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560:, with four shades of black paint for their robes and hoods. Their rigid forms and austere poses give the impression of the slow movement of a funeral procession. They range in height from 134 cm (53 in) to 144 cm (57 in), slightly less than life-sized, allowing the recumbent figure to align with the viewer's line of sight. The full weight of the stone slab is supported by a narrow point on a shoulder of each figure, a feat described by Jugie, as "masterful...in its technical audacity".
690:. They are written in three rows, each beginning on the right side of the head of the effigy and ending behind his head on the opposite side. The text outlines his career with Philip the Good and Charles the Bold, as well as his reasons for switching sides to serve under Louis XI and Charles VIII following the Burgundian's 1477 defeat at Nancy. Most of the text was written before Pot's death. His year of death is erroneously recorded as
588:". Each bears a painted and gilded heraldic shield that refers to specific members of Pot's lineage, indicating the monument is of the "kinship tomb" type. The four shields on the left represent the heraldries of Guillaume III Pot (d. c. 1390) and Raguenonde Guénant, the Cortiambles family, the Anguissola family, and the de Blaisy family. Those on the left represent the de Montagus and de Nesles, and two unidentified families.
524:'s helmet. Pot's eyes are open and his hands are clasped in prayer. A sword lies to his side and his feet rest on a brown animal of uncertain species; as a result of unsympathetic restoration before the era of photography of the animal and feet, art historians disagree whether the animal is a lion or a dog, and there are conflicting interpretations as to its iconography. Most see it as a dog – a traditional symbol of
31:
614:
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words on the inscription were restored before 1880 by the archivist Jean-Baptiste
Peincedé. The tomb underwent a major restoration between 2018 and 2019 in a project led by Sophie Jugie, director of the Department of Sculptures at the Louvre. It had been in poor condition, covered by accumulated layers of brown dirt around the heraldry, and had layers of gloss and
659:
482:
Pot commissioned his tomb some 13 years before he died, with his date of death left blank during construction; the current one was probably added in the 19th century. The tomb's extensive inscriptions indicate he wished to leave a record of his importance and prosperity, and to explain his change in
478:
as "one of the most magnificent tombs of the Late Middle Ages", its innovation was in transforming the mourners from the earlier static and unemotional figures to, according to the art historian John
Moffitt, individualised weepers that "stumble forward in mutual anguish while praying in perpetuity
847:
The tomb was cleaned and restored several times in the 19th century, as evidenced by comparison to earlier reproductions, such as an engraving that shows Pot's fingers as being badly damaged. Early drawings show his feet and the animal in very poor condition until c. 1816. Some of the letters and
723:
Art historians generally distinguish between the conventional design of the effigy, the expressive form of the mourners, and the inventive placing of the slab on narrow points above each of their shoulders. While it is possible that a single artist, who was both a painter and sculptor, oversaw the
880:. The motif of eight mourners carrying an effigy's slab can be seen on the tombs of Louis de Savoisy (d. 1515) and Jacques de Mâlain (d. 1527). The tomb was photographed several times in the mid-19th century before it was acquired by the Louvre, It was portrayed in 2010 by the American sculptor
732:
The tomb passed through several owners and locations over the centuries, and its complex history was only fully pieced together in the mid-20th century. It was first mentioned as completed in 1649 by Pierre
Palliot, a bookseller and printer in Dijon, when he described the coats of arms and the
830:
The
Vesvrotte family attempted to sell the tomb some time after Richard's death in 1873. The French state sought to block the sale, claiming it was by now public property, a claim eventually rejected in 1886 by a Dijon court who gave full ownership to Pierre's son, Armand de Vesvrotte. It was
479:
for the late Duke's soul". This treatment was often copied and developed over the following century. By the time of Pot's commission the figures had become much larger – Sluter's have an average height of 40 cm (16 in) – and were free-standing rather than attached to the monument.
535:
on his shield and on those of the mourners are painted in a variety of colours including gold, white, red, blue and black. They represent the insignia of his ancestral families of Pot, Courtiamble, Anguissola, Blaisy, Guénant, Nesles and
Montagu. The effigy does not contain the
424:
of Saint-Jean-Baptiste. Although the dates of its construction are unknown, it is generally assumed to have been between 1480 and 1483 given that the inscriptions mention events after the
January 1477 death of Charles the Bold, and mention Louis XI as king. Pot's motto
724:
tomb's completion, the variation in the quality of sculpture indicates several hands. The art historian Robert
Marcoux notes variabilities in skill, and believes that parts of the sculpture are so sparsely detailed that they were likely completed by workshop members.
