 x 85 cm: 15.47 x 33.46 in.) “Banquet Fait/A Lille 18/Febrier 1454/Sous la Direc:/tion de Cote/d’Estampes/pour Le Bon/Duc Philippe/de Bourgogne/et Isabelle/de Portugal/sa Femme; ou/se firent les/voeux pour/reconquerire la/terre sainte (AN.O DNI. 1454” (Figures Identified: Monsieur Jacques de Luxembourg; Monsieur Philippe de Hornes; Madame de Charneÿ; Le Bon Duc Philippe; Mademoiselle de Chimaÿ de Croÿ; Le Côte de [Charles] of Charolais et Madame de Bourbon; Le Grand Bastard [Antoine] de Bourgogne; Madame d’Estampes; Madame de Cleves; La Duchesse [Isabel of Portugal])

11.35. Flemish Master, Porus kills the Peacock [depicted on the right], from Jean Wauquelin, Faicts et conquests d’Alexandre, ca. 1448–50, Paris, Bibliothèque Nacional de France, MS. Fr. 9342, f. 55v Conjectural Disposition of the Great Hall: A Stage; B Master Table; C Staircase for Guests, Actors and Servers; D Grand Staircase

806

11.36. Flemish School, Hercules inaugurates the Olympic Games in the Presence of Theseus and Amazons, ca. 1450 (386 x 478 cm), Glasgow Museums, Burrell Collection

11.37. Limbourg Brothers (Hernan, Pol, Jean), March and the Castle of Lusignan (Poitiers), Très Riches Heures of the Duke of Berry, 1413-16, Chantilly, Musée Condé, MS. 65, f. 3v

PLATES

807

11.38. Epître Master, The Wheel of Fortune, from the Epistre d’Othéa, ca. 1406–8, Paris, Bibliothèque Nationale, MS. Fr. 606, f. 35r (detail of the folio)

11.39. Burgundian School, Shield, “You or Death,” 15th Century, tempera on wood (83 cm), London, British Museum

808

11.40. Flemish School, The Burgundian Lion attacks the Wolf of Orléans, ca. early 15th Century, Vienna, Östrerreichische, Nationalbibliothek, Cod. 2657, f. 1v

11.41. Master of the Cité des Dames, Christine de Pisan presenting l’Epistre d’Othéa to Louis I, Duke of Orléans, from the Letter of Othea to Hector, ca. 1403–4, London, British Library, MS. Harley 4431, f. 95r

PLATES

809

11.42. French School, A Tournament, from Christine de Pisan’s Book of 100 Ballads, ca. 1399–1400, London, British Library

11.43. Jean Mansel, The History of Jason and the Golden Fleece, from La Fleur des Histoires, I, ca. 1455–1460, Brussels, Bibliothèque Royale, MS. 9231, f. 109v

810

11.44. Franco-Flemish Workshop, Jason and Medea in the Enchanted Grove of Hecate, from Christine de Pisan’s L’Epistre Othea, 15th Century, Erlangen, Universitabibliothek, MS. 2361, f. 75v

11.45. Flemish School/Atelier de la Marche, Godfrey de Bouillon (Preux), tapestry, early 16th Century, Private Collection, D.R. (Dossier d’Art: Martin Mathias, Conservateur en Chef du Musée Départamental de la Tapisserie, Aubusson)

11.46. Master Cité des Dames, The Nine Worthies, from Thomas Saluces, Le Chevalier Errant, 1403–5, Paris, Bibliothèque Nationale de France, MS. Fr. 12559, f. 125 (Pagan: Hector, Alexander, Julius Caesar; Hebrews: David, Joshua, Judas Maccabeus; Christian: Arthur, Charlemagne, Godfrey de Bouillon)

PLATES

811

11.47. Master Cité des Dames, The Nine Female Worthies, from Thomas Saluces, Le Chevalier Errant, 1403–5, Paris, Bibliothèque Nationale de France, MS. Fr. 12559, f. 125v (Queens of Greece: Deisilla, Taucua, Tamaris, Deijemma; Queen Semiramis of Babylon; and the Amazon Queens Lampedo, Penthesilea, Hippolyta and Menelippe)

11.48. Circle of Rogier van der Weyden, Isabel of Portugal, Duchess of Burgundy, ca. 1500, after lost original of 1445–1450, Los Angeles, J.P. Getty Museum

