Mary of Burgundy thumbnail 1
Mary of Burgundy thumbnail 2
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Image of Gallery in South Kensington
On display at V&A South Kensington
Medieval & Renaissance, Room 10

Mary of Burgundy

Panel
ca. 1500 (made)
Artist/Maker
Place Of Origin

Until 1795, the two-light windows of the Chapel of the Holy Blood in Bruges in Belgium contained images of the Dukes of Burgundy and their consorts (wives). The sequence started with Philippe le Hardi, or Philip the Bold (ruled 1364–1404). The Habsburgs were also shown in the case of Maximilian, Holy Roman Emperor from 1493, who married into the Burgundian line. The figures were all identified by coats of arms displayed below them.

The stained glass was removed in 1795 and shortly afterwards sold to a British dealer. Some of it was later installed at Kilburn Grange, a private house in north-west London. This was demolished in 1910. The Museum acquired the present panels (inv. nos C.438 to 439, 441 to 443-1918) in 1918, together with other coats of arms and a late figure of Charles V.

The ducal figures in stained glass now in the Chapel of the Holy Blood were made in the years 1845-7. They were based on watercolours of the originals.


object details
Categories
Object Type
Materials and Techniques
Clear and coloured glass panel with painted details and yellow (silver) stain
Brief Description
Clear and coloured glass panel with painted details and yellow (silver) stain. Depicting Mary of Burgundy; from the Chapel of the Holy Blood, Bruges. Probably made in Bruges in Belgium (Flanders), ca. 1500
Physical Description
Stained glass panel. Mary of Burgundy, wife of the Emperor Maximilian. In the crook of her right arm she holds a lap dog, with her left hand she raises her skirt. She wears a pointed cap and a veil over her hair, a tight-fitting bodice with bell-mouthed sleeves, and voluminous skirts. The dress is white with a brocaded pattern executed in silver stain (yellow).
Dimensions
  • Framed height: 729mm
  • Framed width: 795mm
  • Framed depth: 32mm
Gallery Label
Stained Glass Panels from the Chapel of the Holy Blood Probably about 1496 These panels depict Maximilian of Hapsburg and his wife Mary, Duchess of Burgundy; along with their son Philip the Fair and his wife Joanna, heiress to the Kingdom of Spain. The Chapel of the Holy Blood houses a reliquary containing the blood of Jesus Christ. It is probable that Maximilian commissioned these windows to honour his wife's devotion to the Holy Blood and to publicise his dynastic succession to the Dukes of Burgundy. Flanders, Bruges Clear and coloured glass with painted details and silver stain; with later restorations Museum nos. C.438, 439, 441, 442-1918 Purchased from Grosvenor Thomas from the Capt. HB Murray Bequest(2008 (TAB))
Object history
Reconstruction of the windows in the Chapel of the Holy Blood:

Were 9 windows of two lights each.

19th replacements

Window 7: Emperor Maximilian & Mary of Burgundy

Window 8: Charles the Bold and Isabel of Bourbon

Window 9: Charles V and Isabella of Portugal



From the archives of the Confraternity of the Holy Blood – payments for glazing were recorded in 1483 and in 1496.



The ancient glass disappeared during the French invasion of 1797. The glass from the Chapel was sold by the municipality of Bruges to a local man for a miniscule sum who then sold them, at great profit, to an English man in the early 19th century. Believe the glass ended up with firm of Watson & Bethell.



In 1913 they were owned by Grosvenor Thomas. He acquired them from Kilburn Grange which was erected after 1830.



There are coloured drawings of the windows, pre-dispersal, in the Chapel archives. In 1845 reproductions of the panels were made from these drawings by the glass painter Pluys.



Rackham, in a letter of 1921, says panels were previously in Kilburn Grange which had been pulled down 10 or 12 years ago [presumably meaning 1909 or 1911]. The family of Major Cecil Peters of Sunbury Manor, Sunbury in Middlesex, formerly owned Kilburn Grange.
Historical context
(10 November 1433) Birth of Charles, son of Duke Philip and Isabella of Portugal

(1433-1467) Charles bore the title of Count of Charolais during his father's lifetime. His wife Isabella of Bourbon bore the title of Countess of Charolais.

(1467) Became Duke of Burgundy upon death of father. Charles bore the following titles at his death which then passed to Mary:

Duke of Burgundy, Limburg, Lothier and Luxembourg

Margrave of Namur

Count of Artois, Franche-Comte, Flanders, Hainault, Holland and Zeeland

Duke of Guelders

Count of Zutphen

(January 1477) Duke Charles the Bold was killed in battle. His heir was Mary but the Duchy of Burgundy was annexed by the French crown as there was no direct male heir. Mary retained, according to French law, only the Burgundian Netherlands and Franche-Comte. Mary married Maximilian by proxy within several months and he proceeded to secure the lands of the old Duchy back from the French crown. Although the Dukedom was officially lost, Mary and Maximilian's son, Philip the Fair, bore the titular honour of 'Duke of Burgundy'. Mary died in 1482 and her lands passed to Philip.
Production
From the Chapel of the Holy Blood, Bruges.
Subjects depicted
Summary
Until 1795, the two-light windows of the Chapel of the Holy Blood in Bruges in Belgium contained images of the Dukes of Burgundy and their consorts (wives). The sequence started with Philippe le Hardi, or Philip the Bold (ruled 1364–1404). The Habsburgs were also shown in the case of Maximilian, Holy Roman Emperor from 1493, who married into the Burgundian line. The figures were all identified by coats of arms displayed below them.



The stained glass was removed in 1795 and shortly afterwards sold to a British dealer. Some of it was later installed at Kilburn Grange, a private house in north-west London. This was demolished in 1910. The Museum acquired the present panels (inv. nos C.438 to 439, 441 to 443-1918) in 1918, together with other coats of arms and a late figure of Charles V.



The ducal figures in stained glass now in the Chapel of the Holy Blood were made in the years 1845-7. They were based on watercolours of the originals.
Associated Objects
Bibliographic References
  • Williamson, Paul. Medieval and Renaissance Stained Glass in the Victoria and Albert Museum. London, 2003. ISBN 1851774041
  • Bernard Rackham, The Stained Glass in the Chapel of the Holy Blood at Bruges, Actes du XIIe Congres International d'Histoire de l'Art, Bruxelles, 20-29 Septembre, 1930, pp.424-431
  • J. Gaillard, Recherches historiques sur las chapelle du Saint-Sang a Bruges, Bruges, 1846
  • Aymer Vallance, 'Some Flemish Painted Glass Panels', Burlington Magazine, XIX (July 1911)
  • The Grosvenor Thomas Collection of Ancient Stained Glass, catalogue, New York, 1913
  • David Thomas Powell (ac.1800-c.1837), copies (12) of stained glass from the Chapel of the Holy Blood, Bruges. Watercolours.
  • Barbara Butts and Lee Hendrix, Painting on Light: Drawings and Stained Glass in the Age of Durer and Holbein, J.Paul Getty Trust, 2000
Collection
Accession Number
C.439:1-1918

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record createdAugust 4, 1998
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