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THE SAINTE-CHAPELLE IN DIJON AND THE RESIDENCESOF THE DUKES OF BURGUNDYARCHITECTURE, HISTORY AND MUSIC

EXHIBITION FROM 17 MAY TO 13 OCTOBER 2014

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CONTENTS

A MUSEUM WITHIN A PALACE

THE DUKES OF BURGUNDY AND THE DUCAL CHAPEL

THE DUCAL CHAPEL OF DIJON, MANY YEARS IN THE MAKING

THE DUCAL CHAPEL, VIRTUALLY RECONSTRUCTED IN 2013

THE PALAIS DES DUCS IN DIJON

THE PALAIS DES DUCS IN DIJON, A PALACE REVEALED?

CREATING THE DEPICTION

THE RESIDENCES OF THE DUKES OF BURGUNDY

CHÂTEAU DE GERMOLLES, THE CELEBRATION OF A PRINCE

THE CASTLE OF THE DUKES OF BURGUNDY IN HESDIN

AROUND THE EXHIBITION

THE CURATOR

CONTACTS AND PRACTICAL INFORMATION

COPYRIGHT-FREE VISUALS

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The Musée des Beaux-Arts of Dijon, partly installed within the historic residence of

the dukes of Burgundy, has rediscovered its central place at the heart of the city

since the opening in September 2013 of the new section dedicated to the Middle

Ages and the Renaissance, the first phase of its enormous renovation project.

At its core, the redesigned Cour de Bar courtyard presents a contemporary

extension that integrates harmoniously with the old architecture, including the

residence built by Philip the Good in the mid- 15th century which is now a highlight

of the visit.

This documentary exhibition invites visitors to delve deeper in their discovery of

what we currently know of the Sainte-Chapelle, a magnificent Gothic building that

dominated the city of Dijon until 1802, and exploration of the adjacent palace of the

dukes of Burgundy.

Thanks to a virtual visit featuring music and digital applications, the public is invited

to rediscover the history of these prestigious buildings constructed in the time of

the dukes. Complete with an evocation of the other ducal residences and a glimpse

of daily life at the court of Burgundy, this journey through time enriches visits to

the renovated museum.

A MUSEUM WITHIN A PALACE

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In 1363, Philip the Bold was granted the

duchy of Burgundy in apanage. He made

Dijon a brilliant artistic hub and elevated

it to the status of capital.

His son John the Fearless was to

experience a more troubled reign and

his thirst for power and the continental

conflicts against France caused him to

neglect Dijon to a great extent.

The third Duke of Burgundy, Philip the

Good, inherited the duchy in 1419. During

his reign, the political and cultural centre

of gravity of the Burgundy states moved

towards the Netherlands. He did not

however neglect the duchy of Burgundy,

which he took to the pinnacle of its

power.

The ducal chapel, founded by Hugh III

in 1172, became the headquarters of the

Order of the Golden Fleece in 1430. In

1433, pope Eugene IV granted Philip the

Good the Sacred Host and the ducal

chapel became its home.

The city’s powerful families had

themselves interred in prestigious

funereal monuments there and founded

votive chapels.

Under the brief reign of Charles the Bold

then that of the king of France, the ducal

chapel retained all of its importance in

the religious life of Burgundy.

During the French Revolution, the

artworks and items of furniture held

in the Sainte-Chapelle were dispersed,

vandalised or destroyed Finally, in 1802,

the old Sainte-Chapelle was destroyed

by a mine explosion.

From the mid-20th century, the chapter

house, situated on the ground floor of

the tour de Bar tower, hosts the vestiges

from the adjacent Sainte-Chapelle.

Stained glass, sculptures and painted

panels all bear silent testimony to the

artistic importance of the lost ducal

chapel.

THE DUKES OF BURGUNDY AND THE DUCAL CHAPEL

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Founded in 1172 by Duke Hugh III

of Burgundy upon his return from a

pilgrimage to the Holy Land where he

risked his life, the vast chapel adjacent to

the princely palace and facing towards the

north was constructed in several phases

which only ended in the early 16th century.

This collegiate church governed, under

the authority of a dean, by a college of

ten then twenty five canons, enjoyed

numerous privileges and major revenues

thanks to the support of the dukes.

Reporting directly on the Holy See of

Rome, it escaped the episcopal jurisdiction

and played an important role in the life

of the city and the duchy of Burgundy

throughout history. After the French

Revolution the chapel was not returned to

the church, unlike the churches of the city.

