The luxurious Dukes of Burgundy - Possessions of the House of Burgundy - The Burgundian Court - Household of Philip the Good - the Feast of the Pheasant - the Duke of Burgundy at the Coronation of Louis XI - Arras Tapestries - Sumptuous Dressoirs and their Adornments - Celebrations in honour of the Knights of the Golden Fleece - Luxury of Charles the Bold - Charles the Bold at Treves - Furnishings of the Abbey of Saint-Maximin - Charles the Bold's Second Marriage - Furnishings of the Banqueting Hall at Bruges - Descriptions by Olivier de la Marche - Alienor of Poitier's Descriptions of the Furniture of the Duchess of Burgundy's Apartments - Rich Dressoirs - the Drageoir and its Etiquette - the Etiquette of the Escarbeau - Philip the Bold's Artisans - Flemish Carving - the Forme or Banc - Burgundian Workmanship - Ecclesiastical Work - Noted Carvers - Furniture of the Period - the "Golden Age of Tapestry" - Embroideries - Tapestry-weavers of the Low Countries - Introduction of Italian Cartoons - Goldsmiths' Work - Furniture of the Fourteenth and Fifteenth Centuries.

THE most luxurious prince of his age was Philip the Bold, Duke of Burgundy (1342-1404), son of John the Good, King of France. By its alliances, conquests and inheritances, the House of Burgundy attained such wealth and power as to overshadow the French throne itself. Under his grandson, Philip the Good, the Burgundian Court displayed greater splendour than any other in Europe. The reigning dukes were powerful protectors of the arts. Their immense resources, drawn from the Flemish hives of industry, enabled them to indulge their taste for architecture, painting, sculpture, illuminated books, tapestry, goldsmiths' work and sumptuous furniture. They were also insatiable collectors of everything that was curious and rare. Any able artist, sculptor, architect, goldsmith, or image-maker, driven from home by the perpetual civil wars in England, France and Italy, was sure of refuge and employment at the Court of Burgundy. Thus, for a century and a half, the Low Countries were the most important art centre of Europe. Dijon and Brussels, the capitals of the Burgundian dominions, were Meccas of Mediaeval Art; and Tournay, Bruges, Ypres, Ghent, Dinant, and many other industrial centres swarmed with craftsmen who produced all that was luxurious and beautiful for domestic comfort and decoration.

The house of Burgundy constantly increased its possessions. Some idea of its power is gained by a list of Philip the Good's titles. He was Duke of Burgundy, of Brabant, of Lothier, 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 brilliance and luxury of the Burgundian Court are attested by many chroniclers. The pages of Philip de Comines, Olivier de la Marche, and others are full of descriptions of feasts and pageantry from which we can form an idea of the luxurious appointments of the palatial dwellings of the day. Foreigners also, who were well acquainted with other European courts, bore witness to Burgundian splendour. One of these, Leo von Rozmital, who visited the courts of Europe in 1465-7, saw the Duke of Burgundy's treasures. His suite was overpowered by the magnificence. The scribe, Tetzel, tried to enumerate and describe these marvels, but gave up the task in despair, noting "there was nothing like it in the whole world and that it far exceeded the Venetian collection."

The son and successor of John the Fearless, Philip the Good (1396-1467), was even more luxurious than his grandfather, Philip the Bold. His Court was unequalled in Europe, and when in attendance upon the King of France, his retinue completely eclipsed royalty. His palaces in Brussels, Dijon and Paris were sumptuously furnished; and his collections of tapestries, silver, gold, jewels, embroideries, illuminated manuscripts and printed books excited the admiration of the travellers and chroniclers of the age. His household, composed of four great divisions - the Panetrie, Echansonnerie, Cuisine and Ecurie, with subordinate departments, was subject to the strictest rules of etiquette and was adopted as a model by the Spanish sovereigns of the sixteenth century. The ceremonies of the levee, procession, council, audience, service of spices, banquet, etc., were selected as precedents for Vienna and Paris, as well as Madrid.

One of Philip's most celebrated banquets - the Feast of the Pheasant, which took place at Lille in 1454 - will serve to give a glimpse of the Court entertainments in his day. The large hall was hung with tapestry representing the labours of Hercules, and was encircled by five tiers of galleries for the spectators. The dressoir of enormous size was adorned with gold and silver vessels, and on either side of it stood a column. One of these had attached to it a carved female figure from whose breast flowed a fountain of hippocras; and to the other was fastened by an iron chain a live lion from Africa, a great curiosity in those days. The three great tables were covered with the most ingenious productions of the cooks, confectioners and machinists. "On a raised platform at the head of the first table sat the Duke. He was arrayed with his accustomed splendour - his dress of black velvet serving as a dark ground that heightened the brilliancy of the precious stones, valued at a million of gold crowns, with which it was profusely decked. Among the guests were a numerous body of knights who had passed the morning in the tilting-field, and fair Flemish dames whose flaunting beauty had inspired these martial sports.

Each course was composed of forty-four dishes, which were placed on chariots painted in gold and azure, and were moved along the tables by concealed machinery." As soon as the company was seated, the bells began to peal from the steeple of a huge pastry church with stained windows that concealed an organ and choir of singers, and three little choristers issued from the edifice and sang "a very sweet chanson." Twenty-eight musicians hidden in a mammoth pie performed on various instruments, and the fine viands and wines were circulated. After the exhibition of entremets, the pheasant was brought in, the Crusade proclaimed against the Sultan, and the vows registered.