812

11.49. George Matthew Seutter, Detail of the Cathedral with its Romanesque Bell Tower near the Apse, Map of Lisbon before and during the 1755 Earthquake, 1756, engraving, Augsburg, Lisbon, Museu da Cidade

11.50. Portuguese School, Reliquary of the Holy Trinity and Six Saints, ca. 1530–40, Antwerp, Church of St. Andrew

813

PLATES

11.51. Hypothetical Reconstruction, St. Vincent Altarpiece

11.52. Nuno Gonçalves/ João Eanes, St. Vincent tortured on a Cross (fragment) and St. Vincent bound to a Column, St. Vincent Altarpiece, 1470– 1472, Lisbon, Museu Nacional de Arte Antiga

814

11.53. Nuno Gonçalves/João Eanes, St. Vincent Altarpiece, ca. 1470–72, Lisbon, Museu Nacional de Arte Antiga (Suggested Identification of Portraits) 1 King João I (1357–1433); 2 Prince Henrique (1394–1460); 3 Prince Fernando (1402–1443); 4 Nuno Álvares Pereira (1360–1431); 5 Afonso, Duke of Bragança (1370–1461); 6 Afonso, Count of Ourém (1402–1460); 7 Prince João, Duke of Beja (1400–1442); 8 St. Thekla; 9 Princess Isabel, Duchess of Burgundy (1397– 1471); 10 King Duarte (1391–1438); 11 Prince João, 3rd Duke of Viseu and 2nd Duke of Beja (1448–1473), nephew of Afonso V; 12 Princess Joana (1452–1490), regent-daughter of Afonso V; 13 Duarte (b. 1457), nephew of Afonso V

PLATES

815

11.54. Nuno Gonçalves/João Eanes, St. Vincent Altarpiece, ca. 1470–72, Lisbon, Museu Nacional de Arte Antiga (Suggested Identification of Portraits) 14 St. Vincent (Veiled Portrait of Cardinal Deacon Jaime of Portugal (1434– 1459); 15 King Afonso V (1432–1481); 16 Prince Fernando, 2nd Duke of Viseu (1433–1470); 17 Prince João (King João II: 1455–1495); 18 Duarte de Menezes (1414–1464, Count of Viana do Alentejo, Lord of Caminha, Count of Vila Real); 19 Prince Diogo (1450–1484), nephew of Afonso V or Alvaro de Castro († 1471), Count of Montsanto, Senhor de Cascais; 20 Jorge da Costa, Archbishop of Lisbon 1464–1500; 21 Nuno Gonçalves; 22 Chronicler Gomes Eanes de Azura; 23 Fernando I, Duke of Bragança (1403–1478); 24 Fernando II, Duke of Bragança (1430–1478); 25 João of Bragança, Marquis of Montemor (1431–1484), 26 King Afonso Henrique I (1109–1185); 27 Prince Pedro, Duke of Coimbra (1392–1449); 28 Pilgrim Henrique of Lisbon (12th Century); 29 Mozarabic Chantor Estavão (12th Century)

816

11.56. Nuno Gonçalves, St. Vincent Altarpiece, Detail of Proposed Afonso Henriques I

11.55. Afonso Henriques I in 12th-century Templar Armour, Guimarães

11.57. Jan van Eyck, Crucifixion, ca. 1429, New York, Metropolitan Museum of Art, Detail of Proposed Afonso Henriques I with his back to the viewer

PLATES

817

11.58. Domingos Sequeira (1768–1837), Afonso Henriques I and his Vision of the Cross at the Battle of Ourique (July 25, 1139), 1793, Eu, Musée Louis-Philippe du Château d’Eu

11.59. Nuno Gonçalves and João Eanes, St. Vincent Altarpiece, ca. 1470–72, Lisbon, Museu Nacional de Arte Antiga: Details of Duchess Isabel of Burgundy and King Duarte of Portugal

818

11.60. Nuno Goncalves and João Eanes, St. Vincent Altarpiece, ca. 1470–72, Lisbon, Museu Nacional de Arte Antiga: Detail of St. Thekla, Duchess Isabel of Burgundy and Princess Joana of Portugal

11.61. Portuguese School, (João Eanes?), Princess Joana of Portugal (1452–1490), ca. 1469–71, Aveiro, Convent of Jesus