This title concerns a patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the full.

In the course of the fifteenth century, the reputation of the Burgundian court rose to an unprecedented level, catapulted forward by ever growing territorial ambitions and accumulation of wealth. This reached a climax during the reign of Charles the Bold (1433-1477), the living embodiment of the pomp and pageantry of the Burgundian court and a generous patron of the fine arts. Rather than focusing on a single domain, this volume aims to shed light on Burgundian court culture as an organic whole, between the start of the reign of Philip the Good (1419) and the death of Mary of Burgundy (1482). It is intended to provide a forum for new research from the fields of History, History of Art, Literature and Musicology. With contributions (among others) from Wim Blockmans, Herman Brinkman, Barbara Haggh, Andrea Berlin, James Bloom, Till-Holger Borchert, Andrew Brown, Hendrik Callewier, Anna Campbell, Mario Damen, Sonja Duennebeil, Jonas Goossenaerts, Bieke Hillewaert, Andrew Hamilton, Eva Helfenstein, Jesse Hurlbut, Sophie Jolivet, Sascha Kohl, Sherry Lindquist, Jana Lucas, Samuel Mareel, Elizabeth J. Moodey, Klaus Oschema, Kathryn Rudy, Emily Snow, Olga Vassilieva-Codognet, Hanno Wijsman.

In recent years the study of medieval courts has become a flourishing field. The courts of kings and popes, or of the Burgundian dukes, have usually attracted most attention. This book offers by contrast a wide-ranging study of a little-known, medium-sized court - that of Guelders in the Low Countries. Guelders offers an excellent vantage point for the study of European late medieval court culture. It was surrounded by the vast territories of the dukes of Burgundy, and it felt the growing power of the Valois dukes, yet the duchy managed to remain independent until 1473. Rich archival sources - including a long and virtually unbroken series of ducal accounts - reveal much about the rise of territorial or 'proto-national' awareness and about the role of the court in this process. The book also conveys the striking cultural and political richness of the court, poised between French and German spheres of influence.

Originally published between 1920-70, The History of Civilization was a landmark in early twentieth-century publishing. It was published at a formative time within the social sciences, and during a period of decisive historical discovery. The aim of the general editor, C.K. Ogden, was to summarize the most up to date findings and theories of historians, anthropologists, archaeologists and sociologists. This reprinted material is available as a set or in the following groupings: * Prehistory and Historical Ethnography Set of 12: 0-415-15611-4: £800.00 * Greek Civilization Set of 7: 0-415-15612-2: £450.00 * Roman Civilization Set of 6: 0-415-15613-0: £400.00 * Eastern Civilizations Set of 10: 0-415-15614-9: £650.00 * Judaeo-Christian Civilization Set of 4: 0-415-15615-7: £250.00 * European Civilization Set of 11: 0-415-15616-5: £700.00

In this study, Marina Belozerskaya re-establishes the importance of the Burgundian court as a center of art production and patronage in early modern Europe. Beginning with a historiographical and theoretical overview, she offers an analysis of contemporary documents and patterns of patronage, demonstrating that Renaissance tastes were formed through a fusion of international currents and art works in a variety of media. Among the most prestigious were those emanating out of the Burgundian court, which embodied prevailing contemporary values: magnificence in appearance, ceremony and surroundings, chivalry inspired by Greco-Roman antiquity, and power manifested through ingenious ensembles of luxury arts. The potency of this 'Burgundian mode' fostered a pan-European demand for its arts and their creators, with rulers in England, Germany, Spain and Italy itself eagerly acquiring Burgundian art works. This interdisciplinary study of the Burgundian arts provides a new paradigm for further inquiry into the pluralism and cosmopolitanism of the Renaissance.

The Dukes of Burgundy (1363/1477): the political and artistic adventure of a noble dynasty in the late Middle Ages -- The Chartreuse de Champmol -- The tombs of Philip the Bold and John the Fearless -- The mourners -- Mourners from the tomb of John the Fearless -- From charterhouse to museum -- The Salle des gardes: Burgundy & apos;s locus memoriae -- Conclusion -- Selected readings on the Chartreuse de Champmol, the tombs of the Dukes of Burgundy, and the mourners