THE DUCAL CHAPEL OF DIJON, MANY YEARS IN THE MAKING

Judged to be insignificant in terms of its

architecture and too costly to maintain,

the most beautiful Gothic building in

Dijon, which had dominated the city with

its crowned spire over 50m in height was

destroyed in 1802 by a mine explosion.

A last vestige remained at the first

western side bay, next to the façade,

for which François Pernot and Jules

d’Arbaumont produced the designs. It was

destroyed in 1852 to allow the construction

of the eastern wing that enclosed the Cour

de Bar. Only the chapter house, situated

on the ground floor of the Tour de Bar,

a few pillar bases and a few capitals still

bear witness to the existence of this ducal

chapel.

Juliette Rollier-Hanselmann

Multidisciplinary project manager, École

Nationale Supérieure des Arts et Métiers,

ParisTech

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THE DUCAL CHAPELVIRTUALLY RECONSTRUCTED IN 2013

The programme allows visitors to

discover music from the era with

spatialised acoustics reproducing the

propagation of sound in the building

according to the movements of the

protagonists.

An animated film also presents the

reconstruction of a performance of the

church’s «musical cantors» directed by

the children’s choirmaster. It takes place

around the lectern installed between

the choir stalls. On the programme is

Alleluya Ego vos from the Messe de

saint André by Guillaume Du Fay (1400-

1474) and the Regina Caeli by Loyset

Piéton (who died in 1536), two œworks

emblematic of the musical activities of

the Sainte-Chapelle and their respective

eras.

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Within the context of a multidisciplinary

university research programme bringing

together musicologists, archaeologists,

historians and virtual reality engineers,

a 3D architectural reconstruction

has been produced by reinterpreting

historic maps and cross-sections.

It integrates spatialised sound extracts

and virtually reconstructs the votive

ceremony of the Annunciation, whose

foundation charter, given on 6 June

1526 by Girard de Vienne, seigneur of

Ruey and baron of Antigny, it describes

in detail. The liturgical garments are

inspired by the tapestry Le Siège de

Dijon par les Suisses, conserved at the

Musée des Beaux-Arts in Dijon, and

other historic representations.

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From at least the 12th century, the

dukes of Burgundy owned a residence

in Dijon situated to the north of the

castrum (Low Empire fortified wall).

In the 14th century this residence

stretched between the Sainte- Chapelle,

the current Place des Ducs, the Porte

aux Lions and the current Place de la

Libération.

The organisation of the residence at

this time may be partially reconstructed

thanks to the repairs accounts.

When Philip the Bold arrived in

Burgundy in 1363, the residence

grouped together a disparate collection

of buildings arranged around two

courtyards : the large residential

courtyard to the north and the lower

courtyard to the south, used for service.

In around 1366, he began the

construction of a new inhabitable tower,

between the great hall and the Sainte-

Chapelle (the future Tour de Bar).

THE PALAIS DES DUCS IN DIJON

To the north of the tower was erected a

vaulted treasure room and the annexes

to the bedrooms : the wardrobes and

latrines. In 1384, duchess Margaret of

Flanders had steam rooms constructed

in the lower courtyard whose bathroom

was wood-panelled and heated with a

wood-burning stove.

John the Fearless spent little time in

Dijon. His wife, Margaret of Bavaria,

erected a red « gallery » on five pillars

above the inner courtyard or raised

garden which contained bedrooms and

a chapel. From 1445, Philip the Good,

who wished to modernise the old living

quarters in the Dijon residence, built on

the southern side the stairway tower or

vis of the new living quarters, destroyed

circa 1710.

In August 1454, the Duke took

possession of the premises. The

construction of the Grande Tour was

completed before 1459.

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The residence of the Dukes of Dijon is

the best preserved of the urban palaces

of the Dukes of Burgundy. Indeed, all

that remains of the Hôtel d’Artois in

Paris is one tower, the Prinsenhof in

Ghent is reduced to two monumental

doors, and that of Bruges has given its

name to a Neo-Gothic residence. Of the

Palais Rihour in Lille, all that remains

is one room and a tower which has

been moved. In Brussels, the cellars of

the Coudenberg have been carefully

excavated, restored and showcased,

with exemplary sense of, and respect

for, its heritage.

In Dijon, the Tour de Bar, the ducal

kitchens and the new living quarters

of Philip the Good form an exceptional

ensemble, which has to date never been

appraised and valued as it deserves.

