2025/06/01 by Douglas Brine · 1 voice
Arts and Humanities · #Aesthetics #Ancient history #Art #Brass #Cultural History and Identity Formation #Historical and Religious Studies of Rome #History #Materiality (auditing) #Materials science #Medieval European History and Architecture #Metallurgy
paper · pdf · doi:10.1515/zkg-2025-2003
openalex publication_date 2025/06/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/05/21
Abstract The brass and stone tomb of Louis of Mâle and Margaret of Brabant, Count and Countess of Flanders, and their daughter Margaret, Duchess of Burgundy, formerly in St. Peter’s Church, Lille, is long destroyed but had a pivotal role in the history of Burgundian funerary sculpture. It was commissioned in 1453 by Louis’s great-grandson Philip the Good, Duke of Burgundy, although it was Duchess Isabella of Portugal who actually negotiated its contract with the Brussels brass founder Jacob van Gerines. Close examination of the circumstances of the tomb’s creation, notably Philip’s recent suppression of the Ghent revolt, illuminate the interrelation of materiality and identity underpinning the choice of brass for the monument, and the significance of brass for its audiences and its patrons.