DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0184
OLD WORLD MASTERS
158
In 1425 Philip the Good, Duke of Burgundy, took Jan van Eyck
into his service as painter and “varlet de chambre; ” and Jan, thereafter,
seems to have spent his life at the Court, painting portraits and design-
ing variously, going on embassies for the Duke, and painting in Bruges
and in Lille. As a portrait-painter Jan van Eyck is ranked with
Diirer, Holbein, Raphael, Titian, Van Dyck, and the other great ones
in this line. Undoubtedly, Jan van Eyck moved about a good
deal through the Duke of Burgundy’s immense domain, which
included all the Low Countries and a great part of what is now
France.
We are apt to think of these early painters who laid the foundations
of modern art as living in a much simpler day than our own. It is true
that in the Fifteenth Century the Middle Ages were still holding their
own in Flanders—the Renaissance moved very slowly northward-
but it was a time of great prosperity and great luxury, especially in the
Burgundian country.
Philip the Bold, Duke of Burgundy, son of the King of France, was
the most luxurious prince of his time. His titles show his power. He
was Duke of Burgundy, of Brabant, of Lothier and of Luxembourg;
Count of Flanders, of Artois, and of Burgundy; Palatine of Hainault,
of Holland, of Zeeland, of Namur, and of Charolais; Marquis of the
Holy Empire; and Lord of Friesland, of Salins, and of Mechlin. The
House of Burgundy, therefore, by its inheritances, alliances and con-
quests, had attained such power as even to overshadow the French
throne. Philip the Good (1396-1467) was even more luxurious than
his grandfather, Philip the Bold. His Court was unequalled in Europe
and was subject to the strictest rules of etiquette. His palaces in Brus-
sels, Dijon, and Paris were sumptuously furnished and his collections
of tapestries, gold-work, silver-work, jewels, embroideries, illuminated
manuscripts, and printed books excited the admiration of such trav-
ellers and chroniclers as were privileged to see them and who, for-
tunately for us, have left accounts for us to read. At this period, too,
the Flemings were the great craftsmen of Europe and they produced
every kind of article required for the tastes and comfort of the wealthy
Burgundians. Brussels and Dijon became veritable Meccas for Me-
158
In 1425 Philip the Good, Duke of Burgundy, took Jan van Eyck
into his service as painter and “varlet de chambre; ” and Jan, thereafter,
seems to have spent his life at the Court, painting portraits and design-
ing variously, going on embassies for the Duke, and painting in Bruges
and in Lille. As a portrait-painter Jan van Eyck is ranked with
Diirer, Holbein, Raphael, Titian, Van Dyck, and the other great ones
in this line. Undoubtedly, Jan van Eyck moved about a good
deal through the Duke of Burgundy’s immense domain, which
included all the Low Countries and a great part of what is now
France.
We are apt to think of these early painters who laid the foundations
of modern art as living in a much simpler day than our own. It is true
that in the Fifteenth Century the Middle Ages were still holding their
own in Flanders—the Renaissance moved very slowly northward-
but it was a time of great prosperity and great luxury, especially in the
Burgundian country.
Philip the Bold, Duke of Burgundy, son of the King of France, was
the most luxurious prince of his time. His titles show his power. He
was Duke of Burgundy, of Brabant, of Lothier and of Luxembourg;
Count of Flanders, of Artois, and of Burgundy; Palatine of Hainault,
of Holland, of Zeeland, of Namur, and of Charolais; Marquis of the
Holy Empire; and Lord of Friesland, of Salins, and of Mechlin. The
House of Burgundy, therefore, by its inheritances, alliances and con-
quests, had attained such power as even to overshadow the French
throne. Philip the Good (1396-1467) was even more luxurious than
his grandfather, Philip the Bold. His Court was unequalled in Europe
and was subject to the strictest rules of etiquette. His palaces in Brus-
sels, Dijon, and Paris were sumptuously furnished and his collections
of tapestries, gold-work, silver-work, jewels, embroideries, illuminated
manuscripts, and printed books excited the admiration of such trav-
ellers and chroniclers as were privileged to see them and who, for-
tunately for us, have left accounts for us to read. At this period, too,
the Flemings were the great craftsmen of Europe and they produced
every kind of article required for the tastes and comfort of the wealthy
Burgundians. Brussels and Dijon became veritable Meccas for Me-