The new living quarters in particular

(which stretch from the Salles des

Tombeaux to the Tour Philippe le Bon)

has not been the subject of any global

study since those of Henri Chabeuf

(1894 and 1902) and the sealed

separation of the building between

the town hall and the museum has not

allowed its coherence and exceptional

conservation to be discovered.

THE PALAIS DES DUCS IN DIJON,A PALACE REVEALED ?

On the occasion of the preparatory

studies for the restoration of the

museum, thanks to the construction

archives, the initial research allowed

the positioning of the jewellery and

treasure chambers on the ground floor,

and on the first floor those of the Salle

du Poêle and the duke and duchess’

chambers, to be identified. The Centre

de Castellologie de Bourgogne, which

was given access to the restoration site

from January 2012, was able to confirm

its hypotheses through archaeological

observations. During the work, the

stripped walls revealed panelling

attachments, the slopes of latrines,

workmen’s graffiti, a measurement

device, and traces of polychromy. In the

courtyard, the trenches that crossed the

wall of the castrum and the foundations

of the Capetian palace also allowed

certain observations to be made. But

the most fruitful discoveries were

made by systematically comparing

iconographic sources, archives,

constructions and studying the two

separate halves of the palace as a single

object.

Hervé Mouillebouche

Senior lecturer, Université de

Bourgogne

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« It all began in the autumn of 2013

with a visit to the Palais des Ducs in

Dijon, under the leadership of university

historian Hervé Mouillebouche.

He already had fairly precise ideas

of designs in mind which he wished

me to carry out, and he had the plans

and charts of the building to hand.

Hervé tried to help me understand the

architecture of the medieval palace

which was later absorbed into the

CREATING THE DEPICTION

enlargements of the 17th and 18th

centuries of the palace of the States of

Burgundy.

I photographed everything he pointed

out to me. I had to follow him up

staircases and above all through the

chronology of the volumes dovetailed

by successive reconstructions of the

palace since the Middle Ages. While

passing through, I made sure I made a

few sketches that I could clean up later.

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The first sketch I made was that of the

calibration.

It was necessary to interpret the

plans, carefully study photographs

and examine a large volume of

documentation. Little by little, the

sketch was formed. Finally, my

conversations with the historian allowed

this first depiction to be completed,

which aimed to put into context the

discovery of a yardstick engraved

on the southern wall of the palace.

Certain objects, sculptures or paintings

displayed in the museum are also

represented, which I invite the visitor to

discover ! »

Lionel Duigou

Illustrator

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First project for the Palais des

États, 1688

First project for the Palais des

États, 1688. In 1688 Jules Hardouin-

Mansart, architect to king Louis

XIV, developed enlargement

project around the ducal palace,

on the model of Versailles. He also

designed a semi-circular courtyard

to host the equestrian statue of

the king. The Sainte-Chapelle,

nestling at the heart of the city

and adjacent to the ducal palace,

dominated the buildings of Dijon

with all of its height.1

The Palais des États around 1780

The painter Jean-Baptiste Lallemand

from Dijon was accustomed to views

of the city and its surrounding areas

in the late 18th century. Here he

depicts the façade of the Palais des

États overlooking the Place Royale

organised around the equestrian

monument of Louis XIV. From left to

right, it is easy to spot the Pavillon

des États (the current entrance to the

municipal archives), the Tour Philippe

le Bon, and then the spire of the

Sainte-Chapelle.10

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The main ducal residences are found

in the heart of Burgundy, not far

from Dijon and sometimes even in

its immediate surroundings. They all

bear witness to the magnificence of

the dukes and to a strong desire for

comfort and pleasure.

The fifty or so properties belonging

to the Valois dukes in Burgundy were

equipped not only with functional

installations - farms and storerooms

for exploiting the domains, defences,

administrative and judicial premises for

exercising seignorial and public power -

but also residential constructions,

developed to a greater or lesser extent

and used to receive the duke, his family

and the court. Called away on strategic

missions, some of them rarely or never

received a princely visit. Before 1369,

Philip the Bold frequented only a dozen

of his residences, including Dijon,

Rouvres and Montbard. After 1380, he

was occupied by Paris and Flanders. His

successor, John the Fearless, was even

more so. Both therefore used the Hôtel

d’Artois in Paris and the Ghent, Bruges

and Lille residences in Flanders or the

Arras and Hesdin residences in Artois.