591:
Although their faces are mostly covered and thus do not have individualised features, the mourners have different poses, heraldic shields and folded drapes. The clothing contains deep, angular folds, and seems influenced by the works of the mid-15th century
431:" (So much was he worth) was painted in several locations within the chapel. The floor of the Jean-Baptiste chapel is lined with rows of medieval burial plots, although few are marked. It was placed at the corner of the south arm of the chapel's
167:
carrying him towards his grave. Pot commissioned the tomb when he was around 52 years old, some 13 years before his death in 1493. The detailed inscriptions written on the sides of the slab emphasise his achievements and social standing.
634:
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often held in the region from the 13th to the 16th century. Although mourners with black hoods were not common in contemporary sculpture or painting, they can be found on works such as the mid-15th century
449:
Pot's monument was one of the last of the
Burgundian-style tombs, whose characteristics include the deceased having naturalised faces, open eyes and angels above their heads. The portrayal of the mourners
876:
The monument had a significant influence on later funerary tombs. It transformed the conventional size and placement of pleurants, which previously had mostly been relatively small figures standing in
853:
819:
commissioned by Pierre's son
Alphonse Richard de Vesvrotte. They were published in 1863, and inspired the artist, antiquarian and collector Charles Édouard de Beaumont's 1875 painting
604:
of four monks with covered heads on a short side of the tomb of Pierre de
Bauffremont (d. 1472), commissioned in 1453 for his planned burial in Dijon, and a near-contemporary tomb in
1772:
720:
which are often attributed to him. Guillaume Chandelier, a painter active in Dijon at the time, has been suggested as involved, although with little supporting evidence.
225:
as the most likely designer of the pleurants, based on circumstantial evidence including similarities to other of his known works. The monument was stolen during the
483:
allegiance to Louis XI. He probably first employed a painter to agree an overall design and then hired stonemasons, sculptors and craftsmen to construct the tomb.
1608:
McGee Morganstern, Ann. "Gothic Tombs of Kinship in France, the Low Countries, and England". University Park: Pennsylvania State University Press, 2000.
325:
278:. Pot was raised and educated at the Burgundian court. He was a scholar and bibliophile, and served during the politically fraught years of the last two
1619:
716:(d. 1495) is often suggested as likely to have designed the pleurants, given the similarity of the solid and rigid rendering of their clothing to the
229:, and after changing hands several times was placed in a private garden in Dijon in the 19th century. Since 1899 it has been in the collection of the
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221:. It is recorded as having been completed in 1480 but there is no mention of its designers or craftsmen. Art historians generally cite
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alcohol from earlier cleanings. The restoration was preceded by an in-depth technical analysis conducted between 2016 and 2017 by the
577:
1625:
Moffitt, John. "Sluter's 'Pleurants' and Timanthes' 'Tristitia Velata': Evolution of, and Sources for a Humanist Topos of Mourning".
738:
1767:
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The monument is made of limestone. Pot's effigy is carved in the round so it can be seen from all sides. His skin is painted in
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The mourners wear full-length black cloaks and shoulder-length hoods that mostly cover their faces. The hoods identify them as
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by Count Richard de Vesvrotte, following a legal case against the French state. He placed it under trees in the garden of his
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1328:
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741:(d. 1715) made drawings of the tomb between 1699 and 1700, which are lost and known only from copies by the artist
396:). Pot died in Dijon on 20 September 1493 aged around 65, having already made detailed plans for his burial place,
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Art historians have not identified the artists or craftsmen responsible for designing and building the tomb.
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Plans for Pot's tomb first appear in the historical records on 28 August 1480, when Pot paid the abbot of
386:
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in a wood and plastic installation showing astronauts carrying a glass box containing a human skeleton.
815:, where it was again placed in an outdoor garden. It was photographed for the first time in a series of
597:
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were taken off, the unpainted stone was cleaned, and additions from earlier restorations were removed.
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Richard's son Pierre sold the townhouse in 1850 and relocated the tomb to the Château de Vesvrotte in
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222:
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233:, where it is on permanent display. The tomb underwent a major restoration between 2016 and 2018.
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1592:
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Kiening, Christian. "Rhétorique de la perte. L'exemple de la mort d'Isabelle de Bourbon (1465)".
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512:. His body rests on a slab, and his head is nested within a stone cushion. He is dressed in a
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shows him recumbent on a slab, his hands raised in prayer, and wearing armour and a heraldic
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785:
780:, an artist and director of the Dijon School of Drawing, was employed to relocate it to the
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often found in contemporary northern European tombs, guiding the deceased to the afterlife.
