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.

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. 

In 1443, the grandson of the bold Philip, the good man Philip, signed with Jean de la Huerta to build a mausoleum for his parents, John, and Margaret of Bavaria, as his grandfather's tomb. After 27 years of intermittently, the tomb of the Duke and Lady was finally placed at the foot of the daring tomb of Philip in the middle of the Challette monastery. The choir of the middle chamber of the Chatterleigh monastery before the French Revolution was housed in the mausoleum of the Duke of Burgundy, the daring Philippe and the fearless Johns. Three hundred years later, the French Revolution of 1789 came, and the administration and church were separated, and many church properties were nationalized. In 1791, the future Imperial Home Secretary took Charlerote Abbey into his pocket and transformed it into a holiday business (a familiar scene). The Fuling of the Dukes of Burgundy was relocated a year later to the church of San Benigne, where it was settled. Now, in the second floor hall of the Duke's Mansion, we see only the outer coffin part of the original Fuling. "93 was a tense year. Storms burst, mixed with anger and sublimeness." - Victor Hugo, who rose to rebel in the year of Dijon, considered the tomb stored in the church of San Benigne as a "monument of special rule". The statue of the duke's bed was completely broken, and only the angel, the duke's face and Gothic building elements escaped the robbery, and the statue of the crying man only had 70. Many parts of the tombs were stolen. Nearly a decade later, architects Claude Senphere initiated and began collecting parts from private hands scattered around the country. After a hard search, some portraits of crying people were recovered and others were replicated in private hands. But seven weeping figures have not been seen. Compared to the magnificent ranks of weeping men and the exquisite arches, the tomb's master, the daring Philip and the fearless John, looks very restrained, perhaps limited to expressing the majesty and nobleness of the lords. The lying on the top of the coffin is like hands folded on the chest, stiff and expressionless. The team of crying spirits is from two worlds. The tomb of the Duke of Burgundy shows extraordinary refinement. The mausoleum's majesty represents the prestigious and decent of the dukes, while the statues of many crying people, their exquisite posture and rich expressions, vividly depict and express people's inner activities in a realist way derived from Northern Europe. Medieval gothic art reached its peak at this moment, and the dawn of the renaissance loomed over the horizon.

The visit to the Duke's residence coincides with a public opening day to see the exquisite paintings and sculptures in Dijon City Hall. The decoration of the mayor's office is simple and modern. The blue soft bag makes this meeting room full of elegance and nobleness. Jacques Gabriel In 1733-1736, he presided over the construction of this magnificent two-stage ladder (L'escalier des tats) leading to the third-level conference hall. This is exactly the picture of the era of French colonial expansion and growing national strength. The third-level conference hall (La salle des tats) Renovated in the late nineteenth century in the style of New Louis XIV. At the end of the hall, on the wall is a mural by Henri-Léopold Lévy, "Glory of Burgundy" (Les Gloires de la Bourgogne).

In the year 1381 (the Hongwu period in the early Ming Dynasty in China), the Duke of Burgundy of the second generation of the Duke of Burgundy gave the order to build the mausoleum for the royal sculptor. The sculptor planned the whole project and began to work on the Gothic arcades that later placed the ranks of crying people. Eight years later, Claus Sluter took over the production of the arcade part, and found the black marble cover on the upper part of the tomb and the white stone that made the statue of the character. He left most of the portraits of the crying spirit, the reclining statue of the Duke, the angels above the Duke and the lions on his feet to his nephew and student. In the limited space of the arcade left by Marville, Claus de Werve carefully arranged, tossed around, and maintained the plot narrative and visual coordination between the crying people and their arcade columns. After four years, Claus de Werve finally completed this 12-year-long masterpiece of mausoleum carving of that era. The stone base of the tomb is placed on a black slab. Surrounded by a circle of Gothic arches, a corridor is formed, with forty-one crying people made of round carving. The white figure in the arcade double arches and triangular alcoves is also gold-plated, and is finely polished against the black marble of Dinant. The statue is 40 centimeters tall and wears heavy hats and mourning clothes. The line was arranged in the order of the Burgundy court's ceremony, first with a Sacred Water and two choir children, then a cross-holder, a deacon, a bishop, a chanter and two monks. Family and entourage followed. In the expression of the crying person, Sluter and de Werve changed the traditional posture and expression of the crying person, and vividly reproduced the various forms of people in the funeral ceremony, from silent to crying. Some people come close to whispering, as if talking about the dead; some people soothe each other, relieve the pain of their hearts; others are meditating alone, thinking about the old man; others are open arms, praying loudly. Each character expresses the pain in his own way.