THE RESIDENCES OF THE DUKES OF BURGUNDY

Certain sites were favoured and in the

late 14th century became remarkable

laboratories of innovation : Aisey-sur-

Seine and its deer park, Rouvres or

Germolles with its gardens and farms.

Everywhere the construction,

organisation and decoration of these

residences were entrusted to the

very best artists and craftsmen of

the era, who also participated fully in

showcasing the power and authority

of the dukes. Today the sites fail to

demonstrate this at first glance. They

suffered from a number of accidental

or intentional destructions and many

are ruins, some more visible than

others. Fewer than ten of them have

resisted better however, despite the

considerable transformations they have

undergone over time.

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In 1380, Philip the Bold acquired the

fortress of Germolles near Chalon-

sur-Saône. In 1381 he granted it to his

wife, Margaret of Flanders, who carried

out major work and transformed

the austere fortress into a luxurious

pleasure residence.

The advantage of Germolles is that it

bears witness, through its architecture

and decoration, to the opulence and

inventiveness that blossomed at this

wealthy court in the late 14th century.

The residence, of which half remains,

was in the form of a rectangle, in the

middle of which there was a courtyard.

To the north, the castle was composed

of an entrance porch confined by two

towers. The erection of the remaining

buildings was developed over three

levels : the ground floor (domestic

activities - storeroom, kitchens, steam

rooms - and the secondary chapel), the

first floor (living quarters of the princes,

main hall, ducal chapel), and the second

floor (living quarters of the entourage).

This regular, clearly legible organisation

is surprisingly « modern ». Its creator,

Drouet de Dammartin, designed

rigorous, effective, and elegant, sober

and noble architecture, translating with

the simplicity of its formal language the

prestige of the ducal family.

CHÂTEAU DE GERMOLLES,THE CELEBRATION OF A PRINCE

The decorations created to adorn the

building contribute to this princely

celebration. The tiles on the floor

therefore repeat a repertoire composed

of around thirty emblems : the lion, the

sun or the fleur-de-lis, for example,

illustrate the notion of power and

majesty and recall the ducal family’s

membership of the royal lineage.

The same values appear in the cycle

sculpted on the capitals of the fireplace

in the great hall. One scene, taken from

the romance by Chrétien de Troyes,

Yvain, the Knight of the Lion , tells of

the exploits of the hero at the moment

at which he fights a dragon to save a

lion ; once rescued, the noble animal

becomes the faithful companion of

its benefactor. This image appears to

have been chosen to suggest a parallel

between the courage of a legendary

knight and the bravery of the duke.

Matthieu Pinette

Curator in chief,

Château de Germolles

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The castle of Hesdin was dependent

on the French crown before passing

to the counts of Artois and then to the

house of Burgundy in 1384. This regular

residence of the dukes of Burgundy was

situated in the northern corner of the

triangle formed by the medieval town,

along the banks of the river Canche. The

iconography and archive texts reveal that

it was pentagonal in shape with a tower

at each corner. It was accessed from the

town by two doors while a third door

opened onto the game park to the north.

Each was closely guarded by a doorman

and the guards had several « bartizans »

situated on the walls.

In the north wing of the castle is the

« galerie d’esbatement » created by

Robert II d’Artois. It is a collection of

rooms hosting mechanical and hydraulic

automatons. These machines were

probably inspired by the Islamic models

that the count was able to admire in

certain Sicilian gardens on a trip to

Palermo. Among the 75 rooms in the

castle was the « ostel du chastellain »,

the chapel, various bedrooms named

after their decoration (the Stag room

or the pink room), galleries, areas for

the running of the residence (areas for

storing foodstuffs, jewellery and animals),

lodgings for the castle’s officers and

prisons.

THE CASTLE OF THE DUKES OF BURGUNDY IN HESDIN

In the absence of a precise description

and archaeological digs, it is impossible

to detect the exact location of most of

these rooms.

In addition to this vast castle, the dukes

owned a few small residences in the

surrounding areas : this was the case of

the Hôtel du Manage for example, which

hosted a labyrinth of plant life, and the

« Pavillon du Marais », constructed in a

green and calm setting on the banks of

the river.

The multitude of residences allowed

the duke to withdraw from the constant

hustle and bustle that reigned at the

court. Similar phenomena maybe

observed in Paris, where the duke

possessed several residences in and

around the city, and in Bruges where

Philip the Good sometimes left the

Prinsenhof for the more peaceful Hôtel

Vert.