463:
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1704:. "Isabella’s Weepers: Ten Statues from a Burgundian Tomb"'. Amsterdam: Rijksmuseum, 2007.
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827:), which shows a couple lying at the foot of the tomb in a meadow surrounded by trees.
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1528:. Paris: Darantière, 1891. Republished: West Columbia, TX: Wentworth Press, 2018.
1716:
French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art
861:
781:
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687:
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The eight mourners carrying Pot's slab were carved from limestone that was then
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in northern France to negotiate a truce with Mary and her husband and co-ruler,
313:
788:. It was next mentioned in September 1808 when it was acquired for fifty-three
749:
1687–1709); these are uninformative as they contain inaccuracies. The tomb was
1639:
1526:
Jean de La Huerta, Antoine Le Moiturier et le tombeau de Jean sans Peur, Dijon
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339:, Burgundy came under French control, and Pot seemingly changed allegiance to
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of Burgundy. Following the king's death in 1483, Pot served under Louis' son
381:. The truce was signed on 8 September, and Louis eventually appointed him as
350:). Suspicious of his association with Louis, Charles and Isabella's daughter
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nationalised by the French state that August on the grounds that it was an "
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435:. He was buried underneath his monument, located to the left of the altar.
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1689:
Stone, Flesh, Spirit: The Entombment of Christ in Late Medieval Burgundy
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1622:" (exhibition catalogue). Cleveland, OH: Cleveland Museum of Art, 2017
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The extensive carved inscriptions on the edges of the slab are in
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135:, Paris. It was commissioned by the military leader and diplomat
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and his father, Jacques, was an adviser and senior official to
1659:; Panofsky, Gerda. "The Tomb in Arcady at the Fin-de-Siècle".
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in June 1477. In disgrace, he fled to the then French city of
1620:
Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
335:
Soon after Charles' defeat and death in January 1477 at the
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in Burgundy. He was instrumental in arranging both Charles'
1469:" (in French). Louvre, 15 May 2018. Retrieved 14 April 2019
300:). During this period, he rose to become a knight of the
75:
135 cm (53 in) to 145 cm (57 in) high
854:
Centre for Research and Restoration of Museums of France
1575:
The Mourners: Tomb Sculpture from the Court of Burgundy
1547:
The Grove Encyclopedia of Medieval Art and Architecture
1491:". Peter Blum Gallery, 2010. Retrieved 27 December 2022
139:
for his burial at the chapel of Saint-Jean-Baptiste in
757:
when the state took ownership of all church property.
1603:
Le tombeau de Philippe Pot: analyse et interprétation
198:
in 1477, Pot switched allegiance to the French king,
458:) is their defining motif. The style began with the
1467:
DĂ©but de la restauration du tombeau de Philippe Pot
267:in today's France. The region was then part of the
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92:
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56:
37:
23:
1723:Charles the Bold: The Last Valois Duke of Burgundy
600:(d. 1464). Other potential influences include the
373:He travelled in August 1477 on behalf of Louis to
1549:, Vol. 1. Oxford: Oxford University Press, 2012.
913:Tomb of Philippe Pot, Grand Seneschal of Burgundy
999:". Ediciones El Viso. Retrieved 27 December 2022
474:, outside Dijon. Described by the art historian
1325:Tomb of Philip Pot, Grand Seneschal of Burgundy
839:in 1889 by the intermediator Charles Mannheim.
1577:. New Haven, CT: Yale University Press, 2010.
206:of Burgundy. He later served under Louis' son
1510:, 18 October 2010. Retrieved 27 December 2022
8:
1718:. New York: Metropolitan Museum of Art, 1966
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1773:Tomb Sculptures from the Court of Burgundy
20:
1714:Sterling, Charles; Salinger, Margaretta.
1646:. Oxford: Oxford University Press, 2008.
163:) are dressed in black hoods, and act as
1605:. Montréal: Université de Montréal, 2003
1413:
1411:
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833:object of national historical importance
672:, 1490. Notre-Dame Collegiate Church of
1502:Matthew Day Jackson: Artist as Stuntman
1103:
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16:Sculpted tomb dedicated to Philippe Pot
1721:Vaughan, Richard; Paravicini, Werner.
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1417:Sterling & Salinger (1966), p. 158
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1389:Panofsky; Panofsky (1968), pp. 287–289
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624:, attributed to the Spanish sculptor
7:
1725:. London: Barnes & Noble, 1973.
1008:Vaughan; Paravicini (1973), p. xxiii
282:dukes of Burgundy, Philip the Good (
608:that was likely known to Philippe.
