DOI Page / Citation link:
https://doi.org/10.11588/diglit.68274#0100
Dutch and Flemish Furniture
in art. The Italian taste had not yet reached Paris.
But Perreal crossed the Alps with Charles VIII in 1495;
Louis XII went into Italy in 1502, and again in 1509.
We are thus on the threshold of the Renaissance. Per-
real, as the above quotation shows, instead of remaining
true to the memories of his Flemish education, wanted
to seek adventures in the domain of Italian art. He
had the temerity to offer to Margaret for her tombs a
bunch of his trousses bouquets. She was scandalized,
and broke off all relations with the erring artist. She
looked around her for an artist who conformed to the
principles of Flemish art, one who would not be likely
to betray national traditions for foreign modes. Her
choice fell upon a master mason named Louis van Beu-
ghem to build the great church of Brou. A member
of one of the corporations of St. Luke, faithful to Gothic
art, van Beughem produced a work that shows that
style in its latest development and decadence. He
showed so much zeal and ability that Margaret forced
him to take charge of not only the masonry, but of
the woodwork and windows too. With „ him were
associated John of Brussels for the decorative work,
and Conrad Meyt for the carving. Conrad of Mechlin
was Margaret's favourite " image-maker." She paid
him the generous salary of five sous a day. She paid
her head cook twenty-six. Conrad carved the choir-
stalls and other woodwork that demanded decorative
treatment. He also executed all the great sculptural
work on the tombs, including the life-size figures of
Philibert of Savoy, Margaret's dead spouse, and her-
self, represented both alive and dead, Margaret of
68
in art. The Italian taste had not yet reached Paris.
But Perreal crossed the Alps with Charles VIII in 1495;
Louis XII went into Italy in 1502, and again in 1509.
We are thus on the threshold of the Renaissance. Per-
real, as the above quotation shows, instead of remaining
true to the memories of his Flemish education, wanted
to seek adventures in the domain of Italian art. He
had the temerity to offer to Margaret for her tombs a
bunch of his trousses bouquets. She was scandalized,
and broke off all relations with the erring artist. She
looked around her for an artist who conformed to the
principles of Flemish art, one who would not be likely
to betray national traditions for foreign modes. Her
choice fell upon a master mason named Louis van Beu-
ghem to build the great church of Brou. A member
of one of the corporations of St. Luke, faithful to Gothic
art, van Beughem produced a work that shows that
style in its latest development and decadence. He
showed so much zeal and ability that Margaret forced
him to take charge of not only the masonry, but of
the woodwork and windows too. With „ him were
associated John of Brussels for the decorative work,
and Conrad Meyt for the carving. Conrad of Mechlin
was Margaret's favourite " image-maker." She paid
him the generous salary of five sous a day. She paid
her head cook twenty-six. Conrad carved the choir-
stalls and other woodwork that demanded decorative
treatment. He also executed all the great sculptural
work on the tombs, including the life-size figures of
Philibert of Savoy, Margaret's dead spouse, and her-
self, represented both alive and dead, Margaret of
68