Victorien Leman

Ph.D student, Université de Picardie

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THURSDAY 22 MAYFrançois Tainturier, founder of the

historical music group Le Laostic,

recreates the music of the Middle Ages

and the Renaissance and presents

replicas of instruments of the era.

THURSDAY 5 JUNEAlexandre Mazuir (École Nationale

Supérieure des Arts et Métiers Paris

Tech - Institut Image), creator of the 3D

reconstruction of the Sainte-Chapelle,

reveals the secrets of the modelling.

NOCTURNALfrom 7 p.m. to 9 p.m.

WEDNESDAY JUNE 2014Music at the Sainte-Chapelle, Gilles

Binchois ensemble

Visitors are invited to explore the rich

musical hours of the Sainte-Chapelle,

discovering œpieces composed by

the musical masters of the 16th to 18th

centuries.

WEDNESDAY 18 JUNE 2014Music at the Sainte-Chapelle, heritage

revisited, Conservatoire of regional

importance and Les Ambrosiniens

ensemble

These training sessions bring to life the

music of the chaplains of the dukes of

Burgundy, drawing from the repertoires

of the 14th and 15th centuries. It is

also the first opportunity to listen to

Neumes, a piece for solo clarinet and

Gregorian choir composed in 2010

by Vincent Carinola and constructed

from Salve Regina, a masterpiece of

Gregorian chant.

AROUND THE EXHIBITION

THE 12.30 GUEST

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This exhibition was produced by the

City of Dijon and the ANR programme

« Music and musicians in the Saintes-

Chapelles 13th-18th centuries » in

partnership with the Centre National

de la Recherche Scientifique (CNRS),

the Agence Nationale de la Recherche

(ANR), the Centre d’Etudes Supérieures

de la Renaissance (CESR-UMR 7323),

Université François Rabelais de Tours,

the UMR ARTeHIS 6298, Université de

Bourgogne, Université Versailles Saint-

Quentin-en-Yvelines, École Nationale

Supérieure des Arts et Métiers

ParisTech - Institut Image, Centre de

Castellologie de Bourgogne, Longcat

Audio Technologies, Nicéphore Cité, the

Gilles Binchois ensemble and the Les

Ambrosiniens ensemble.

GENERAL COORDINATION OF THE EXHIBITIONMatthieu Gilles, interim curator and

director of the Musée des Beaux-Arts

Zoé Blumenfeld-Chiodo, manager of

the cultural department and Liliane

Lecler-Boccacio, intermediary

Sophie Jugie, director of the sculpture

department at the Musée du Louvre

Hervé Mouillebouche, senior lecturer

in medieval history (Université de

Bourgogne, UMR ARTeHIS 6298) and

Centre de Castellologie de Bourgogne.

« MUSIC AND MUSICIANS IN THE SAINTES-CHAPELLES 13th - 17th CENTURIES » PROGRAMME

SCIENTIFIC COORDINATION

David Fiala, senior lecturer (Université

François Rabelais de Tours,

Centre d’études supérieures de la

Renaissance - UMR 7323)

Juliette Rollier-Hanselmann,

Multidisciplinary project manager

(École Nationale Supérieure des Arts et

Métiers, ParisTech - Institut Image)

Vasco Zara, senior lecturer in

musicology (Université de Bourgogne,

UMR ARTeHIS 6298)

DIGITAL DEVELOPMENT

Christian Père, senior lecturer (École

Nationale Supérieure des Arts et

Métiers ParisTech - Institut Image)

Alexandre Mazuir, 3D computer

graphics specialist (École Nationale

Supérieure des Arts et Métiers

ParisTech - Institut Image)

Ghislain Nicolas and Jérémie Landrieu,

engineers (École Nationale Supérieure

des Arts et Métiers ParisTech - Institut

Image)

Benjamin Bernard and Benjamin

Ribolet, sound engineers (Longcat

Audio Technologies)

Jean-Claude Da Silva (Nicéphore Cité)

Antoine Tanguy, computer engineer

(Centre d’études supérieures de la

Renaissance - UMR 7323)

THE CURATOR

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WRITERSFrançois Duceppe-Lamarre, doctor

in archaeology of the Middle Ages

(Université de Lille III)

David Fiala, senior lecturer (Université

François Rabelais de Tours, Centre

d’études supérieures de la Renaissance - 

UMR 7323)

Emmanuel Laborier, archaeologist

(Institut National de Recherches

Archéologiques Préventives)