1563:. Paris: Ediciones El Viso, 2019.
915:". Louvre. Retrieved 17 March 2023
703:Inscriptions on a side of the slab
462:(d. 1404), built by the sculptors
420:for a burial place in the abbey's
179:. He served under two of the last
14:
1542:. New York: Harry N. Abrams, 1968
1456:Panofsky; Panofsky (1968), p. 295
1435:Panofsky; Panofsky (1968), p. 288
1426:Panofsky; Panofsky (1968), p. 292
972:Panofsky; Panofsky (1968), p. 289
516:, silver armour decorated with a
63:Height: 260 cm (100 in)
1691:. Boston: Brill Academic, 2015.
658:
633:
613:
249:believed to be of Philippe Pot,
29:
1353:Hofstatter (1968), pp. 137, 256
776:Sometime between 1791 and 1793
584:'s illuminated manuscript the "
470:(d. 1405/6) from 1381, for the
391:
345:
295:
284:
202:, who eventually appointed him
190:. After the latter's defeat by
67:Depth: 167 cm (66 in)
65:Width: 181 cm (71 in)
1677:. London: Harry Abrams, 1964.
1235:McGee Morganstern (2000), p. 8
753:during the early years of the
567:participating in a ceremonial
552:Mourners on the left-hand side
416:, Jean de Cirey, one thousand
237:Life and death of Philippe Pot
1:
804:at 33 rue Berbisey in Dijon.
764:Charles Édouard de Beaumont,
620:Mourners in a niche, tomb of
445:, built between 1381 and 1410
251:Church of Notre-Dame of Dijon
83:
72:
1371:Marcoux (2003), pp. 124, 125
1335:. Retrieved 24 February 2023
739:François Roger de Gaignières
594:Early Netherlandish painters
1753:Museum of Fine Arts, Boston
1629:, volume 26, no. 51, 2005.
1380:Jugie (2019), pp. 20, 22–23
1271:Marcoux (2003), pp. 126–127
1187:Chabeuf (1891), pp. 116–124
835:". It was acquired for the
825:At the Tomb of Philippe Pot
366:, and was removed from the
175:and became a knight of the
1789:
1561:Le Tombeau de Philippe Pot
1329:French Ministry of Culture
997:Le Tombeau de Philippe Pot
843:Condition and restorations
770:Metropolitan Museum of Art
647:Hours of Étienne Chevalier
586:Hours of Étienne Chevalier
368:Order of the Golden Fleece
1661:Wallraf-Richartz-Jahrbuch
1068:Moffitt (2005), pp. 75–76
864:and brown fouling of the
328:, and second marriage to
316:(his ancestral home) and
192:René II, Duke of Lorraine
28:
1644:Northern Renaissance Art
1086:Hourihane (2012), p. 357
1044:Nash (2008), pp. 262–263
528:in Burgundian tomb art.
259:was born in 1428 at the
131:, now on display in the
1768:15th-century sculptures
1749:19th century photograph
1344:Hourihane (2012), p. 40
1301:Jugie (2019), pp. 16–17
1244:Jugie (2019), pp. 12–13
1226:Jugie (2019), pp. 36–37
872:Imitations and replicas
460:tomb of Philip the Bold
443:Tomb of Philip the Bold
1540:Art of the Middle Ages
1262:Marcoux (2003), p. 122
1107:Marcoux (2003), p. 121
1095:Panofsky (1964), p. 62
1056:Scholten (2007), p. 14
794:
773:
704:
692:
553:
501:
500:Detail of Pot's effigy
472:Chartreuse de Champmol
452:
446:
427:
306:
261:Château de la Rochepot
253:
186:, Philip the Good and
157:
155:. The eight mourners (
1310:Marcoux (2003), p. 30
1253:Marcoux (2003), p.125
1178:Marcoux (2003), p. 11
1116:Marcoux (2003), p. 10
981:Kiening (1994), p. 17
763:
702:
696:("in the year 149").
