Palace of the Dukes and States of Burgundy Review

The first permanent collection of the Dijon Museum comes from the Dijon School of Painting. In 1775, the School of Painting established its own "Roman Scholarship". Each year, the School selects a painting class and a sculpture class to study in the Eternal City, Rome. In return, students were offered a painting or sculpture by Linyi masters before the end of their four-year study. In the eighteenth and eighties, the east wing of the Duke's House was built to collect works from Italy and elsewhere. Linyi such as "Borghese gladiator", "Apollo of Belvedere", "Venus of Medici" are displayed in this neoclassical style exhibition hall. Looking up, it was a zenith painting of Pierre Paul Pludon, a scholar of the Roman Scholarship in 1784. At that time, the Burgundy Parliament was ambitious to copy the Victory of God at the Barberini Palace in Rome. Although Pluton was not impressed by the painting's author, he had to probably paint the painting as it was originally painted, replacing the logo of Pope Urban VIII with the badge and fable symbolizing Prince Conde, the Burgundy ruler at the time.

The Duke Palace of Burgundy is the largest and most famous building in the area. It has a history of more than 400 years. It is a mansion of royalty and nobles. The exterior looks very atmospheric and the interior is very luxurious. It is now a museum, you can go in and visit, it is worth a visit.

Altar screen The first time I came to the Dijon Art Museum where the Duke's Mansion was located, the most impressive exhibit was this altar screen. At that time, the art museum was still under renovation, and the exhibits were temporarily displayed. The space was cramped and small and the lighting was not good. After turning an indoor staircase, a huge wooden screen of the altar depicted in it was not much more than a gothic decoration in the front and back scenes. The screen of the altar was the oldest surviving 14th-15th century Flanders. It is 1.6 meters high and opens more than five meters wide. Between 1390 and 1399, the altar screen was carved by Jacques de Baerze from Flanders and painted and pasted by Melchior Broederlam. For more than 300 years they were in the Champmol's Duke's Cemetery at Chartreux until the French Revolution. In 1792 they were transferred to the Monastery of Saint-Benigne and later collected in the Dijon Museum. In 1852 they were displayed in the Guardian Hall of the Duke's House. The middle scene of the screen of the altar of the mountain character depicts the crucifixion. The man holding the escalator will drop Jesus from the cross, the man holding the sponge will feed him wine mixed with bitter bile, and the man holding the spear will stab Jesus in the ribs. At the foot of the cross were two horses, struggling to climb Mount Lu, the land where Jesus was being tortured. The prospect was several soldiers who were catching the scorpions to share Jesus' clothes with all God's attention, and one was still blowing on the scorpions for good luck. The Virgin Mary was in mourning, and Mary Madeleine, on the side, opened her arms to the sky to tell of her suffering. As the Bible says, two sinners were crucified with Jesus. An angel flying upward on the left head is taking his soul to heaven symbolized by the sun, indicating that this man will be redeemed (Jesus said, "I truly tell you that today you will be with me in heaven.") The other side, the devil with horns and nails flying over his head, and a grimace, will take his soul to the dark (moon) hell. The childhood Jesus, in the popular north of the time, was a common child with a playful appearance. He took the gold from Barsassa and put his beard in return. Barsassa retreated, and the wise men behind him were surprised, lifting the crown and scratching their heads. Joseph sat on the ground, holding a spoon and a bowl and telling us that he was the foster father, not the father of Christ. The cow and the donkey are a funny look. 

1443年，大胆菲利普的孙子——好人菲利普与Jean de la Huerta签约，要照着爷爷的陵墓样子替自己的父母无畏者约翰和巴伐利亚的玛格丽特打造一个陵墓。断断续续的27年后，公爵和夫人的陵墓终于被安放在查尔勒特修道院中殿大胆菲利普陵墓的脚后。 法国大革命前的查尔特勒修道院中殿唱诗班的部位安放着勃艮第公爵大胆菲利普及无畏者约翰夫妇的陵墓。 过了三百年，1789年法国大革命到来，实行政教分离，众多教堂财产被收归国有。1791年，未来的帝国内政大臣Emmnaneul Cretet将查尔勒特修道院收入囊中并改造成为其度假别业（好熟悉的一幕啊）。勃艮第公爵们的寑陵在一年后被迁移到了圣贝尼涅教堂，并在那里入土为安了。现在，我们在公爵府二楼大厅里看到的只是原来寑陵的外面棺椁部分。 “九三年是紧张的一年。风暴骤起，夹杂着愤怒和崇高。” - 维克多 雨果 1793年，起来造反的第戎公社认为那时存放在圣贝尼涅教堂的陵墓是“专治的纪念物”。棺椁上的公爵卧像被完全打烂了，只有天使、公爵的面部及哥特式建筑构件逃过这一劫，哭灵人人像也只剩下70个了。这两个陵墓的许多部件被人偷走。近十年后，建筑师Claude Senphere倡议并开始收集流散各地私人手中的部件。经过艰苦卓绝的追寻，人们又找回了些哭灵者人像，并对其他一些在私人手中的人像进行了翻模复制。但有七个哭灵人像至今了无踪影。 相对于美轮美奂的哭灵人队伍和精巧的拱廊，陵墓的主人——大胆菲利普和无畏者约翰夫妇的卧像看上去十分拘谨，或许是受限于要表达主人们庄严崇高的一面吧。位于棺椁顶部的卧像双手合十于胸前，动作僵硬，面无表情。与哭灵人队伍俨然是从两个世界里来的。 勃艮第公爵陵墓展现出了非凡的精致。陵墓的宏大威严代表了公爵们生前的显赫和体面，而众多哭灵人的雕像，他们精妙的体态和丰富的表情，以源于北欧的现实主义手法生动地刻画和表达出人们的内心活动。 中世纪的哥特艺术在此刻到达高峰，文艺复兴的曙光在地平线上隐约闪现。

参观公爵府恰逢公众开放日，得以一窥第戎市政厅内精美的绘画雕塑作品。市长办公室的装修是简洁明快的现代风格。宝蓝的软包让这间会议室充满典雅高贵的气息。 Jacques Gabriel在1733-1736年，主持建造了这段金碧辉煌的通往三级会议大厅的两段式阶梯（L’escalier des États）。这正是法国当时殖民扩张，国力日渐强盛的年代的写照。三级会议大厅（La salle des États）在十九世纪末按照新路易十四风格重新进行了装修。大厅的尽头墙上是一幅Henri-Léopold Lévy的壁画《勃艮第的荣耀》（Les Gloires de la Bourgogne）。