Agnès Lavoye-Nbeoui, communications

manager (Tour Jean sans Peur)

Victorien Leman, Ph.D student in

history (Université de Picardie)

Hervé Mouillebouche, senior lecturer

(Université de Bourgogne, UMR

ARTeHIS 6298) and Centre de

Castellologie de Bourgogne

Matthieu Pinette, head heritage curator

(Château de Germolles)

Philippe Plagnieux, lecturer (Université

de Besançon and École Nationale des

Chartes)

Rémi Rivière, director of the Tour Jean

sans Peur

Juliette Rollier-Hanselmann,

Multidisciplinary project manager

(École Nationale Supérieure des Arts et

Métiers, ParisTech - Institut Image)

Vasco Zara, senior lecturer (Université

de Bourgogne, UMR ARTeHIS 6298)

Lionel Duigou, illustrator

DIGITAL DEVELOPMENTLoïc Million, manager of the studies

and development department (City

of Dijon - Department of Information

Systems and Telecommunications) and

the Cent millions de Pixels, MG Design,

Opixido and Tévolys companies

SCENOGRAPHY AND GRAPHICSSéverine Chupin, assisted by Simon

Bethenod from the Les Pistoleros

agency

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PRESS CONTACT

CHRISTINE LEPEUKommunikationsassistentin

03 80 74 53 27

clepeu@ville-dijon.fr

For all requests for visuals, please contact us

PRACTICAL INFORMATION

EXHIBITION OPEN EVERY DAY EXCEPT TUESDAY AND 14 JULY

FROM 9.30 A.M. TO 6.00 P.M.

FREE ENTRY

MUSÉE DES BEAUX-ARTS DE DIJON

PALAIS DES DUCS ET DE ÉTATS DE BOURGOGNE

CS 73310

21033 DIJON CEDEX

Tél. 03 80 74 52 09 - museedesbeauxarts@ville-dijon.fr

MBA.DIJON.FR

OPEN EVERY DAY EXCEPT TUESDAY

FROM 2 MAY TO 31 OCTOBER FROM 9.30 A.M. TO 6.00 P.M.

FROM 2 NOVEMBER TO 30 APRIL FROM 10.00 A.M. TO 5.00 P.M.

CERTAIN ROOMS ARE CLOSED FROM 11.30 A.M. TO 1.45 P.M.

THE MUSEUM IS CLOSED ON 1 JANUARY, 1 AND 8 MAY, 14 JULY, 1 AND 11

NOVEMBER, 25 DECEMBER

FREE ENTRY

CONTACTS AND PRACTICAL INFORMATION

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COPYRIGHT-FREE VISUALS

Jules Hardouin-Mansart, First project for the Palais des États, 1688 ms 1501© Paris, Bibliothèque de la Sorbonne

1

Workshop of Rogier van der Weyden, Portrait of Philippe le Bon, Deposit with exchange, Saint-Étienne, Musée d’Art et d’Industrie© Musée des Beaux-Arts de Dijon. Photo Hugo Martens

2

Chapter house of the Sainte Chapelle© musée des beaux-arts de Dijon. Photo F. Jay

3

Hypotheses of reproduction of the Sainte-Chapelle of Dijon© Alexandre Mazuir, CNRS UMR 6298 ARTeHIS, École Nationale Supérieure des Arts et Métiers ParisTech - Institut Image

4

Depiction of the building site, 13 March 1452, drawing by Lionel Duigou, 2014© Lionel Duigou

5

Sketch depicting calibration, drawing by Lionel Duigou, 2014© Lionel Duigou

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Photomontage© Alexandre Mazuir, CNRS UMR 6298 ARTeHIS, École Nationale Supérieure desArts et Métiers ParisTech - Institut Image / Musée des Beaux-Arts de Dijon.wPhoto F. Jay

Sketch depicting calibrator, drawing by Lionel Duigou, 2014© Lionel Duigou

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Sketches of garments from illuminations, drawing by Lionel Duigou, 2014© Lionel Duigou

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Blatt mit Skizzen von Kleidung auf der Grundlage von Buchmalereien, Zeichnung Lionel Duigou, 2014 © Lionel Duigou

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11French anonymous, Country fair at the court of Philip the Good© Musée des Beaux-Arts de Dijon. Photo F. Jay

Lallemand, Jean-Baptiste, The Palais des Etats around 1780© Musée des Beaux-Arts de Dijon. Photo F. Jay

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