598:Rogier van der Weyden
551:
499:
441:
379:Maximilian of Austria
244:
1744:Louvre catalog entry
1627:Artibus et Historiae
1478:Sadler (2015), p. 23
1169:Mikolic (2017), p. 4
1077:Sadler (2015), p. 22
1035:Sadler (2015), p. xi
856:. Surface layers of
714:Antoine Le Moiturier
670:Antoine Le Moiturier
223:Antoine Le Moiturier
213:The tomb is made of
171:Pot was a godson of
125:tomb of Philippe Pot
97:Northern Renaissance
24:Tomb of Philippe Pot
1489:Matthew Day Jackson
1447:Jugie (2019), p. 26
1401:Jugie (2019), p. 25
1362:Jugie (2019), p. 42
1292:Jugie (2019), p. 16
1280:Jugie (2019), p. 39
1217:Jugie (2019), p. 36
1205:Jugie (2019), p. 11
1196:Jugie (2019), p. 48
1160:Jugie (2019), p. 14
1142:Jugie (2010), p. 52
1128:Jugie (2019), p. 47
1026:Jugie (2019), p. 20
956:Jugie (2019), p. 18
938:Jugie (2019), p. 41
929:Jugie (2010), p. 51
882:Matthew Day Jackson
520:breastplate, and a
428:Tant L. vaut, Ă©tait
330:Isabella of Bourbon
326:Catherine of France
1618:Mikolic, Amanda. "
1545:Hourihane, Colum.
1538:Hofstatter, Hans.
1500:Spears, Dorothy. "
774:
733:inscriptions. The
705:
642:Office of the Dead
574:Office of the Dead
554:
502:
447:
354:expelled him from
343:, king of France (
254:
217:, paint, gold and
1731:978-0-0649-7171-3
1697:978-9-0042-9314-4
1683:978-0-8109-3870-0
1673:Panofsky, Erwin.
1663:, vol. 30, 1968.
1652:978-0-1928-4269-5
1614:978-0-2710-1859-1
1601:Marcoux, Robert.
1583:978-0-3001-5517-4
1569:978-8-4948-2447-0
1555:978-0-1953-9536-5
1534:978-0-3414-5950-7
800:(townhouse), the
796:hĂ´tel particulier
755:French Revolution
718:Mourners of Dijon
626:Jean de la Huerta
622:John the Fearless
358:and the court at
269:Duchy of Burgundy
227:French Revolution
184:Dukes of Burgundy
129:funerary monument
121:
120:
1780:
1751:, unattributed,
1710:978-9-07145-0822
1591:, no. 27, 1994.
1524:Chabeuf, Henri.
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693:l'an mil ccccxci
668:, attributed to
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464:Jean de Marville
457:
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398:funeral monument
395:
394: 1483–1498
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352:Mary of Burgundy
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348: 1461–1483
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318:Thorey-sur-Ouche
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298: 1467–1477
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291:Charles the Bold
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287: 1419–1467
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188:Charles the Bold
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127:is a life-sized
103:Present location
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1702:Scholten, Frits
1687:Sadler, Donna.
1657:Panofsky, Erwin
1573:Jugie, Sophie.
1559:Jugie, Sophie.
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448:
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257:Philippe Pot
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208:Charles VIII
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137:Philippe Pot
124:
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18:
1640:Nash, Susie
1333:(in French)
782:Benedictine
735:antiquarian
708:Attribution
569:burial rite
558:polychromed
487:Description
314:La Rochepot
165:pallbearers
87: 1480
1762:Categories
1589:Médiévales
888:References
772:, New York
728:Provenance
666:Entombment
510:lead white
408:Commission
263:, outside
850:polyvinyl
813:CĂ´te-d'Or
784:abbey in
645:from the
628:, c. 1406
578:miniature
544:Pleurants
506:vermilion
454:pleurants
370:in 1481.
356:her realm
322:betrothal
215:limestone
194:, at the
159:pleurants
42:Limestone
1669:24655959
1597:43026850
1507:HuffPost
821:Au solei
768:, 1875.
766:Au Solei
596:such as
526:fidelity
433:transept
341:Louis XI
308:seigneur
200:Louis XI
38:Material
1635:1483776
1518:Sources
866:blazons
402:epitaph
364:Tournai
109:, Paris
80:Created
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878:niches
858:bleach
837:Louvre
790:livres
602:relief
538:angels
522:knight
518:gilded
492:Effigy
422:chapel
418:livres
289:) and
280:Valois
181:Valois
149:effigy
133:Louvre
117:RF 795
52:, gold
1665:JSTOR
1631:JSTOR
1593:JSTOR
862:gloss
580:from
565:laity
514:tunic
360:Lille
265:Dijon
153:tunic
145:Dijon
46:paint
1727:ISBN
1706:ISBN
1693:ISBN
1679:ISBN
1648:ISBN
1610:ISBN
1579:ISBN
1565:ISBN
1551:ISBN
1530:ISBN
823:(or
531:The
508:and
400:and
375:Lens
304:and
273:Duke
219:lead
123:The
57:Size
50:lead
1504:".
747:fl.
324:to
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
